Brahms Horn Trio

Brahms Horn Trio

布拉姆斯 Brahms 圆号三重奏 Horn Trio 是我的挚爱， 我觉得比他的钢琴室内乐更好听.

Last one is Barenboim/Perlman/Clevenger, more famous combo.

Here is a worthwhile performance that uses original instruments (valveless horn that the piece was written for!)

wikipedia

CD I would like to recommend 推荐

Rudolf Serkin 的 Brahms 从来都是最棒的， 三重奏也不例外。可能难找点，趁快哦！

Prokofiev/Lieutenant Kije (suite)

Prokofiev (普羅科菲耶夫) Lieutenant （中將）Kije 原是电影配乐，后被改编成轻松又好听的芭蕾舞音乐。最下面的 youtube 是电脑演奏，听不出来吧？别忘了看电影（看“相关资料“）

One of the best versions is this Living Stereo by CSO/Reiner (left pic). It may not be easy to get now.

Related audiovisual material and info 相关影音资料

• 原本的电影
• The story of Lieutenant Kije
• youtube: 普羅科菲耶夫 Lieutenant （中將）Kije 里的 "阅兵" 片段
• youtube: 俄国传统乐队用三角琴演奏民歌 "Troika"
• "Troika" 是什么?
• "Troika" 图片

Tchaikovsky: Piano Works

pic: (L) Richter on budget Regis (M,R) Pletnev

Tchaikovsky: Piano Works

Aside from his Piano Concerto No. 1, and perhaps his piano trio, Tchaikovsky's other piano works are rather neglected. That is too bad, because there are some gems among them.

Most famous is The Seasons, a suite of 12 pieces. Each month is represented by a pictorial title. Most famous should be June (bacarolle 船歌) and November (Troika 三驾马车). There are many other loose Piano Pieces. The best place to start would be with this cheap Richter release, which could hardly be bettered for pianism (not all of The Seasons is offered). You may not need more.

Pletnev has recorded quite a bit of it. His Seasons on Virgin is complete and he plays 18 of the piano pieces on DG. The marvelously detailed pianism in this live performance on DG shows unexpected depth in these pieces. Perhaps not even Richter can do better!

Click to hear Richter play June/Bacarolle from The Seasons.

JAZZ/ECM recordings that I like

JAZZ/ECM recordings that I like

In this article I shall gradually cover and update ECM recordings that I like. There are a lot of usually chamber jazz on ECM, much new-agish. I don't always warm to them like I do older jazz, bebop or hard bop. But sometimes, in the right mood, basking in the superb sound of a ECM recording is a sensual delight. In no specific order:

(added Jan 29, 2009)

Paul Motian / Time and Time again

This I got from the library. featuring mostly drummer Motian's own compositions. Together with sax Joe Lovano and guitar Bill Frisell, the Trio creates a vast, but sparse landscape. It is quite nuanced and is best listened to quietly, without interruption. Sound is superb.

I have listened to a couple of other Motian ECM CDs, and I think this one is the best.





Keith Jarrett / Live at the Blue Note

Keith Jarrett Jack DeJohnette Gary Peacock

If I have to pick ONE item in Keith Jarrett's Trio discography, it would be this set. I have to say here the piano, rather than brass, is my favorite jazz instrument. Here is Jarrett's current trio in its early and salad days, fresher than they ae today. I find the other efforts of DeJohnette and Peacock sans Jarrett rather lackluster. So, for me, Jarrett brings out the best in them in the trio.

This is a 6-CD box set and, at full-price, hughly expensive. There is a ONE-disc compilation, which should serve most people, but piano trio fans would want the whole set.

BIBER: Mystery (Rosary) Sonatas and other violin works

Pics: My favorite. DG/Eduard Melkus (LP original cover)

In this age of the free internet, many dispense with books/magazines and just read about things on the net. Can what's free be better?

One thing is for certain. Since much on the net lack a professional editorial hand, what we read require strong digestive juices, which many gullible people, beginners and even those beyond, unfortunately just plainly lack. This is as true in classical music as in hifi.

