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  <TITLE>Records International Catalogue May 2001</TITLE>
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<TD WIDTH="20%">&nbsp;<A HREF="RICatalogJan99.html">January 1999</A></TD>
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<P>&nbsp;</P>

<P><B><I><FONT SIZE=+4>VICTOR DE SABATA</FONT></I></B></P>

<P><B><I><FONT SIZE=+4>Tone Poems</FONT></I></B></P>

<P>VICTOR DE SABATA (1892-1957): La notte di Platon, Gethsemani, Juventus.
No - it doesn't sound like Respighi! Described, respectively as &quot;Symphonic
Picture&quot;, &quot;Contemplative Poem&quot; and &quot;Symphonic Poem&quot;,
these three orchestral works, dating from 1919-25, are closer to Ravel in
their clarity of orchestration. La notte, after a work by the French writer
Edouard Schur&eacute;, describes the philosopher Plato's last banquet -
during which he dismisses his guests, burns his poetry and dedicates himself
to philosophy. Thus, De Sabata has a fine opportunity to depict the wine-drenched,
courtesan-attended symposium with its accompanying musicians with primitive
and exotic Oriental modes before slowly ratcheting down and ending in a
majestic sense of calm. Gethsemani, at 24:26, the longest work here, describes
the moods and thoughts of Christ's disciples in the garden by using Gregorian
chant for its entire thematic material and artfully transforming it while
orchestrating with great beauty and refinement. Juventus is the earliest
piece, an ode to Youth, and its mood is not unlike Strauss' Don Juan although
not in any way an imitation, De Sabata providing music of marvellous brilliance,
fantasy, drive and enthusiasm. London Philharmonic Orchestra; Aldo Ceccato.
Hyperion CDA 67209 (England) <B>05C001</B> $17.98<HR ALIGN=LEFT></P>

<P>GEORGE FREDERICK MCKAY (1899-1970): Evocation Symphony &quot;Symphony
for Seattle&quot;, Harbor Narrative, From a Moonlit Ceremony. The composer
was born in Washington state and spent 41 years as a professor at the University
of Washington and sought to develop a style which would be both individual
and thoroughly American by using folk music and depicting the sounds of
nature. Harbor Narrative (1934) is a 30-minute, nine-movement suite which
depicts the sights, sounds and character of the Seattle area (titles include
&quot;Sea Horizon&quot;, &quot;Gulls&quot;, &quot;Chanty&quot; and a nod
to the machine-music of Antheil and Mossolov &quot;Men and Machines&quot;).
Half as long, From a Moonlit Ceremony of 1945 moves away from European influences
and uses Native American motives for the first time while the 1951 symphony
shows McKay in full maturity, all influences assimilated into his own personal
voice. Very attractive and entertaining music well worth visiting again
and again. National Symphony Orchestra of Ukraine; John McLaughlin Williams.
Naxos American Classics 8.559052 (U.S.A.) <B>05C002</B> $5.98</P>

<P>GEIRR TVEITT (1908-1981): Prillar, Op. 8, Sun God Symphony, Op. 81. Two
veritable orgies of ostinato rhythms, wildly shifting harmonies, extravagant
orchestration and orchestral effects fill these two reconstructed scores.
Prillar (a Norwegian folk-instrument made from a goat's horn) was written
while Tveitt was still a student in Leipzig and the brisk rhythms and ostinati
in its first movement are reminiscent of Sibelius. The calm second movement
recalls Ravel's &quot;oriental&quot; style and the finale, a whirling dance
similar in character to Alfv&eacute;n's folkloristic pieces, shares orchestral
colors with Mussorgsky, Rimsky-Korsakov and Glazunov. The score survived
Tveitt's catastrophic house fire because, fed-up with a work which he had
never been able to bring to performance, the composer tore the score up
into halves which were found in a barn by his son in 1990; composer Jon
&Oslash;yvind Ness made the necessary edition. Sun God Symphony consists
of three pieces from an extravagant ballet, Baldur's Dreams which, again,
was never mounted in its original version. The original 1934 score was revised
into an orchestral suite in 1958. Recordings of that and of the ballet's
1938 full orchestral premiere were painstakingly analyzed, along with fire
and water-damaged score parts by composer Kaare Dyvik Husby in order to
make this recording possible. Tveitt's closness to the French orchestral
style of the early to mid-20th century is quite evident here as the composer
seeks to recreate a medieval Norse sound world. The final movement ends
with an astounding mixture of bintonal effects and harmonic shifts which
could only be paralleled at the time by the crunching end to Ravel's La
Valse Stavanger Symphony Orchestra; Ole Kristian Ruud. BIS CD-1027 (Sweden)
<B>05C003</B> $17.98</P>

<P>FREDERICK DELIUS (1862-1934): Paa Vidderne, 7 Songs from the Norwegian,
On the Mountains, EDVARD GRIEG (1843-1907): Norwegian Bridal Procession
(orch. Delius). World Premiere Recordings of the songs which date from 1889-90
in orchestrations by Delius (2), Beecham (2) an &quot;R. Sondheimer&quot;
and two brand new ones by Anthony Payne and sung in English translations
by Sir Peter Pears and of Paa Vidderne (1888), a melodrama which sets texts
by Ibsen here spoken in an English version by Lionel Carley. Lewis Foreman
researched and developed this whole project and provides fascinating notes
in what is a fascinating glimpse of the young Delius' first musical output
brought to fruition by his love of things Norwegian and his friendship with
Grieg and other notable Norwegian artists. Jan Lund (tenor), Peter Hall
(narrator), Royal Liverpool Philharmonic Orchestra; Douglas Bostock. Classico
CLASSCD 364 (Denmark) <B>05C004</B> $15.98</P>

<P>L&Aacute;SZL&Oacute; LAJTHA (1892-1963): S&eacute;r&eacute;nade, Op.
9, Soirs transylvains, Op. 41. Dating from 1927, the S&eacute;r&eacute;nade
is a suite of six character pieces opening and closing with a march, in
classic 18th-century sereande style and touched both by Hungarian folksong
and by more European/American styles (i.e. Fox-trott). The &quot;Transylvanian
Nights&quot; dates from 1945 and its four movements describe nights during
each of the seasons. All but winter - a sleigh-ride in fog to a saltarello
pulse - have a degree of melancholy often associated with the change of
seasons; Lajtha's years of folksong-collecting in Transylvania provide him
with the means to evoke the mood and the change of seasonsin the mountains
and fields of this wild locale. Leila R&aacute;sonyi (violin), L&aacute;szl&oacute;
Koloazv&aacute;ri (viola), Judit Kiss Domarkos (cello). Hungaroton HCD 31979
(Hungary) <B>05C005</B> $16.98</P>

<P>LE&Oacute; WEINER (1885-1960): Piano Music, Vol. 2 - Carnival, Op. 5,
Caprice, 3 Pieces, Op. 7, 8 Miniatures, Op. 12, Playing Soldiers, Op. 16b,
Passacaglia, Op. 17, Variations on a Hungarian Folk Song for 2 Pianos, Op.
32, Fairies' Dance for Piano 4-Hands, 3 Little Piano Pieces for Piano 4-Hands,
Op. 36, 3 Hungarian Folk Dances for Piano 4-Hands. This compendium of short
piano pieces covers a wide variety of genres (from neo-Classicism to Hungarian
folk song) and pays homage to a wide variety of influences: Chopin, Bach,
Schumann, Debussy and... Hungarian folk song. Many were originally for orchestra
(like the 1907 Carnaval); one was orchestrated later (the 1936 Passacaglia).
All are indicative of the love of all aspects of Western European musical
tradition which also made Weiner such an outstanding teacher. Istv&aacute;n
Kassai (piano). Hungaroton HCD 31921 (Hungary) <B>05C006</B> $16.98</P>

<P>SIEGFRIED WAGNER (1869-1930): Sternengebot, Op. 5. The fifth of his operas
to reach CD courtesy of Marco Polo, &quot;The Commandment of the Stars&quot;
dates from 1906 and is the first to have an actual historical setting -
the late 10th century at the royal city of Fritzlar. The principal male
character is likely autobiographical: he gives up the opportunity to marry
the king's daughter in order to devote himself to the raising of the young
heir to the throne - much as Siegfried gave up the chance of achieving his
own personal voice and reputation by devoting himself to the &quot;family
business&quot; of Bayreuth and letting his compositons come as they might.
More than in the earlier operas, there are episodes of almost, well, Wagnerian
music and the writing for the lead soprano now and then makes one think
of Richard Strauss. The abundance of lovely themes and melodic richness
helps to overcome the somewhat muddled symbolist plot. 2 CDs. German libretto.
Volker Horn (tenor), Ksenija Lukic (soprano), Adam Kruzel (bass), Bayerisches
Singakademie &amp; Landes-jugendorchester; Werner Andreas Albert. Marco
Polo 8.225150-51 (New Zealand) <B>05C007</B> $29.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>P.E. LANGE-M&Uuml;LLER - Symphonies Nos. 1 &amp;
2</FONT></I></B></P>

<P>PETER ERASMUS LANGE-M&Uuml;LLER (1850-1926): Symphony No. 1 in D Minor
&quot;Autumn&quot;, Op. 17, Symphony No. 2 in D Minor, Op. 33. The first
symphony dates from 1879, a few years after his suite I Alhambra which we
offered last year on the DaCapo label. Like Schumann, Lange-M&uuml;ller
was criticized for over-thick orchestration in this work and for its length
(only 35 minutes but Niels Gade told him &quot;It's long - M&uuml;ller&quot;
- no kidding!). The composer added extra musical program notes depicting
various aspects of autumn but the work stands on its own, richly romantic,
full of a gentle melancholy with a real touch of Dvor&aacute;k (the earlier
symphonies) in the first movement; the conductor points out similarities
in works by Fibich and Nov&aacute;k as well as noting passages that Carl
Nielsen must have known when composing his first and fourth symphonies.
The second (1889, rev. 1915) is more concentrated, with forward-looking,
late-romantic harmonies in many places and Lange-M&uuml;ller's characteristic
despondency is most evident in the second movement Andantino although he
struggles mightily against in the (however minor-key) first movement and
finale. Chamber Philharmonic of Bohemia (Pardubice); Douglas Bostock. Classico
CLASSCD 370 (Denmark) <B>05C008</B> $15.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>RICHARD WETZ - Symphony No. 3</FONT></I></B></P>

<P>RICHARD WETZ (1875-1935): Symphony No. 3 in B Flat, Op. 48. Yes, this
is it! The East German recording made in 1981 by the conductor who did so
much to keep Wetz' name somewhat alive and who edited this Urtext of the
never-published score and which appeared in the West on a Deutsche Harmonia
Mundi LP. Written between 1920-22, this hour-long work depicts, in a kind
of psychogram (to use Alfred Brendel's term), the emotional crisis caused
by a love affair with a younger woman who ended up marrying someone else
and Wetz admitted as much in his writings later. The shadow of Bruckner,
which hung so heavily over the second symphony, is still gloriously present
in music which builds itself into long arches and which ebbs and flows like
the primeval sea, glowing darkly like the embers of a tortured soul. In
an astonishing act of solidarity with the CD buying public, the booklet
notes the availability of the two cpo recordings of the other two symphonies!
Berlin Symphony Orchestra; Erich Peter. Sterling CDS-1041-2 (Sweden) <B>05C009</B>
$16.98</P>

<P>ALEXANDRE GUILMANT (1837-1911): Symphony No. 1 for Organ and Orchestra,
Op. 42, Allegro for Organ and Orchestra, Op. 81, Marche Fantaisie sue deux
chantes d'&eacute;glise for Organ, Harps and Orchestra, M&eacute;ditation
sur le Stabat Mater for Organ and Orchestra, OP. 63, Final alla Schumann
sur un No&euml;l Languedocien for Organ and Orchestra, Op. 83, L&Eacute;ON
BO&Euml;LLMANN (1862-1897): Fantaisie Dialogu&eacute;e for Organ and Orchestra,
Op. 35, FRAN&Ccedil;OIS-JOSEPH F&Eacute;TIS (1784-1871): Fantaisie-Symphonique
for Organ and Orchestra. The fifth in this series of music for organ and
orchestra brings predominantly meditative (Final alla Schumann, M&eacute;ditation,
Marche fantaisie) and quietly melodic (Allegro, Fantaisie Dialogu&eacute;e)
music, rising to full-throated Romantic splendor in the 82-year-old (!)
F&eacute;tis' piece and in the Guilmant symphony. Franz Hauk (organ), The
Philharmonic Ingostadt; Olaf Koch. Guild GMCD 7215 (England) <B>05C010</B>
$16.98</P>

<P>FRANZ XAVER SCHARWENKA (1850-1924): Piano Concerto No. 1 in B Flat Minor,
Op. 32, Piano Concerto No. 2 in C Minor, Op. 56. Yes, there is now plenty
of competition for the Scharwenka First but the Collins Classics series
has died along with its label and this young French/American pianist will
also be recording the Third and Fourth concertos for Centaur making available
once again all four of these high points of late Romantic pianism. Laurence
Jeanningros (piano), CzechNational Symphony Orchestra; Paul Freeman. Centaur
CRC 2500 (U.S.A.) <B>05C011</B> $16.98</P>

<P>LORENZO PEROSI (1872-1956): String Quartet No. 9 in D Minor, String Quartet
No. 10 in A Minor, Piano Quintet No. 3 in A Minor, String Trio in E Flat,
Elegia for Cello and Piano. Collectors of this quirky composer's chamber
works - all composed between 1928 and 1931 when he was, shall we say, less
than mentally stable - will not hesitate to acquire these quartets from
about midway in his string quartet total. No work is like any other except,
perhaps, the tendency to slow movements, meditative and meandering in style
where an odd harmonic moment or catchy melody will suddenly pop up and then
just as quickly disappear, never to be heard from again. Ensemble &quot;L.
Perosi&quot;. Bongiovanni GB 5108 (Italy) <B>05C012</B> $16.98</P>

<P>HANS HUBER (1852-1921): Pr&auml;ludien und Fugen in allen Tonarten f&uuml;r
Pianoforte zu 4 H&auml;nden, Op. 100. It may not be another gloriously late
romantic symphony from this fine Swiss composer but this release of 12 preludes
and fugues adroitly mix Bach with Brahms and Schumann and will appeal to
lovers of high pianistic Romanticism glazed with a cool Baroque exterior.
Adrienne So&oacute;s, Ivo Haag (piano duo). Pan Classics 510 128 (Switzerland)
<B>05C013</B> $17.98</P>

<P>MIKALOJUS KONSTANTINAS CIURLIONIS (1875-1911): 13 Preludes, Nocturne
in F Sharp Minor, Impromptu in F Sharp Minor, Fugue in B Flat Minor, 3 Lithuanian
Folk Songs, Concord, Our Father, Whitsunday Music, 3 Sets of Variations
on Folk Songs. Never widely available, this 1995 recording was made by the
pianist, Ciurlionis scholar, independence fighter and chairman of the Lithuanian
parliament and licensed to EMI in 1998. His piano pieces blend Romanticism
with rationalism, inventing personal types of polyphony and color and a
progressive (at times, almost atonal) sense of tonality. Mid-price. Vytautas
Landsbergis (piano). EMI CDM 5 66791 2 (England) <B>05C014</B> $11.98</P>

<P>HEINRICH SCHEIDEMANN (c.1595-1663): Organ Works, Vol. 3 - Praeambulum
in D Minor, Kyrie summum, Verbum caro factum est, Jesus Christus, unser
Heiland, der von uns II, Es ist das Heil uns kommen her, Canzona in G, Gelobet
seist du, Jesu Christ, Gott sei gelobet und gebenedeiet, Herzlich lieb hab
ich dich, o Herr, Magnificat VII Toni, Jesu, wollst uns weisen, Vater unser
im Himmelreich III, Praeambulum in F, Ego sum panis vivus, Wir glauben all'
an einen Gott, Praeambulum in D Minor. More from this dominant composer
of the early North German school, student of Sweelinck and Reincken's great
predecessor in Hamburg. Julia Brown (Brombaugh organ, Central Lutheran Church,
Eugene, OR). Naxos 8.554548 (New Zealand) <B>05C015</B> $5.98</P>

<P>JOHANNES SCHENCK (1660-after1712): Le Nymphe di Rheno, Op. 8, Vol. 2
- Sonatas Nos. 7-12. The second half-dozen of these sonatas for two viola
da gambas, in a mixture of sonata da chiesa and da camera styles, composed
by a Dutchman who seemed to have learned his virtuosic performing style
from the English gamba school and who served most of his career at the court
of D&uuml;sseldorf. Les Voix Humaines. Naxos 8.554415 (New Zealand) <B>05C016</B>
$5.98</P>

<P>CARLO TESSARINI (c.1690-c.17676): Contrasto Armonico, Op. 10, Introducioi
a 4, Op. 11, Book 1. Asymmetrical phrase lengths, colorful, almost hair-raising
harmonies, grandiose and highly virtuosic violin solo parts, minutely elaborated
articulation (even in the accompanying parts): these all point to a forgotten
composer worth hearing. This period-instrument group recently brought us
Valentini's Bizzarie; another strikingly original late Baroque Italian composer
emerges again here. Aura Musicale; Bal&aacute;zs M&aacute;t&eacute;. Hungaroton
HCD 32025 (Hungary) <B>05C017</B> $16.98</P>

<P>NICCOL&Ograve; JOMMELLI (1714-1774): Messe in D, Te Deum in D. Dating
from 1763 and 1769 respectively, these compositions - and especially the
mass - demonstrate Jommelli's position on the cusp of what might be called
the &quot;symphonic Mass&quot; style which Haydn and Mozart brought to fruition.
Both works are bound together by turns of phrase and harmony and, especially,
by the recapitulation of earlier music in later parts of the mass. Judy
Berry (soprano), Marta Benackov&aacute; (mezzo), John La Pierre (tenor),
Nikolaus Meer (baritone), Prague Chamber Choir, I Virtuosi di Praga; Hilary
Griffiths. Orfeo C 453 001 A (Germany) <B>0C018</B> $18.98</P>

<P>CARL PHILIP EMANUEL BACH (1714-1788): Solo Keyboard Music, Vol. 6 - Leichte
Claviersonaten Nos. 4-6, H. 182, 163 &amp; 183, Sonata in C, H. 120, Sonata
in G Minor, H. 118. Although (or perhaps because) written during years of
war and privation the latter two sonatas (1757) show little tension but
much elegant melodic detail and deliciously consonant harmonies. The remaining
three &quot;easy sonatas&quot; come from 1762 and 1764; no easier than the
average Bach sonata, these require well-developed technical skills and convey
deep emotions no less than the majority of Emanuel's Empfindsamkeit compositions.
Sp&aacute;nyi plays printed Bach embellishments where they exist. Mikl&oacute;s
Sp&aacute;nyi (clavichord). BIS CD-978 (Sweden) <B>05C019</B> $17.98</P>

<P>DIETRICH BUXTEHUDE (c.1637-1707): Membra Jesu Nostri - Cantatas Nos.
1-7. This passion-meditation of 1680 is unique in Buxtehude's cantata output
for not being in the German vernacular. Noble, plangent, gentle and relatively
cool, the music sets the mystical texts with a dash of Italian strophic
aria style leavening the North German severity. The Sixteen, The Symphony
of Harmony and Invention; Harry Christophers. Linn Records CKD 141 (Scotland)
<B>05C020</B> $17.98</P>

<P>GIOVANNI BENEDETTO PLATTI (1697-1763): 6 Sonatas for Flute and Basso
Continuo. Dating from around 1743, these works are still in the four-movement
sonata da camera sequence but have much of the galant style about them;
their virtuosity can be attributed to the highly talented student for to
whom they were dedicated. A richly varied continuo of chamber organ, harpsichord,
viola da gamba, bassoon and guitar adds to the listening pleasure. Mid-price.
Ensemble &quot;Festina Lente&quot;. Tactus TC 691602 (Italy) <B>05C021</B>
$11.98</P>

<P>ALESSANDRO SALVOLINI (c.1700-c.1770): Missa defunctorum, Missa brevis,
Mass in D, 6 Hymns and Motet. Examples of late Baroque counterpoint (voices
with two violins, cello and organ accomanying) from this Italian composer,
not in Grove, who spent most of his career at the cathedral in Ravenna.
Mid-price. &quot;I Luoghi dello Spirito&quot;; Maria Luisa Baldassare &amp;
Marnia Scaioli. Tactus TC 701901 (Italy) <B>05C022</B> $11.98</P>

<P>MICHEL CORRETTE (1709-1795): Premier Livre de Clavecin, Op. 12, Les &Eacute;choes
de Boston, Le Combat Naval. Two ends of the composer's career: the Livre
comes from 1734 and is the young composer showing that he can follow in
the footsteps of Rameau and Couperin while the remaining two works date
from 1779. The former is a three-movement sonata depicting life in the colonies
while Le Combat is a fine example of the &quot;battle-music&quot; genre
which would become very popular during the French Revolution and the Napoleonic
Wars (both with descriptive texts spoken here by the performer). Jean-Patrice
Brosse (harpsichord). Pierre Verany PV700019 (France) <B>05C023</B> $17.98</P>

<P>ANTON KRAFT (1749-1820): 3 Grand Duos Concertants for Violin and Cello,
Op. 3. Dedicatee of Haydn's D Major cello concerto and the intended soloist
in Beethoven's Triple Concerto, Kraft was a virtuoso cellist who composed
relatively little. This set of duos from c.1792 is firmly, entertainingly
in the style of late Haydn/early Beethoven. Jan Mr&aacute;cek (violin),
Jir&iacute; Hosek (cello). Clarton CQ 0007-2 (Czech Republic) <B>05C024</B>
$16.98</P>

<P>JOSEPH HAYDN (1732-1809): Notturni, Vol 1 - No. 1 in C, Hob. II/25, No.
2 in C, Hob. II/32, No. 6 in C, Hob. II/30 &amp; No. 7 in F, Hob. II/28.
The 1791 London versions of Notturni originally written for the &quot;lira
organizzata&quot; for the King of Naples use flute and oboe to replace the
liras and Haydn marvellously varies the accompanying instruments (two horns,
cello and double bass being the only instruments common to all four works).
Haydn Sinfonietta Wien; Manfred Huss. Koch Schwann 3-6482-2 (Germany) <B>05C025</B>
$16.98</P>

<P>LUDWIG AUGUST LEBRUN (1752-1790): Oboe Concertos No. 1 in D Minor, No.
2 in G Minor &amp; No. 4 in B Flat. Son of an oboist, Lebrun became a member
of the Mannheim orchestra at 15 and his uninterruptedly successful life
ended only with his early death at 38. His concertos are in the classic
Mannheim style: powerful, ascending arpeggios (the &quot;Mannheim rocket&quot;),
liberal use of wide dynamic effects and crescendos and, his own addition,
a long, beautiful singing line for the soloist. Bart Schneeman (oboe), Radio
Chamber Orchestra; Jan Willem de Vriend. Channel Classics CCD 16198 (Netherlands)
<B>05C026</B> $17.98</P>

<P>FRANZ ANTON HOFFMEISTER (1754-1812): Notturni No. 1 in E Flat, No. 2
in F, No. 3 in E Flat &amp; No. 6 in D for Oboe, Horn, Bassoon and 2 Violas.
These quintets, with the odd inclusion of two violas, fulfill the Viennese
Classical requirement of occasional, often outdoor music - grateful melodies
portioned out in five movements: a sonata-form opening, minuet, andante,
minuet and rondo finale. Simon Fuchs (oboe), Jakob Hefti (horn), Manfred
Sax (bassoon), Michel Rouilly, Katja Richter (violas). Tudor 7075 (Switzerland)
<B>05C027</B> $17.98</P>

<P>FRANZ KROMMER (1759-1831): Partitas in E Flat &amp; C Minor for Wind
Sextet and Double Bass, 5 Trios for 2 Clarinets and Viola, Variations on
a Theme by Pleyel for 3 Clarinets, Partita in E Flat for Wind Sextet. Harmoniemusik
at its Bohemian finest in these works for pairs of clarinets, horns and
bassoons. Nachtmusique; Eric Hoeprich (clarinet). Glossa GCD 920604 (Spain)
<B>05C028</B> $18.98</P>

<P>&Eacute;TIENNE-NICOLAS M&Eacute;HUL (1763-1817): Symphony No. 1 in G
Minor, Symphony No. 2 in D. These are strongly characterized works with
a definite French sound to them for all that they speak the language of
Mozart, Haydn and early Beethoven. Fully-fledged four-movement symphonies
with memorable themes and melodies, these should be on the shelves of all
serious Classical symphony collectors. Re-issue of a 1988 Marco Polo full-price
original. Rhenish Philharmonic Orchesra; Jorge Rotter. Naxos 8.555402 (New
Zealand) <B>05C029</B> $5.98</P>

<P>ANTON EBERL (1765-1807): Piano Trios in E Flat, B and C Minor, Op. 8.
Friend and student of Mozart, friend of Haydn, treated by both as an equal,
Eberl has suffered like so many late Classical composers erased by later
scholarship. These trios, published in 1798, have practically everything
which makes Mozart's and Haydn's late piano trios so attractive. Thanks
to these Russian period-instrumentalists for letting us finally hear some
of them! (See p. 6 for more Eberl.) Playel-Trio St. Petersburg. Christophorus
CHR 77237 (Germany) <B>05C030</B> $17.98</P>

<P>LUDWIG VAN BEETHOVEN (1770-1827): 12 Minuets, WoO 7, Rondo in A, WoO
49, 2 Rondos, Op. 51, 2 German Dances, Hess 67, Andante favori, WoO 57,
Rondo a Capriccio in G, Op. 129. Many of these little dances and bagatelles
are only available in the multi-disc release embedded in DG's Beethoven
Edition, so it is useful (and cheap!) to have them separately here at Naxos'
budget price! Jen&ouml; Jand&oacute; (piano). Naxos 8.553799 (New Zealand)
<B>05C031</B> $5.98</P>

<P>CARLO PAESSLER (1774-1865): Clarinet Concertos in B Flat and in C Minor,
Concerto for Clarinet, Oboe and Orchestra, Pot-pourri for Clarinet and Strings,
Concerto con variazioni in E Flat for Clarinet and Strings, Divertimento
for Clarinet and Strings on the Arias &quot;Cimentando i venti e l'onde&quot;
and &quot;Se ancor tu m'ami&quot;. AlthoughPaessler was an oboe virtuoso,
who made his name and his fortune as a travelling soloist as well as playing
in opera orchestras throughout Italy, his clarinet compositions were discovered
by the clarinettist on this recording. Coming from an archive of the Colloredo
family, they demonstrate the same alternation of Italian cantabile and bravura
playing, in the time-honored sequence of Introduction-Theme-Variations,
which characterize already known samples of the genre by Rossini and Mercadante.
Nicola Bulfone (clarinet), Matej Sarc (oboe), Collegium Musicum; Walter
Themel. Agora AG 276.1 (Italy) <B>05C032</B> $18.98</P>

<P>JOHANN NEPOMUK HUMMEL (1778-1837): Mass in D, Op. 111a, Te Deum. First
recording of most of the mass (its Graduale, carrying the opus number of
88 and the virtuosic Offertorium, Op. 86 - the only appearance of the solo
soprano, were found together with the music of the mass and were likely
performed with them) which dates from 1808 Latin texts. Hummel's first two
masses, like Haydn's last six and Beethoven's C Major work, were all written
for the name-day of Princess Maria of Eisenstadt; Hummel also was in the
habit of consulting Haydn after the performance but before the publication
of these masses - all of which should give you an idea of the style and
the quality of this work. The Te Deum dates from 1805 and its military character
adumbrates the peace treaty between Austria and France which it was commissioned
to commemorate. &Eacute;va Bodrogi (soprano), Choir &quot;Jeunesses Musicales&quot;,
Erd&ouml;dy Chamber Orchestra; Domonkos H&eacute;ja. Hungaroton HCD 32004
(Hungary) <B>05C033</B> $16.98</P>

<P>CARL LOEWE (1796-1869): Grand Trio, Op. 12, CHARLES AUGUSTE DE BERIOT
(1802-1870): Piano Trio No. 2, Op. 58. Taking up more than two-thirds of
the time on this release, Loewe's trio dates from around 1830. Its first
movement rather mirrors the composer's famous ballads; the piano appears
to be telling a story which the remaining two instruments are allowed to
comment upon periodically. The second movement is a robust, rustic dance
of more than ten minutes' length while the larghetto slow movement is brief
but with a winning cantabile quality. The finale is chock-full of rollicking
virtuosity and rhythmic fun. Beriot's trio, by contrast, comes off as a
low-key, generally peaceful and self-contained exercise with, not surprisingly,
the string instruments carrying on most of the conversation until the piano
gets its turn in the virtuosic finale. G&ouml;bel-Trio Berlin. Signum SIG
X115-00 (Germany) <B>05C034</B> $17.98</P>

<P>CARL OESTREICH (c.1800-1840): 6 Quartets for Horns in F, 5 Quartets for
Horns in E, 6 Trios for Horns in F, 3 Trios for Horns in E. The latest release
from this reliable source for natural horn maniacs... Deutsche Naturhorn
Solisten. MD&amp;G 6051029 (Germany) <B>05C035</B> $17.98</P>

<P>ANTON EBERL (1765-1807): Piano Concerto in C, Op. 32, Piano Sonata in
C Minor, Op. 1. It's particularly good to have these recordings available
since Eberl was generally considered to be equal to Mozart, Haydn and Beethoven
by many contemporaries (see Eberl: Piano Trios on p.5). The concerto dates
from 1803 (when his and Beethoven's E Flat symphonies were given on the
same concert and his was by far the more popular than the Eroica) and is
comparable in style to Mozart's late concertos or to Beethoven's first two.
The sonata was published many times under Mozart's name (well into the 19th
century) and Eberl had to move mountains to finally have it issued as his
own work. Dating from 1792, its long adagio introduction bears a striking
resemblance to the beginning of Mozart's Fantasy K.475 and, in its key and
general character, it may have influenced Beethoven's Path&eacute;tique
sonata of six years late. James McChesney (piano), Slovak Philharmonic Orchestra;
Karl Kemper. Koch Schwann Musica Mundi 3-6763-2 (Germany) <B>05C036</B>
$6.98</P>

<P>BALDASSARE GALUPPI (1706-1785): Il filosofo de Campagna. Although one
of the few of Galuppi's operas which received somewhat regular performances,
this 1754 work to a Goldoni libretto bore only slight resemblance to the
original manuscript. Bongiovanni commissioned this recording's conductor
to basically start from scratch (a manuscript in the British Museum) and
remake the work in its original image, restoring two characters and the
orignal three-act structure and throwing out arias not contained in Goldoni's
libretto. Instead of the usual live recording, the result was taped over
several days in March 1999 in an abbey - making this one of the most expensive
productions ever done on behalf of a neglected Classical composer. 3 CDs.
Italian-English libretto. Paola Antonucci (soprano), Patrizio Saudelli (tenor),
Alessandro Calamai (bass), Intermusica Ensemble; Franco Piva. Bongiovanni
GB 2256/58 (Italy) <B>05C037</B> $50.98</P>

<P>CARL PHILIPP EMANUEL BACH (1714-1788): Complete Keyboard Concertos, Vol.
10 - in G, H.419, in B Flat, H.447, Sonatina in F, H.452. H. 419 is from
1745 and wraps two galant outer movements around a pathetic, minor-key Adagio;
the B flat concerto, from 1762, has a musical expressiveness and formal
sophistication which suggests performance before a select kind of audience.
The Sonatina, from the same year (and like its two fellows in Vol. 9 of
this series), was designed for a public concert and based on the binary
forms of dances and solo sonatas - the better to entertain an audience some
of whom would have minimal musical training. Concerto Armonico; Mikl&oacute;s
Sp&aacute;nyi (tangent piano). BIS CD-914 (Sweden) <B>05C038</B> $17.98</P>

<P>JOSEF BENGRAF (1745-1791): 6 String Quartets. Bengraf's quartets - all
three-movement works except for the last one - are quartet-divertimenti
related to Vanhal's and Dittersdorf's homophonic chamber music. An interesting,
early Classical byway from the composer who wrote the first ever Hungarian
Dances! Festetics String Quartet. Hungaroton HCD 31943 (Hungary) <B>05C039</B>
$16.98</P>

<P>SILVIUS LEOPOLD WEISS (1686-1775): Suite in F &quot;Le fameux Corsaire&quot;
for Lute, JEAN BAPTISTE L'OEILLET DE GANT (1688-?): 4 duos for Glass Harmonica
and Lute, JOHANN FRIED-RICH REICHARDT (1752-1801): Grazioso for Glass Harmonica,
JOHANN GOTTLIEB NAUMANN (1741-1801): Sonatas Nos. 8 &amp; 10 for Glass Harmonica,
Duo for Glass Harmonica and Lute, HEINRICH SUTERMEISTER (1910-1995): B&uuml;hnenmusik
for Glass Harmonica, BRUNO HOFFMAN (1913-1991): 2 Chorals, Gavotte. Old
and new music for the most ethereal instrument ever created before the theremin,
including two works by its most famous 20th century practicioner, Bruno
Hoffman. Sutermeister's pieces are from four works which were either radio
dramas, stage music, film music or TV operas (the brief notes give us the
titles but no other help). Ingeborg Emge (glass harmonica), Pierre Gross
(lute). Gallo CD-1045 (Switzerland) <B>05C040</B> $18.98</P>

<P>J&Aacute;N JOZEF R&Ouml;SLER (1771-1813): 3 String Quartets, Op. 6. Opera
director to the Lobkowitz court from 1802 until his death, R&ouml;sler's
quartets are in the style of early Beethoven/late Mozart - full length,
four-movement works which will give pleasure to Classical chamber music
collectors Stamic Quartet. Panton 81 9031-2 (Czech Republic) <B>05C041</B>
$16.98</P>

<P>GIUSEPPE TARTINI (1692-1770): Violin Concertos, Vol. 8 - in D, D 17 A,,
D 90 E, D 47 &amp; B Flat, D 116, Allegro, D 116a. Four more from Tartini's
first creative period (c.1721-35) with two featuring embedded capricci as
cadenzas and the E Major work containing a bizarre slow movement in B major
with five sharps in the key signature. L'Arte Dell'Arco; Giovanni Guglielmo,
Carlo Lazari (violins). Dynamic CDS 355 (Italy) <B>05C042</B> $17.98</P>

<P>LE CHEVALIER DE SAINT-GEORGES (c.1739-1799): Violin Concertos in C, Op.
5/1, in A, Op. 5/2 &amp; in G, Op. 8. Anyone who didn't take the plunge
last August and September when we offered the complete Saint-Georges sinfonie
concertantes and violin concertos on Avenira, can now sample the refined
and tuneful delights of this remarkable French mulatto violinist, athlete,
conductor, swordsman and military commander. Takako Nishizaki (violin),
Cologne Chamber Orchestra; Helmut M&uuml;ller-Br&uuml;hl. Naxos 8.555040
(New Zealand) <B>05C043</B> $5.98</P>

<P>JOACHIM RAFF (1822-1882): String Quartet No. 1 in D Minor, Op. 77, String
Quartet No. 7 in D, Op. 192/2 &quot;Die Sch&ouml;ne M&uuml;llerin&quot;.
The first quartet (1855) has a first movement right out of early Brahms
and a fairy-type Mendelssohian scherzo followed by a surprising slow movement
whose dissonances and suspensions seem to point ahead to Verkl&auml;rte
Nacht before ending in a finale reminiscent of Schubert in a contrapuntal
fever. The last quartet (1874) is in six movements which depict the young
man, the mill, the miller's daughter and the tempestuous feelings of love
in what seems a never-ending flow of seamless, gorgeous melody. This last
quartet is less daring than the first - which was Raff's problem... as the
musical world grew more complicated, he grew more simple and old-fashioned:
to our great benefit! Quartetto di Milano. Tudor 7079 (Switzerland) <B>05C044</B>
$16.98</P>

<P>ALEXANDER GLAZUNOV (1865-1936): String Quartet No. 5 in D Minor, Op.
70, 5 Novelettes for String Quartet, Op. 15. The 1886 Novelettes are character-piece/musical
travelogues (&quot;Alla Spagnuola&quot;, &quot;Orientale&quot;, &quot;All'
Ungherese&quot;...) which predictably show the melodically gifted young
composer at his best while the quartet, dating from between the sixth and
seventh symphonies (1898), provides us with music of similar charm with
the usual highly catchy and memorable scherzo. St. Petersburg String Quartet.
Delos DE 3262 (U.S.A.) <B>05C045</B> $16.98</P>

<P>ANTON&Iacute;N DVOR&Aacute;K (1841-1904): Legends, Op. 59, From the Bohemian
Forest, Op. 68. The original, four-hand piano versions of these pieces have
a simplicity which seems to take them closer to their folk origins than
the later orchestrations. Full of lovely and memorable melodies, Legends
wends its way through ten suggestions of Czech character and countryside
with heart-easing warmth. The six sections of From... paint more solid pictures
(&quot;In the Spinning-Room&quot;, &quot;By the Black Lake&quot;, &quot;Witches'
Sabbath&quot;, &quot;On the Watch&quot;, the famous &quot;Silent Woods&quot;
and &quot;In Troubled Times&quot;) of Bohemian folklore and country life.
Igor &amp; Renata Ardasev (piano four hands). Supraphon SU 3536-2 (Czech
Republic) <B>05C046</B> $16.98</P>

<P>ALEXANDRE GUILMANT (1837-1911): Symphonie tir&eacute;e de la Symphonie-Cantate
&quot;Ariane&quot;, Op. 53, Pastorale in A, Op. 26, Scherzo capriccioso
in F Sharp Minor, Op. 36, Finale alla Schumann sur un no&euml;l languedocien
in A, Op. 83, El&eacute;gie Fugue in F Minor, Op. 44/2, Marche triomphale
in E Flat, Op. 34, Pri&egrave;re in F, Op. 16/2, Final in E Flat, Op. 40/4.
Most of these pieces exist in versions for orchestra, for organ and for
piano and harmonium; the Symphonie, four movements excerpted from an unpublished
cantata written in 1875-80, comes off extraordinarily well as a stand-alone
symphonic work. The remaining items each have their own interest, the Scherzo
capriccioso (again an orchestral original) perhaps being the most memorable.
Ernst Breidenbach (piano), Johannes Matthias Michel (harmonium). Signum
SIG X112-00 (Germany) <B>05C047</B> $17.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>ORGAN WORKS BY FAMOUS COMPOSERS - VOL. 2</FONT></I></B></P>

<P>EDWARD ELGAR (1857-1934): Vesper Voluntaries, Op. 14, OTTORINO RESPIGHI
(1879-1936): Preludes in D, A &amp; B Flat, BEDRICH SMETANA (1824-1884):
6 Preludes, CHARLES GOUNOD (1818-1893): Offertoire, VINCENZO BELLINI (1801-1835):
Organ Sonata in G. As might be expected, some of these are juvenilia - Smetana's
from his 17th year, Bellini's from sometime between 1819-25 (long on melody,
short on formal structure). But Elgar's from 1890 contain some intense and
evocative moods and Respighi's (1910) first is a tireless working out of
possibilities while the two others are based on Bach chorales; Gounod's
is undated, an unceasingly restful piece. Hans-Ola Ericsson (Gerald Woehl
organ of St. Petrus Canisius, Friedrichshafen/Bodensee, Germany). BIS CD-1102
(Sweden) <B>05C048</B> $17.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>Three EMI Special Import Elgar Oratorio Reissues</FONT></I></B></P>

<P>EDWARD ELGAR (1857-1934): The Light of Life, Op. 29. In retrospect, this
work can be seen as the prelude to the uncompleted trilogy whose recordings
appear beneath. Dating from 1896 the work, though hobbled by its libretto,
contains many moments which point toward The Dream of Gerontius and The
Apostles, with marvelous orchestral writing and imaginative use of the choir.
Texts included. Margaret Marshall (soprano), Helen Watts (contralto), Robin
Leggate (tenor), John Shirley-Quirk (baritone), Liverpool Philharmonic Choir,
Royal Liverpool Philharmonic Orchestra; Sir Charles Groves. EMI CDM 7 64732
2 (England) <B>05C049</B> $11.98</P>

<P>EDWARD ELGAR (1857-1934): The Apostles, Op. 49, Meditation from The Light
of Life. Dating from 1902-03, right after The Dream of Gerontius and Cockaigne
and with In the South and the symphonies not far away, this is Elgar at
his most eloquent and colorful and, as always, the music of Judas produces
the finest work of a composer who always understood uncertainty and anguish
better than joy or repentance. Lengthy, detailed notes completely reproduced
from the 1974 LP release. 2 CDs. Texts included. Sheila Armstrong (soprano),
Helen Watts (contralto), Robert Tear (tenor), Benjamin Luxon, Clifford Grant,
John Carol Case (basses), Choir of Downe House School, London Philharmonic
Choir and Orchestra; Sir Adrian Boult. EMI CMS 7 64206 2 (England) <B>05C050</B>
$23.98</P>

<P>EDWARD ELGAR (1857-1934): The Kingdom, Op. 51, Coronation Ode, Op. 44.
Sequel to The Apostles, The Kingdom (1905-06) is like a reflective slow
movement to a trilogy which was left unfinished. The rousing ode to Edward
VII's coronation uses the optional 36-piece military band to great effect.
2 CDs. Texts included. Margaret Price (soprano), Yvonne Minton (contralto),
Alexander Young (tenor), John Shirley-Quirk (bass), London Philharmonic
Choir and Orchestra; Sir Adrian Boult, Felicity Lott (soprano), Alfreda
Hodgson (contralto), Richard Morton (tenor), Stephen Roberts (bass), Cambridge
University Musical Society, Choir of King's College, Cambridge, New Philharmonia
Orchestra, Band of the Royal Military School of Music; Philip Ledger. EMI
CMS 7 64209 2 (England) <B>05C051</B> $23.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>Janacek Opera Premiere!</FONT></I></B></P>

<P>LEOS JAN&Aacute;CEK (1854-1928): S&aacute;rka. Most composers are fiery
in their youth and mellow with age. Jan&aacute;cek, of course, was just
the opposite and this, his first opera (1887, revised three times and finally
premiered in 1925), is more restrained than his later efforts. Even so there
is no doubt as to who wrote it. Frequently the tiger's claws show through,
and one feels the dramatic intensity so typical of his later operas. With
Mackerras at the helm, this should be considered a definitive performance
(and is definitely the first complete performance) of this work which is
based on the same Czech legend which furnished Fibich with the subject for
his (longer) work. Czech-English libretto. Eva Urbanov&aacute; (soprano),
Peter Straka (tenor), Ivan Kusnjer (baritone), Prague Philharmonic Choir,
Czech Philharmonic Orchestra; Sir Charles Mackerras. Supraphon SU 3485-2
(Czech Republic) <B>05C052</B> $16.98<HR ALIGN=LEFT></P>

<P>ERMANNO WOLF-FERARRI (1876-1948): Sly. About a year ago a recording of
this opera turned up on the Arts label, at mid-price, in German and with
no translation. You all were singularly unmoved - and rightly so as it turns
out. Here is a brand new version, recorded last June in Barcelona and featuring
a fairly well-known tenor in the title role. Taking off from the &quot;Induction&quot;
to The Taming of the Shrew, this tale of the cruel hoax perpetrated on the
drunken title character and his tragic end shows influences from Verdi,
Wagner and Dvor&aacute;k. It has remained neglected since its 1927 premiere
except, lately, in Germany but that's where we started... Italian-English
libretto. 2 CDs. Jos&eacute; Carreras (tenor), Isabelle Kabatu (soprano),
Sherrill Milnes (baritone), Chorus and Orchestra of the Gran Teatre del
Liceu Barcelona; David Gim&eacute;nez. Koch Schwann 3-6449-2 (Germany) <B>05C053</B>
$33.98</P>

<P>JOHANN GUSTAV EDUARD STEHLE (1839-1915): Saul, JULIUS REUBKE (1834-1858):
94th Psalm, FRANZ LISZT (1811-1886): Fantasy and Fugue on &quot;Ad nos,
ad salutarem undam&quot;. Liszt was Reubke's model and Reubke was followed
by the German/Swiss Stehle in 1877 with a work described by an enthusastic
contemporary as &quot;the first symphonic poem for organ&quot;. Since it
is very difficult to figure out what is going on in the music without benefit
of a text (the score comes with a synopsis which doesn't always seem to
fit with the musical events), the organist here has worked up a new one
and Saul is recorded here with and without the narration. Regardless, the
work remains probably the dead end of a nameless tradition which began with
Liszt's transcription of Schubert's Wanderer Fantasie: a huge piece which
recycles, adapts and reworks a particular motif and sub-motives in order
to tell a story in music and, as such, is a remarkable dinosaur of the Liszt-Wagner
school of progressive romanticism. 2 CDs. David Fuller (Fisk organ at SUNY
Buffalo, New York). Loft Recordings LRCD 1030/1031 (U.S.A.) <B>05C054</B>
$33.98</P>

<P>HENRI VIEUXTEMPS (1820-1881): Cello Concerto No. 1 in A Minor, Op. 46,
Cello Concerto No. 2 in B Minor, Op. 50. Composed for Joseph Servais after
a stroke put an end to his performing career, Vieuxtemps wrote what may
be the most melodic cello concerto of them all 1876. No conflict here -
just acres of noble and exalted cantabile melody which will make you wonder
why no one ever performs it. The second concerto (1880 and also for Servais)
is more traditional in its masculine-feminine apportioning of themes in
the first movement and it closes with a witty and memorable rondo theme
for its finale. Re-issue of a 1987 release. EMI Special Import. Heinrich
Schiff (cello), Stuttgart Radio Symphony Orchestra; Neville Marriner. EMI
CDC 7 47761 2 (Germany) <B>05C055</B> $17.98</P>

<P>EMMANUEL CHABRIER (1841-1893): Une &eacute;ducation manqu&eacute;e, 4
M&eacute;lodies. A charming little 41-minute operetta which involves a young
man (a soprano in a travesty role), just married, who doesn't know quite
how to proceed on his wedding night. His tutor, learned in many fields,
can't help him in this one, so the couple find out by themselves... Odd
that its first public performance was 20 years after Chabrier's death. EMI
Special Import. No texts. Jane Berbi&eacute; (soprano), Liliane Berton (mezzo),
Jean-Christophe Benoit (bass), Orchestre de la Soci&eacute;t&eacute; des
Concerts du Conservatoire; Jean-Claude Hartmann, Jean-Christophe Benoit
(baritone), Henriette Puig-Roget (piano). EMI CDM 5 65155 2 (France) <B>05C056</B>
$11.98</P>

<P>HALFDAN KJERULF (1815-1868): Wiegenlied, Op. 4/3, Menuett, Op. 12/2,
Caprice, Op. 12/4, Impromptu, Op. 12/9, Albumblatt, Op. 24/1, Allegro, Op.
24/2, Springtanz, Op. 27/2, 6 Skizzen, Op. 28, Scherzo, Op. 29, EMIL SJ&Ouml;GREN
(1853-1918): Erotikon, Op. 10. One of the very first Norwegian composers
of art music, Kjerulf was greatly influenced by Mendelssohn and Schumann,
in time inflitrating his work with Norwegian folk elements (such as in the
Springtanz). One could say with justice that he helped prepare the way for
his great successor in Norway's musical history, Edvard Grieg. This 1974
LP was and still is one of very few recordings of any of Kjerulf's music
and, thus, particularly welcome back on CD. Gerald Robbins (piano). Genesis
GCD 115 (U.S.A.) <B>05C057</B> $16.98</P>

<P>EMIL VON SAUER (1862-1942): Suite Moderne, Dialogo, Le Retour, Barcarolle,
Bo&icirc;te &agrave; Musique, Concert Etudes Nos. 3 &quot;Murmur de Vent&quot;,
5 &quot;Pr&egrave;s du Ruisseau&quot;, 6 &quot;Frisson de Feuilles&quot;
and 7 &quot;Flammes de Mer&quot;. Not yet covered in the ongoing series
from Danacord, the Suite Moderne is a 32-minute long work in five movements
(&quot;Pr&eacute;lude passion&eacute;e&quot;, &quot;Air lugubre&quot;, &quot;Scherzo
grotesque&quot;, &quot;Gavotte&quot; and &quot;Th&egrave;me vari&eacute;&quot;),
the first of which recalls Lisztian martellato technique and the last complex,
Schumannian textures. Good to have this brand new recording from a label
fondly remembered from its 1970s releases of unusual Romantic piano repertoire.
Mar&iacute;a Eugenia Tapia (piano). Genesis GCD 112 (U.S.A.) <B>05C058</B>
$16.98</P>

<P>ALBERTO GINASTERA (1916-1983): Piano Concerto No. 1, Op. 28, Piano Concerto
No. 2, Op. 39. This appears to be the first CD appearance of the second
concerto, a 1972 work which runs to over 38 minutes and which is dodecaphonic
in Ginastera's usual personal, non-dogmatic manner, using a chord from the
fourth movement of Beethoven's Ninth and adding five more notes to make
the tone-row which lies at the heart of the work. To a lesser extent than
in the first concerto (1962), the second has its moments of strong, obsessive
rhythms, meditative slow passages and magical, mysterious sonorities but
in the first they are more concentrated, in closer touch with Argentinian
folk traditions (the malambo is at the heart of the savage and virtuosic
finale and the slow movement has a Bart&oacute;kian &quot;night music&quot;&nbsp;quality
to it). Both will appeal to collectors of modern piano concertos but will
prove not unfriendly to adventurous romanticists. Dora De Marinis (piano),
Slovak Radio Symphony Orchestra; Julio Malaval. Naxos 8.555283 (New Zealand)
<B>05C059</B> $5.98</P>

<P>JOAQU&Iacute;N TURINA (1882-1949): Complete Piano Works, Vol. 14 - Trilogia:
El poema infinito, Op. 77, Ofrenda, Op. 85, Hip&oacute;crates, Op. 86, Ciclo
Plateresco: Tema y variaciones, Op. 100, Linterna m&aacute;gica, Op. 101,
Homenaje a Navarra, Op. 102, Fantas&iacute;a cinematogr&aacute;fica, Op.
103. The antepenultimate volume of this series contains two cycles, the
former from the mid 1930s and the latter from the very end of Turina's life.
Most is very original, &quot;European&quot; music, untouched by intentional
Iberianisms and the Fantas&iacute;a, inspired by the composer's film-scoring
experiences, is bright and witty. Antonio Soria (piano). Moraleda 6414 (Spain)
<B>05C060</B> $16.98</P>

<P>ERNESTO HALFFTER (1905-1989): Complete Piano Works - Danza de la pastora,
Danza de la gitana, S&eacute;r&eacute;nade &agrave; Dulcin&eacute;e, 2 piezas
cubanas, L'espagnolade, Crep&uacute;sculos, Marche joyeuse, Llanto por Ricard
Vi&ntilde;es, Gruss, Nocturno oto&ntilde;al: recordado a Chopin, 3 Hommages,
Preludio y danza, Sonate: Homenaje a Domenico Scarlatti, Sonata, El cuco.
Halffter's complete piano music (from a six-year-old's cuckoo impression
of 1911 to the three Hommages of 1988) certainly covers the composer's entire
career. Almost everything here is recognizably Iberian in its use either
of existing folk music or in Halffter's ability to seamlessly invent folk-style
melodies of his own. Here and there, elements of other European influences
appear (the El viejo reloj del castillo - first of 1920's Crep&uacute;sculos
- is slightly Impressionistic while the 18th century comes to the fore in
the brief, seven-minute sonata of 1926-32 and, of course, the homage to
Scarlatti) but the Spanish muse predominates in music of easy approachability,
ingratiating charm and memorable melodies. Adam Kent (piano). Bridge 9106
(U.S.A.) <B>05C061</B> $16.98</P>

<P>GASPAR CASSAD&Oacute; (1897-1966): Piano Trio in C Minor, JOAQU&Iacute;N
TURINA (1882-1949): Piano Trio No. 2 in B Minor, Op. 76, C&iacute;rculo...
Fantasia for Piano, Violin and Cello, Op. 91, ENRIQUE GRANADOS (1867-1916):
Piano Trio, Op. 50. World premiere recording of Cassad&oacute;'s 1926 trio,
a powerful and virtuosic work suffused with Spanish rhetoric and giving
the showcase to the cello. Granados' trio of 1894 is cyclical in construction,
the piano part particularly brilliant while the string instruments' parts
are rhythmically and melodically inspired by Spanish folk music. Turina's
C&iacute;rculo describes a day's cycle from dawn to dusk with impressionistic
textures and harmonies. The Bekova Trio. Chandos 9834 (England) <B>05C062</B>
$16.98</P>

<P>HENRIQUE OSWALD (1852-1931): Violin Sonata, EDINO KRIEGER (b.1928): So&ntilde;ancias
II, RONALDO MIRANDA (b.1948): Recitativo, varia&ccedil;&otilde;es e fuga,
HEITOR VILLA-LOBOS (1887-1959): Sonata Fantasia No. 1 (D&eacute;sesp&eacute;rance),
Sonata Fantasia No. 2. Oswald studied in Italy and spent most of his life
outside his native Brazil. His musical personality is more late 19th century
French than anything else, with Faur&eacute;, Debussy and Saint-Sa&euml;ns
being the more recognizable influences. First recordings also of the Krieger
and Miranda - both short works under ten minutes, the former abstract and
atonal, the latterabstract and chromatic with a hint of folk melody in the
closing section. Claudio Cruz (violin), Nahim Marun (piano). Dynamic CDS
354 (Italy) <B>05C063</B> $17.98</P>

<P>MANUEL PONCE (1882-1948): 3 Preludes, Cello Sonata, MANUEL ENR&Iacute;QUEZ
(1927-1994): Sonatina for Cello Solo, 4 Pieces for Cello and Piano, SILVESTRE
REVUELTAS (1899-1940): 3 Pieces for Cello and Piano (arr. Enr&iacute;quez),
MIGUEL BERNAL JIM&Eacute;NEZ (1916-1956): 3 Danzas Tarascas for Cello and
Piano (arr. Enr&iacute;quez), ALFONSO DE EL&Iacute;AS (1902-1984): Chanson
triste. Ponce's 1915-17 sonata, richly Brahmsian in texture but with the
lightness of figuration of Faur&eacute; or Debussy, also has its Latin elements,
making for a truly cosmpolitan work. Enr&iacute;quez's 4 Pieces are close
to neo-Baroque in style but infused with Latin passion; his transcriptions
of Revueltas and Jim&eacute;nez works for violin and piano add fascinating
Mexican music to the cellist's repertoire. Carlos Prieto (cello), Edison
Quintana (piano). Urtext JBCC 033 (Mexico) <B>05C064</B> $17.98</P>

<P>JOS&Eacute; SIQUEIRA (1907-1985): 3 Etudes, CAMARGO GUARNIERI (1907-1993):
Sonatina, BRENNO BLAUTH (1931-1993): Sonata T.5, OSVALDO LACERTA (b.1927):
Sonata, Poemeto, FRANCISCO BRAGA (1868-1945): Serenata, RADAM&Eacute;S GNATTALI
(1906-1994): Sonatina, PATTAPIO SILVA (1881-1907): Margarida, Zinha. As
the favored melody instrument of the Brazilian street musicians who performed
the ch&ocirc;ros and other native forms of popular music, the flute became
one of the most widely composed-for instruments in Brazil. The pieces presented
here are consistent in adopting dance forms derived from the ch&ocirc;ro
and northeastern folk traditions for the fast, outer movements and modal
song elements in the slow movements. Marcelo Barboza (flute), L&eacute;dia
Bazarian (piano). Meridian CDE 84426 (England) <B>05C065</B> $17.98</P>

<P>JEAN FRAN&Ccedil;AIX (1912-1997): Trio for Clarinet, Viola and Piano,
GORDON JACOB (1895-1984): Trio for Clarinet, Viola and Piano, WOLFGANG AMADEUS
MOZART (1756-1791): Trio in E Flat &quot;Kegel-stadt&quot;, K498. Fran&ccedil;aix'
tart, often dissonant 1990 trio receives its world premiere recording, coupled
with Jacob's appealingly lyrical work from 1969 and, well, you know... Jerry
Kirkbride (clarinet), Jesse Levine (viola), Rex Woods (piano). Summit Records
DCD 287 (U.S.A.) <B>05C066</B> $17.98</P>

<P>ALEXANDRE TANSMAN (1897-1986): Symphony No. 4, Bric &agrave; Brac. Bric
&agrave; Brac is a 1937 ballet set in a French flea market which is sort
of Tansman's Petruschka: a variety of odd figures selling various items
rub shoulders with each other, a policeman and two crooks and the music
is charming, colorful, spiked with jazz , exotic rhythms and oriental colorings
and rich in wit and fun. It's kind of hard to imagine that the predominantly
slow, dark symphony dates from almost the same year. An extended adagio
introduction leads to a tense allegro which ends in a contrapuntal fashion;
a lush, quiet adagio follows before a finale perks up with excursions into
jazz and fairground musics. Bamberg Symphony Orchestra; Israel Yinon. Koch
Schwann 3-6558-2 (Germany) <B>05C067</B> $16.98</P>

<P>ALEXANDRE TANSMAN (1897-1986): Cello Concerto, Fantasie for Cello and
Orchestra, The Ten Commandments. The difficulty in pinning Tansman down
to anything like a personal &quot;style&quot; is made evident here by the
fact that the first three movements (of five) of the concerto and the Fantasie
could easily have come from the same work although they date, respectively
from 1937 and 1962. In essence Tansman uses a huge grab-bag of 20th-century
musical styles, dipping into it as he sees fit; the condensed tone poem
The Ten Commandments dates from 1979 and conveys the clash between destructive
force and rational thought with the opposition of massive blocks of sound
to calm, contrapuntal passages whose clarity wins out in the end. Sebastian
Hess (cello), Hannover Radio Philharmonic; Israel Yinon. Koch Schwann 3-6405-2
(Germany) <B>05C068</B> $16.98</P>

<P>EINAR ENGLUND (1916-1999): Symphony No. 4 &quot;Nostalgic&quot;, Symphony
No. 5 &quot;Fennica&quot;, The Great Wall of China. The spirit of Shostakovich
hangs over this disc: the fourth symphony (1976) was dedicated &quot;to
the memory of a great composer&quot; and, although Englund pointed out that
both Stravinsky and Shostakovich died in the early 70s, it is the great
Russian symphonist who most often comes to mind - especially in the bittersweet
third movement &quot;Nostalgia&quot;. In 1977, Englund wrote his personal
&quot;war symphony&quot;, a one-movement work in four sections which bristles
with martial, dotted rhythms and abrupt outbursts; the composer himself
said that this work &quot;contains the dark and terrible experiences that
everyone who was in the war carries inside himself&quot;. For something
completely different, there is the 1949 incidental music to a surrealist
play which evokes the bomb-throwing, nose-thumbing young Shostakovich with
its rumba, jazz elements, tango and, quite openly, the &quot;March &agrave;
la Shostakovich&quot;. A release which will appeal not only to collectors
of this unique Finnish composer but also to Shostakovich lovers. Tampere
Philharmonic Orchestra; Eri Klas. Ondine ODE 961-2 (Finland) <B>05C069</B>
$17.98</P>

<P>FRANK MARTIN (1890-1974): Piano Concerto No. 1, Piano Concerto No. 2,
Ballade for Piano and Orchestra, Danse de la peur for 2 Pianos and Small
Orchestra. World premiere recording of the 1935 &quot;Dance of Fear&quot;:
a 14-minute excerpt from an unperformed ballet (Die blaue Blume) which depicts
the encirclement of a lost traveller by a band of gypsies, his struggle
to escape and his collapse. Like the first piano concerto (1933-34), the
musical material is serial but the 12-note sequences in each are used for
melodic purposes only, Martin never having embraced full-blown Schoenbergian
dodecaphony. Sebastian Benda, son of the conductor and both in direct descent
from the famous Bohemian composer family, was a pupil of Martin. It was
Badura-Skoda for whom the second piano concerto was composed in 1970 and
it has all of the indefinable characteristics which make Martin's music
so unique and personal yet hard to describe in terms of influences. Paul
Badura-Skoda, Sebastian Benda (pianos), Orchestra della Svizzera Italiana;
Christian Benda. ASV DCA 1082 (England) <B>05C070</B> $16.98</P>

<P>FRANK MARTIN (1890-1974): Le Myst&egrave;re de la Nativit&eacute;. This
&quot;scenic oratorio&quot; (1957-59) has action on three separate levels:
Hell, where the music is atonal and the devils shout but loutishly, not
frighteningly; Heaven, where the angels sing in an utterly pure and simple
style; and Earth, which is in between the extremes. A touchingly simple
work whose enjoyment creeps up on you stealthily. 2 CDs. French-German texts.
Barbara Locher (soprano), Liliane Z&uuml;rcher (alto), Christoph Einhorn
(tenor), Philippe Huttenlocher (baritone), Mozart-Ensemble der Musikhochschule
Luzern, Akademiechor Luzern, M&auml;dchenchor inVOICE, St&auml;dische Musikschule
Luzerne, Lucerne Symphony Orchestra; Alois Koch. Musikszene Schweiz MGB
CD 6173 (Switzerland) <B>05C071</B> $37.98</P>

<P>BENJAMIN LEES (b.1924): Piano Concerto No. 2, ALLEN SHAWN (b.1948): Piano
Concerto, PAUL CRESTON (1906-1985): Dance Overture, ANDREW BISHOP (age-shy):
Crooning. Lees' concerto (1968) has two outer movments of wild, rhythmically
intense, highly virtuosic music wrapped around a second movement which is
more still in a Bart&oacute;kian &quot;night music&quot; fashion. Shawn's
work (1999) was written for Oppens and its four movements provide a wide
variety of (tonal) material for the piano to discuss with the orchestra.
Each work is introduced by an overture: Bishop's (1998) intentionally deriviative
of popular song and Creston's more well-known piece from 1955. Ian Hobson
(piano), Ursula Oppens (piano), Albany Symphony Orchestra; David Alan Miller.
Albany TROY 441 (U.S.A.) <B>05C072</B> $16.98</P>

<P>CARL NIELSEN (1865-1931): Cupid and the Poet, Symphonic Rhapsody, Genrebillede,
Op. 6/1, Ariel's Song, Hjemlige Jul, Symphony No. 4, Op. 29 &quot;The Inextinguishable&quot;.
In this third volume of orchestral works employing the new Carl Nielsen
Edition, Classico once again gives us several world premieres: four pieces
from the music for Cupid and the Poet (the overture has been recorded before)
which is in Nielsen's late style, dating from 1930 and three songs originally
for tenor and piano but orchestrated later by the composer. The Symphonic
Rhapsody (1887) was the first movement of an unfinished symphony and wraps
up this useful collection. Danish-English texts. Jan Lund (tenor), Royal
Liverpool Philharmonic Orchestra; Douglas Bostock. Classico CLASSCD 298
(Denmark) <B>05C073</B> $15.98</P>

<P>HANS WERNER HENZE (b.1926): 3 Sinfonische Et&uuml;den, 4 Poemi for Orchestra,
Nachtst&uuml;cke und Arien for Soprano and Orchestra, La selva incantata
- Aria and Rondo for Orchestra. The first three works date from 1956 and
1957 while the final one is a 1991 revision of a work K&ouml;nig Hirsch
from the same period. Even at this early age, Henze was not in complete
thrall to the hide-bound rigidity of the Darmstadt Iron Maiden. In fact,
many customers will probably find the best reason to buy this disc the fact
that, in 1957, at the premiere of &quot;Nocturnes and Arias&quot;, Boulez,
Nono and Stockhausen got up and noisily left the hall before sixteen bars
had been played. Yes, even though this work and the &quot;Four Poems&quot;
use a serial technique, it is freely applied and there are - cover your
children's eyes - elements of melody (Neapolitan folksong and the Spanish
fandango which was to so preoccupy Henze in many later works). The &quot;Symphonic
Etudes&quot; would have been more to the above illustrious trio's liking;
Hermann Scherchen dressed Henze down at a rehearsal for writing notes which
could not possibly be played (in this case by the poor bassoonist) but which
Darmstadt theory demanded (sometimes, the score is better read than performed).
La selva... is just as approachable as its other two fellows: an orchestration
of the final scene of an opera, its rondo uses the tarantella as a model
and helps to show why Henze is still a viable force on the modern musical
scene while the trio are now a part-time recomposer and full-time conductor,
dead, and apparently quasi-retired. German texts. Michaela Kaune (soprano),
North German Radio Symphony Orchestra; Peter Ruzicka. Wergo WER 6637 2 (Germany)
<B>05C074</B> $19.98</P>

<P>LUKAS FOSS (b.1922): Piano Concerto No. 1, Piano Concerto No. 2, Elegy
for Anne Frank. The first concerto, from 1943, was originally written for
clarinet in 1939 while Foss was studying with and completely under the influence
of, Hindemith. A lively and lyrical first movement gives way to a much longer,
romantic andante while the finale has a Hungarian folk flavor. Composed
between 1949-51 and revised the following year, the second concerto is a
bigger work, almost half again as long as its predecessor. By this time,
Stravinsky had replaced Hindemith as Foss' favorite composer and his brand
of neo-classicism is especially evident in the fierce, toccata-like finale
which includes an obsessive cadenza although it is also present in the long
first movement where it is shared with a characteristically American &quot;open-air&quot;
quality. The Elegy (1989) was composed to celebrate the diarist's 60th birthday
anniversary. For piano and orchestra, the work is brief, sandwiching an
ominous center between a wistful, nostaglic opening and conclusion; it is
included here in versions with and without narrator. Jon Nakamatsu, Yakov
Kasman (pianos), Eliza Foss (narration), Lukas Foss (piano), Pacific Symphony
Orchestra; Carl St. Clair. Harmonia Mundi HMU 907243 (U.S.A.) <B>05C075</B>
$17.98</P>

<P>MALCOLM ARNOLD (b.1921): Phantasy for String Quartet &quot;Vita Abundans&quot;,
String Quartet No. 1, Op. 23, String Quartet No. 2, Op. 118, Quintet for
Flute, Violin, Viola, Horn and Bassoon, Op. 7. The title will tell you that
Vita Abundans was up for a Cobbett prize, and Arnold placed second in 1941
with this work which has an insinuating, syncopated main theme which automatically
(knowing the mature Arnold's work) makes you think of the Caribbean. Probably
too good to win... The quintet dates from 1944 and is another example of
the youthful confidence and verve of this composer - the diabolus in musica
has its fun in the second movement. In contrast, the two quartets (1949
and 1975) give us the serious and, in the Second, sometimes the angry Arnold
in works whose juxtaposition of rhythmic bite and anxiety and gentle stasis
can only be compared to Shostakovich in his works in the same genre. The
Ceruti Ensemble. Guild GMCD 7216 (England) <B>05C076</B> $16.98</P>

<P>HENRYK G&Oacute;RECKI (b.1933): Symphony No. 2 &quot;Copernican&quot;,
Op. 31, Beatus Vir, Op. 38. Astonishing - from a commercial standpoint -
as the chart-topping sales of Gorecki's third symphony have been, it is
a little difficult to see what makes that work essentially more popular
or 'successful' than its predecessor. A large-scale and impressive choral
symphony, celebrating the 500th anniversary of the revolutionary astronomer
Copernicus, it shares with other works of Gorecki the preoccupation wirth
sonority, the blocks of sound hewn out of tonal material and presented in
a simplicity of structure that suggests minimalism without the preoccupations
of process; here there is a greater sense of forward movement in the conventional
symphonic sense, overlain with an emotional fervor which suggests the litanies
of some undefined (yet unmistakably eastern-European) church. As one might
expect, the psalm-setting Beatus Vir, though a much later work, shares this
aspect of devotional inspiration, and again sets slow-moving lyrical vocal
lines, which contrast with massive, granitic ostinati. Zofia Kilanowicz
(soprano), Andrzej Dobber (baritone), Polish Radio Choir, Silesian Philharmonic
Choir, Polish National Radio Symphony Orchestra (Katowice); Antoni Wit.
Naxos 8.555375 (New Zealand) <B>05C077</B> $5.98</P>

<P>PANCHO VLADIGEROV (1899-1978): 3 Pieces, Op. 15, Sonatina concertante,
Op. 28, Improvisation and Toccata, Op. 36/4&amp;5, Vardar, Op. 16. Dating
from 1922, the op. 15 pieces are drenched in Romantic atmosphere, leavened
with Impressionism (the Prelude sounds like middle-period Scriabin; Autumn
Elegy starts off like Ravel's Le gibet while the Humoresque lightens things
up a bit); Vardar is heard its 1934 piano transcription, the Bulgarian folk
elements possibly even more clearly experienced as a result. The Sonatina
is larger than the title indicates and also uses modal ideas in a mix of
bravura and lyricism; the two op. 36 pieces evidence an ability to embrace
the rigidity of toccata form as well as to create freely. No collector of
romantic piano music will want to be without this release. Dessislava Shtereva
(piano), Rada Chomakova (piano). Gega GC 239 (Bulgaria) <B>05C078</B> $16.98</P>

<P>MIKIS THEODORAKIS (b.1925): Electra, Antigone, Medea. These three operas
based on tragic female characters of classical antiquity were offered singly
over the past couple of years. If you didn't bite then, this limited edition,
mid-price box is a great bargain! 8 CDs. Limited edition. Special price.
Vocal Soloists, St. Petersburg Academic Capella Orchestra and Choir; Mikis
Theodorakis, Alexander Chernushenko. Intuition Int 3311-2 (Germany) <B>05C079</B>
$78.98</P>

<P>BRENTON BROADSTOCK (b.1952): Toward the Shining Light (Symphony No. 1),
Stars in a Dark Night (Symphony No. 2), Voices from the Fire (Symphony No.
3), Born from Good Angel's Tears (Symphony No. 4), Dark Side (Symphony No.
5). Australian composer Broadstock is a part of the Romantic symphonic tradition
in a manner not unlike Havergal Brian or Robert Simpson, to the output of
both of which composers his music sometimes bears a passing resemblance.
An extramusical theme which runs through all his symphonic works is the
contrast and opposition of opposing forces, specifically identified as those
of light and dark, good and evil. Symphonic form lends itself to this sort
of conflict and contrast, of course, though Broadstocks symphonies achieve
their analogy of symphonic form through the opposition of timbres, dynamics
and relative activity, as well as degrees of harmoonic tension, rather than
the traditional key relationships. Nonetheless, the works are tonal, and
function like extended tone-poems. As to the content; the battle between
light and dark has been a staple of Western art since time immemorial, and
Boadstock continues the tradition with individuality and emotional power,
whether his subject is the struggle of the individual against mental illness
(the 2nd Symphony refers to the tragic history of English composer Ivor
Gurney), or more global concerns. These are powerful pieces indeed, and
should appeal to anyone who responds to the 20th-century symphonic traditions
which include figures as diverse as Sibelius, Panufnik, Brian or Sallinen.
2 CDs. Krasnoyarsk Academic Symphony Orchestra; Andrew Wheeler. Etcetera
KTC 2026 (Netherlands) <B>05C080</B> $37.98</P>

<P>DAVID MATTHEWS (b.1943): In the Dark Time, Op. 38, Chaconne, Op. 43.
Matthews' music is tonal, with recognizable melodic lines and purposeful
harmonic movement and, unlike many of his fellows even in the &quot;approachable&quot;
category of modern music, he still writes in the traditional forms: five
symphonies and nine string quartets so far along with a handful of symphonic
poems, of which two are presented here. In the Dark Time (1983-84) followed
1979's September Music in following the progression of the year from autumn
to winter to the beginning of spring. The music is not pictorial in the
English pastoral sense - more a internal mood-scape with external implications
- but the course of its 26-minute journey is clear. Chaconne (1986-87) is
a slow, meditative piece with several faster episodes, one of which was
suggested by and evokes a poem by Geoffrey Hill with the same title and
which deals with a battle during the Wars of the Roses. &quot;A florid,
grim music broken by grunts and shrieks&quot; was the poet's description
of his verse and came to Matthews to suggest the general character of this
piece which can be appreciated both as a symphonic poem and as an updating
of a 17th-century genre piece. BBC Symphony Orchestra; Jac van Steen. NMC
D067 (England) <B>05C081</B> $17.98</P>

<P>BRIAN ELIAS (b.around 1948): 5 Songs to Poems by Irina Ratushinskaya,
Laments. Elias belongs to the generation of British composers, now in their
50s, who are finally beginning to emerge onto the worldwide stage, having
for years been &quot;BBC composers&quot; or &quot;Proms composers&quot;.
The influence of the BBC, and its, shall we say, highly individual &quot;Controller,
Music&quot;, William Glock, cannot be underestimated. It is only now, free
from the extravagant promotion or equally virulent censure of those years,
that we can begin to assess the music in its own right. Elias was a student
of Humphrey Searle, a pioneering British serialist, and Bernard Stevens,
a passionate post-romantic, unafraid of modern techniques and not at all
afraid to be unfashionable; he acknowledges Elisabeth Lutyens, an extremely
individual and unclassifiable compsoer, as his most influential teacher.
These orchestral song cycles, to texts of an emotionally stirring, and sometimes
harrowing, nature, are by turns lyrical and dramatic, with more than a whiff
of expressionism about them. They create an emotionally charged atmosphere,
through compositional means of etched clarity, and musically illuminate
the texts with vividness and potency. Highly recommendable. Russian (Cyrillic)-English
and Grico-English texts. Mary King, Catherine Wyn-Rogers (mezzos), BBC Symphony
Orchestra; Martyn Brabbins, Tadaaki Otaka. NMC D064 (England) <B>05C082</B>
$17.98</P>

<P>GEOFFREY POOLE (b.around1948): String Quartet No. 3, Septembral for Ensemble,
The Impersonal Touch for 2 Pianos, Firefinch for Oboe and Piano. Poole's
music is difficult to classify, as the stylistic variation between works
- or even within a work - are pronounced and take place quicksilver-fast
and with a stubborn refusal to stay still long enough to be pinned down.
Sometimes one gets the impression that different instruments within an ensemble
are playing music inspired by completely different aspects of music history.
What is remarkable is that this sounds not like a half-baked pastiche, but
a coherent and satisfying whole. To give some of the more obvious examples;
a piano may be playing chords which sound somewhat like Messiaen and then
venture into more remote harmonic territory - Sorabji, perhaps - while strings
play gliding tones that have more to do with Darmstadt; then a motoric ensemble
passage may emerge in the manner of some of the minimalist-inflected contemporary
music of 1980s Holland. Tonal referents are not infrequent, but one has
to classify the music, somewhat reluctantly, as 'modern' and 'atonal'. It
is very striking stuff, though, and amply repays close attention. The Lindsays,
Gemini, Joanna Porter &amp; Geoffrey Poole (pianos), Jinny Shaw (oboe),
Anne-Marie Hastings (piano). Metier MSV CD92061 (England) <B>05C083</B>
$17.98</P>

<P>SADIE HARRISON (b.1965): Taking Flight for String Quartet, Impresa Amorosa
for Piano, Traceries and Arcosolia for Violin and Piano, Aster for Soprano,
Flute and String Trio. Intense concentration is the first concept to come
to mind when listening to this music. Not so much the concentration required
of the listener, though there is undoubtedly such a requirement, as this
is not 'easy listening' by a distance, but the sense of distillation, of
the concentration of the essence of a musical argument. Sometimes the textures
are exceedingly open and deceptively simple; sometimes a good deal of surface
activity serves to illuminate the emotional intensity flowing just beneath.
The combination of surface sensuality and intense and rigorous content produces
tensions that constantly fluctuate and flow, drawing the listener into a
slightly uneasy sound world, individual and unusual. Kreutzer Quartet, Aaron
Shorr (piano), Peter Sheppard Sk&aelig;rved (violin), Shorr (piano), Lesley-Jane
Rogers (soprano), Nancy Ruffer (flute), Gordon MacKay (violin), Bridget
Carey (viola), Neil Hyde (cello). Metier MSV CD92053 (England) <B>05C084</B>
$17.98</P>

<P>WILLIAM SCHUMAN (1910-1992): Violin Concerto, New England Triptych, CHARLES
IVES (1874-1954): Variations on &quot;America&quot; (orch. Schuman). Dating,
in its final, two-movement form, from 1959, Schuman's violin concerto is
a powerful and emotional work in which the orchestra participates vigorously
almost throughout, never merely an accompanist. Theatrical in nature, evoking
strong emotions in its highly charged atmosphere, the work is probably Schuman's
most poetic and most romantic as well as giving both soloist, conductor
and various orchestral sections a thorough work-out. Philip Quint (violin),
Bournemouth Symphony Orchestra; Jos&eacute; Serebrier. Naxos American Classics
8.559083 (U.S.A.) <B>05C085</B> $5.98</P>

<P>DOMINICK ARGENTO (b.1927): Te Deum, MAURICE DURUFL&Eacute; (1902-1986):
Messe &quot;Cum Jubilo&quot;, Op. 11. Argento's 1987 work is a big-hearted,
large-scale piece which strikingly juxtaposes the Latin text of the Te Deum
with Middle English lyric which treats the theology of the original text
in vivid and popular language. The intent was to prevent any possibility
of an all-pervading solemnity with the vernacular providing a sometimes
lusty and humorous, sometimes pastoral and contemplative commentary and
it works very well as Argento produces a soundscape of brilliant colors
and arresting textures. Less than half the length and much smaller in its
forces, Durufl&eacute;'s 1966 mass interweaves Gregorian plainchant with
the original mass texts. Texts included. Rodney Gilfry (baritone), Los Angeles
Master Chorale and Sinfonia Orchestra; Paul Salamunovich, Frederick Swann
(organ). Rubedo Canis Musica RCM 12002 (U.S.A.) <B>05C086</B> $17.98</P>

<P>ELLIOTT CARTER (b.1908): 3 Occasions for Orchestra, Violin Concerto,
Concerto for Orchestra. Starting, as many of Carter's works seem to, in
media res, the immensely appealing violin concerto is probably, along with
the Variations for Orchestra, among the best ways to make an initial approach
to Carter's uncompromising and challenging, yet invariably rewarding, uvre.
The Concerto for Orchestra is one of the high points of his output, and
exemplifies to perfection his multilayered yet always admirably clear orchestral
writing. The violin concerto is a more linear work, and this relates it
more closely to the concerto tradition of the 19th and early 20th century.
If you didn't acquire this disc first time around, don't let anything stop
you now. Ole B&ouml;hn (violin), London Sinfonietta; Oliver Knussen. Virgin
Classics 7592712 2 (England) <B>05C087</B> $17.98</P>

<P>DOMINIC MULDOWNEY (b.1952): Piano Concerto, Saxophone Concerto. These
two concerti are characterised by their dazzling, virtuosic surface brilliance
and the gleeful ecelcticism with which the composer throws a variety of
textures and techniques into the mix. One minute jazzy, the next atonal,
neoclassical or unabashedly romantic, with dazzling orchestation and a strong
sense of the theatre (Mul-downey is a successful composer for the stage
and acreen, and it shows in the ready accessibility and sense of contact
with the audience no matter the specific techniques used), these concerti
are easy to enjoy and a constant source of surprises and excitement. Peter
Donohoe (piano), BBC Symphony Orchestra; Mark Elder, JohnHarle (saxophone),
London Sinfonietta; Diego Masson. EMI CDM 5 66528 2 (England) <B>05C088</B>
$11.98</P>

<P>PAUL READE (1943-1997): Suite from The Victorian Kitchen Garden, GERHARD
WUENSCH (b.1925): In Modo Antico, GY&Ouml;RGY ARANYI (b.1923): Rapszodia,
DON HADDAD: Andante and Allegro, FRANCIS POULENC (1899-1963): Clarinet Sonata,
MALCOLM ARNOLD (b.1921): Sonatina. There is a great deal to enjoy in this
recital of tuneful and mellifluous, readily accessible and tonal music for
clarinet and piano. The clarinet's capacity for humor is shown to great
advantage in the witty and scintillating Arnold and the ingenious Wuensch;
its almost vocal lyrical capacity in the Reade and Poulenc; its pungency
and demonstrative tone in the Aranyi. For the most part, its jazz traditions
are played down here in favour of its capacity for folk-like dancing and
soulful singing, though a bluesy section in the Haddad reminds us of the
instrument's sheer versatility. Jerome Summers (clarinet), Robert Kortgaard
(piano). Marquis Classics 81273 (Canada) <B>05C089</B> $17.98</P>

<P>JAMES MACMILLAN (b.1959): Mass, A New Song, Christus vincit, Gaudeamus
in loci pace for Solo Organ, Seinte Mari moder milde, A Child's Prayer,
Changed. A mass from MacMillan is such an obvious concept that one wonders
why it has taken until last year for him to be commisisoned to write his
first full-scale setting for fully professional performers. Joining the
canon of liturgical music throughout the ages, this piece shares with the
composer's religiously-inspired concerti and symphonies, which we have had
the pleasure of welcoming in these pages before, the total sincerity and
ecsatsy of faith that has been MacMillan's driving force since he erupted
onto the European stage a mere couple of deacdes ago. Written for the strange
and yet impressive lofty spaces of Westminster Cathedral, London, the work
fulfils all the expectations of a large-scale work celebrating the Mass,
and establishes a sense of the profound and the uplifting from its first
note to its last. Devotional mysticism is a common factor in the other choral
(and one solo organ) works which round out this fine disc. Choir of Westminster
Cathedral; Martin Baker, Andrew Reid (organ). Hyperion CDA 67219 (England)
<B>05C090</B> $17.98</P>

<P>MANUEL PONCE (1882-1948): String Trio, EDUARDO ANGULO: Para los kioscos,
fuentes globos y arboledas for Harp and String Trio, SAMUEL PASCOE: String
Trio, ALEJANDRO VELASCO: String Trio No. 1. This attractive disc presents
four works which share a robust and picturesque Spanish-Mexican flavor,
expressed through tonal and modal musical vocabularies with a strong folk
element. Traditional forms and dances are represented, and a feeling that
these composers are concerned above all with song as a medium, and that
these works are transcriptions for strings of pieces that might have been
overheard in a folk setting (though these are all original concert works
of considerable sophistication). Trio Coghlan. Urtext JBCC 035 (Mexico)
<B>05C091</B> $17.98</P>

<P>HOWARD FERGUSON (b.1908): Amore langueo for Tenor, Semi-Chorus, Chorus
and Orchestra, Op. 18, Concerto for Piano and String Orchestra, Op. 12,
GERALD FINZI (1901-1956): Eclogue for Piano and String Orchestra, Op. 10.
The main work here is the lovely and passionate Amore Langueo; Ferguson
is very much a late-romantic composer, and a mood of ecstatic melancholy
permeates this work, not unlike one of the greatest British choral works
of the 20th century, Lambert's &quot;Summer's Last Will&quot;. The piano
is the composer's own instrument, so it comes as not surprise that the elegantly-proportioned
little concerto displays exquisite craftsmanship and manages to traverse
a wide range of emotional territory using very economical means. The disc
is filled out by Finzi's Eclogue, which Ferguson edited for performance
after Finzi's death; the spiritual kinship between these two outstanding
British composers is very apparent in this coupling. Martyn Hill (tenor),
Howard Shelley (piano), London Symphony Chorus and Orchestra, City of London
Sinfonia; Richard Hickox. EMI CDM 7 64738 2 (England) <B>05C092</B> $11.98</P>

<P>WALTER LEIGH (1905-1942): Concertino for Harpsichord and String Orchestra,
HAMILTON HARTY (1879-1941): A John Field Suite, JOHN FIELD (1782-1837):
Nocturnes Nos. 1-6, 9, 10, 12, 13 &amp; 17, JOHN IRELAND (1879-1962): The
Holy Boy. Leigh's 11-minute piece is a delightful, neo-Bachian exercise
whose interest is not so much the basic material as the composer's unorthodox
and witty treatment of it. Recorded in 1978, these were some of the earliest
recordings of Field's nocturnes and Harty's suite was certainly unusual
repertoire when this recording was made in 1971. Daniel Adni (piano), English
Sinfonia; Neville Dilkes (harpsichord). EMI CDM 5 67431 2 (England) <B>05C093</B>
$11.98</P>

<P>BENJAMIN BRITTEN (1913-1976): Holiday Diary, Op. 5, 3 Character Pieces,
Night Piece, Moderato &amp; Nocturne, 12 Variations, 5 Waltzes, 2 Lullabies
for 2 Pianos, Maxurka elegiaca, Op. 23/2 for 2 Pianos, Introduction and
Rondo alla burlesca, Op. 23/1 for 2 Pianos. With the exception of the 1963
Night Piece, all of these works were composed before the composer was 29;
some were re-issued by Britten himself (the 1923-5 waltzes in 1969), the
op. 5 (1934) is one of the earliest published pieces while the rest were
mined from the archives by Donald Mitchell and Colin Matthews and were recorded
here for the first time in 1990. Stephen Hough (piano), Ronan O'Hora (second
piano). EMI CDM 5 67429 2 (England) <B>05C094</B> $11.98</P>

<P>GRANVILLE BANTOCK (1868-1946): Hebridean Symphony, Russian Scenes, Old
English Suite. This was the first recording of the 1915 Hebridean Symphony,
a powerful, lyrical, brooding and violent work showing the influences of
Sibelius and Strauss. The suite (1909) arranges five Elizabethan works by
Gibbons, Dowland, Bull, Farnaby and Byrd while the Russian Scenes (1899)
are a suite of typical Slavic dances, full of energy. Re-issue of a 1989
Marco Polo original recording. Czecho-Slovak State Philharmonic Orchestra
(Kosice); Adrian Leaper. Naxos 8.555473 (New Zealand) <B>05C095</B> $5.98</P>

<P>RALPH VAUGHAN WILLIAMS (1872-1958): String Quartet No. 1 in G Minor,
String Quartet No. 2 in A Minor, Phantasy Quintet. Although the first quartet,
of 1908, may have some French Impressionist influences, it also has that
inimitable sound of English folk-song which makes Vaughan Williams' works
so instantly identifiable. Such pentatonic thematic material appears immediately
in the 1912 Phantasy Quintet and the brief, 16-minute piece is mature VW
all through. Dating from 1942-43, the second quartet shows the composer
in all his glorious serenity while using a theme from the film The 49th
Parallel as well as material from a proposed film about Joan of Arc. Maggini
Quartet, Garfield Jackson (viola). Naxos 8.555300 (New Zealand) <B>05C096</B>
$5.98</P>

<P>FRANK BRIDGE (1879-1941): Phantasie Trio in C Minor, Phantasy Piano Quartet
in F Sharp Minor, Piano Trio No. 2. This reissue of a 1988 Hyperion release
usefully juxtaposes two works associated with W.W. Cobbett (one a competition
winner, one a commission) which excellently sum up Bridge's early style
- refined and eloquent in language and concise in construction and identifiably
&quot;English&quot; in the sense that his coevals were &quot;English&quot;
- Vaughan Williams, Bowen, Dale, etc. The 1929 second trio, though, as an
example of the mature Bridge, excited attacks from the critics which bordered
on the personal (when Scriabin and Schoenberg were excellent sticks to beat
your opponents with); its flirtations with atonality and its inwardness
and long stretches of very quiet music require concentrated listening but
repay it very well. The Dartington Piano Trio. Helios CDH55063 (England)
<B>05C097</B> $10.98</P>

<P>HUBERT PARRY (1848-1918): Nonet in B Flat for Flute, Oboe, Cor Anglais,
2 Clarinets, 2 Bassoons and 2 Horns, CHARLES VILLIERS STANFORD (1852-1924):
Serenade in F, Op. 95 for Flute, Clarinet, Bassoon, Horn, String Quartet
and Double Bass. Parry's youthful (1877) wind nonet belies his image as
a stuffy composer of &quot;correct&quot; oratorios with a typically classical,
outdoor vigor which recalls the young Brahms. Although written in his full
maturity (1905), Stanford's piece fully lives up to its &quot;serenade&quot;
title with its light mood and textures. Capricorn. Helios CDH55061 (England)
<B>05C098</B> $10.98</P>

<P>GUSTAV HOLST (1874-1934): The Planets, Op. 32, Toccata, Chressemas Day
in the Morning, Op. 46/1, O! I hae seen the roses blow, The Shoemakker,
Nocturne, Jig. Unearthed in the very school where Holst wrote The Planets
(St. Paul's Girls' School) by the husband-and-wife team here recorded (one
of whom teaches there now), this four-hand version of the famous suite was
dicatated by Holst to two women assistants (both of whom lived into their
90s - would that he'd been so lucky) who helped out with such things when
his neuritis prevented him from writing. Instrumental colors may be lost
but there is a gain in rhythmic detail and harmonic subtlety in this version;
the accompanying pieces are all associated with the School and the two ladies
mentioned above, making for a particularly apt coupling. York2 (piano four
hands). Black Box BBM 1041 (England) <B>05C099</B> $17.98</P>

<P>AZIO CORGHI (b.1937): Divara - Wasser und Blut. This opera on theological
and historical themes is structured in three acts and scored for soloists,
chorus and conventional orchestra (with a small but important electroacoustic
component), but its treatment of musical material is highly original, as
befits a work the principal argument of which is the complex and interwoven
issues of conflicting religious beliefs and their impact upon society. Specifically,
the story deals with the Anabaptist revolution in 16th-century M&uuml;nster.
In its use of leitmotifs and specific timbres and styles of music to represent
particular characters and their psychology and actions, the work is related
to operatic tradition, and there are many passages of dramatic and lyrical
impact, and soaring vocal lines which would not be out of place in Romantic
and neoclassical opera. But the eclecticism of styles and music-theatre
elements relate the piece equally strongly to post-Darmstadt Italian avant-gardism,
and ultimately it is the raw and harrowing theatrical portrayal of the inhumanities
and incomprehension visited upon people of differing beliefs in the cause
of religious intolerance that provides the opera with its intense emotional
impact. Vocal Soloists, Chorus and Additional Chorus of the M&uuml;nster
City Theatre, &quot;Musikverein&quot; Chorus M&uuml;nster, M&uuml;nster
Symphony Orchestra; Will Humburg. Naxos 8.554818-19 (New Zealand) <B>05C100</B>
$11.98</P>

<P>MILTON BABBITT (b.1916): Allegro penseroso, MICHAEL FINNISSY (b.1946):
North American Spirituals, JEFF NICHOLS (b.1957): Chelsea Square, JASON
ECKARDT (b.1971): Echoes' White Veil. All four pieces on this disc were
written for Nonken in the last decade. Broadly speaking, they belong to
some complexicist school or other, and all have a source of inspiration
beyond the obvious musical material, but in other respects they are strikingly
different. For the Babbitt the performer suggests an appealing image which
is also most apposite - that of multiple Calder mobiles superimposed one
on the other - abstract, elegant forms interacting in unpredictable and
complex patterns. Finnissy's work is based on Spirituals from Tippett's
A Child of our Time, and suggests the free-ranging transcriptive fantasias
familiar from the composer's Verdi and Gershwin transcriptions. All these
pieces may be characterised as experimental, but texturally and polyphonically
so, rather than in the sense of alternative playing techniques and prepared
instruments. Satisfying and stimulating. Marilyn Nonken (piano). CRI CD
877 (U.S.A.) <B>05C101</B> $17.98</P>

<P>SALVATORE SCIARRINO (b.1947): Perseo e Andromeda. This is an opera in
the sense that it tells a story through singing, and that voices represent
the characters, but as is often the case with Sciarrino, the term 'music
thaetre' seems more appropriate, as the musical accompaniment is sparse,
designed to create an atmosphere and set the scene, rather than consisting
of musical material as such, and is comprised of electronic and transmuted
sound effects predominantly. Against this backdrop the voices - representing
Andromeda, Perseus and the monster - weave a haunting narrative, employing
the extended vocal techniques one might anticipate. Sharon Cooper, Sonia
Tuchetta, Per Vollestad, Carsten Stabell (singers), electronic processing
directed by Carmen Maria Carneci. BMG Ricordi CRMCD 1059 (Italy) <B>05C102</B>
$18.98</P>

<P>DAVID LANG: The Passing Measures for Bass Clarinet, Amplified Orchestra
and Women's Voices. This is a 40-minute work for orchestra, voices and bass
clarinet, which plays without pause. In place of booklet notes, one is invited
to read more about the work at the record company's website, which for reasons
of time is not going to happen before this month's catalogue is printed,
so we can't tell you anything about the genesis or inspiration of the work.
It consists of slowly undulating or pulsating textures, decorated with tinkling
untuned percussion. The whole effect is very consonant, and somewhat mesmerising,
in the manner of much 'slow minimalism'; the use of large forces lends this
particular example a solemnity and sense of scale which makes it one of
the more satisfying examples of the genre. Marty Ehrlich with the Birmingham
Contamporary Music Group and Members of the City of Birmingham Symphony
Orchestra; Paul Herbert. Canteloupe Muisc CA21003 (U.S.A.) <B>05C103</B>
$16.98</P>

<P>RICARD LAMOTE DE GRIGNON (1899-1962): Goya - 6 peces desagrabales per
a 10 solistes, Melodia, Impromptu, Bagatelles de final de segle, Tocata.
The main work here is the set of 6 pieces - &quot;Unpleasant Pieces&quot;
after Goya. Lamote was a composer who was greatly concerned with the visual
image, and it comes as no particular surprise to learn that he was also
a successful composer for film. These ensemble pieces are finely wrought,
with meticulous attention to detail, and scored ingeniously for predominantly
dark-timbred instruments to heighten the sense of shadow and unease suggested
by the original etchings (which apparently the composer copied in india
ink prior to commencing work on this composition). An advanced specie of
tonality, a great feeling for orchestral color and a soulful lyricism (with
the cello, Lamote's own instrument, given much promminence in this and several
of the other works on the disc) round out a portrait of a fine and unusual
composer of considerable individuality. Barcino Ensemble; Adolf Pla. La
Ma de Guido LMG 2040 (Spain) <B>05C104</B> $17.98</P>

<P>HANS CHRISTIAN LUMBYE (1810-1874): Complete Orchestral Works, Vol. 4
- Happy New Year! galop from Christmas and New Year, Ball-Bouquet, Adolphine
Polka, March in C, Christian Polka, Dagmar Waltz, Laura Polka, My Farewell
to Berlin, Constituition Celebration Galop, Cora Polka-mazurka, Alice Polka,
The Battle at Idsted, La Constance - Polka, Helga Polka-mazurka, Congratulations
Galop. Tivoli Symphony Orchestra; Giordano Bellincampi. Marco Polo 8.225170
(New Zealand) <B>05C105</B> $14.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>Valses Mexicanos 1900 </FONT></I></B></P>

<P>ANGEL J. GARRIDO (1880-1924): Cuando escuches este vals, ENRIQUE MORA
(1876-1913): Alejandra, CARLOS ESPINOSA D&Iacute; LOS MONTEROS (1902-1972):
Noche azul, Ann Harding, JOS&Eacute; DE JES&Uacute;S MARTINEZ (1888-1916):
Magdalena, RODOLFO CAMPOD&Oacute;NICO (1866-1929): Club verde, ALBERTO M.
ALVARADO (1864-1939): R&iacute;o Rosa, Recuerdo, MACEDONIO ALCAL&Aacute;
(1831-1869): Dios nunca muere, JUVENTINO ROSAS (1868-1894): Carmen, Sobre
las olas, FRANCISCO C&Aacute;RDENAS (1872-1945): Viva mi desgracia. A collection
of late 19th and early 20-century waltzes from Mexico, a place not normally
associated with the genre but where it was the music of elegant salon gatherings
and tow-drawer soir&eacute;es. Usually composed by struggling artists with
tragic lives (check the life span of the above composers!), these waltzes
are slower, more melancholic than the European model. Recorded in 1994 and
available for the first time in the U.S., this has been a top-selling recording
for several years in Mexico. Cuarteto Latinoamericano, Miguel Pacheco (psaltery),
Victor Flores (double bass), Alberto Cruzpietro (piano). Dorian DOR-93224
(U.S.A.) <B>05C106</B> $17.98<HR ALIGN=LEFT></P>

<P><B><I><FONT SIZE=+2>MONSTROUS MOVIE MUSIC</FONT></I></B></P>

<P>BRONISLAU KAPER (1902-1983): Them!, MISCHA BAKALEINI-KOFF (1900-1960):
It Came From Beneath the Sea, HERMAN STEIN (b.1915)/IRVING GERTZ (b.1915)/HENRY
MANCINI (1924-1994): It Came From Outer Space, STEIN/HEINZ ROEMHELD (1901-1985):
The Mole People. Cracow Radio Symphony Orchestra; Masatoshi Mitsumoto. Monstrous
Movie Music MMM-1950 (U.S.A.) <B>05C107</B> $18.98</P>

<P>FRANCESCO LAVAGNINO (1909-1987): Gorgo, HERMAN STEIN/ HENRY MANCINI (1924-1994):
Tarantula, DAVID BUTTOLPH (1902-1985): The Beast from 20,000 Fathoms, IRVING
GERTZ (b.1915): The Monolith Monsters. Cracow Radio Symphony Orchestra;
Masatoshi Mitsumoto. Monstrous Movie Music MMM-1951 (U.S.A.) <B>05C108</B>
$18.98</P>

<P>IRVING GERTZ (b.1915): The Alligator People, HERMAN STEIN/ HENRY MANCINI/MILTON
ROSEN (1906-1994)/HANS J. SALTER (1896-1994)/ROBERT EMMETT DOLAN (1906-1972):
Creature from the Black Lagoon, HERBERT STOTHART (1885-1949)/SOL LEVY (1881-1920)/WILLIAM
AXT (1888-1959)/DANIELE AMFITHEATROF (1901-1983): Music from 5 M-G-M Tarzan
Films. Slovak Radio Symphony Orchestra; Masatoshi Mitsumoto. Monstrous Movie
Music MMM-1952 (U.S.A.) <B>05C109</B> $18.98</P>

<P>Whereas Marco Polo has concentrated on the early, classic horror films
from Universal in the 30s and 40s, this enterprising little label from Burbank
has decided to devote itself to what might be described as the &quot;Mystery
Science Theatre&quot; area of the genre. Since these films were often scored
by multiple composers, not all of whose music may have been written for
the film at hand (the use of cues from other music in the studio's library,
or &quot;tracking&quot;, was very common and sometimes composers were not
credited at all; &quot;Musical supervision by Joseph Gershenson&quot; was
often all one saw in many Universal credits), we are even more grateful
to MMM for teasing out all the tangled threads music. Also unlike Marco
Polo, MMM has chosen to record these scores (which have been put together
with painstaking care by composer Kathleen Mayne) with the smaller, studio-sized
orchestras for which they were written. The booklets are 32-, 32- and 40-page
behemoths, respectively, and are absolutely stuffed with information about
music, composers and films and liberally sprinked with photos, musical examples,
posters and publicity shots (many in color). The ultimate in guilty pleasure
for those of us who grew up frightened of Communism, atom bombs and giant
insects during the 1950s.
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