People interested in classical music should sample some of these magazines to see how people write about music and to learn about comparative reviews. Although like many I ridicule The Gramophone sometimes for its pro-UK stance, it's an undeniable source of quality information, and has never stopped to give me pleasure. Carefully navigate the page, read the current picks even if the choice may surprise you, and don't forget that after you register you can search for reviews for free. What is seven better is to hold it in hand. What I do is sometimes buy a few past issues at substantial discount. You can get 3 past-issues at Shun Cheong for $50. Try that, it may enrich your life more than sitting at the computer reading this or other Blogs.

It sounds like a "truism" that since reviewers get their stuff free their opinions must be discounted. But you shall be surprised how many submissions, from all labels, are summarily dismissed, and how many damned with faint praise. As usual with any magazine, there are writers that you like and those that you don't, so take your pick. Needless to say, the level of writing and criticism is several levels above those in HK magazines or newspapers. Keep in mind another "truism": people frequently praise what they have and disparage what they don't have, which makes independent opinions equally biased sometimes.

The reason I mentioned all this is that it's The Gramophone that introduced me to the world of Biber. A few years ago, I became interested after reading many of their reviews on Biber. I especially wanted to hear the Mystery Sonatas. One day, I was re-organizing my CDs and was shocked to discover a DG version (original CD edition) by Eduard Melkus that I have bought in a second-hand store years ago and never played (still wrapped). I played it and was dumbfounded by the beauty of the pieces. Where have they been all my life? Were it not for the magazine, my CDs would have just languished there for longer! Since then I have tried quite a bit of other Biber. As someone said, the real mystery is why Biber is not better known. Here is useful info on Biber and on his masterpiece, the Mystery (Rosary/Rosenkranz) Sonatas in particular. Pay attention to the scodatura technique for violin writing.

The other reason I am writing is that yesterday I found in the library the Brilliant Classics account by Walter Reiter, originally a Signum recording. This morning I have been listening to the 2 CDs. It is good but perhaps not the most inspiring, nonetheless a good starter at the superbudget price. However, there's no denial that the fiddling does not have the fanciful flight, spirituality and better continuo support (including organ by Lionel Rogg) of DG/Eduard Melkus. Unfortunately, the historic 1967 DG recording is out of print (and fetching good second-hand prices) though fortunately you can download it on DG's website.

I haven't heard many of the other versions of the Mystery Sonatas, but I have heard some of the major players in other comparable violin works by Biber. Based on my copies of Biber's Violin Sonatas played by Monica Huggett/Sonnerie and Andrew Manze/Romanesca, much as I adore those artists in other Baroque music I'd like to actually hear their Mystery Sonatas before investing (2 expensive CDs). You might want to read this user site for some excellent reviews. The one I really want to get is the (again) out-of-print DG/Reinhardt Goebel , though you can download it on DG's website. Maybe I'll do that if I cannot find a real copy soon.

In Biber I have less reservation about yet another prominent Baroque violinist from England. For me, John Holloway's ECM releases, which I cherish, have the depth missing from some others. Depth means flair as well as spitituality; none is complete without the duality. Perhaps one reason I like them is because of the deployment of organ as continuo (as in DG/Melkus). These works are enhanced by a contemplative element, and the organ can provide that in abundance. His work for ECM makes me most curious about Holloway's earlier Virgin issue of the Mystery Sonatas.

To me Biber's violin music is every bit as exciting as Bach's solo and accompanied violin works, and equally rewarding for their spirituality. I am sure I shall continue to add to my Biber library. Thanks to the magazines, it was not too late a discovery for me, and I hope that would be the case for you too.

Some interesting videos:

Mystery Sonata/Passacaglia (Andrew Manze)
Mystery Sonata/Passacaglia (Helene Schmidt)
Mystery Sonata (unknown performer)

SHOSTAKOVICH: Symphony N0. 8

Shostakovich's Symphony No. 8 is my favorite of the cycle. Like a Mahler symphony, it tries to represent and succeeds in covering large stretches of the human canvas. It plumbs greater depth of terror than the over-played 5th, and is engrossing in its enigma.

I have several complete box sets of Shostakovich symphonies, like Barshai, Haitink, Jansons and Ashkenazy, but my favorites in this symphony lie outside those boxes.

The benchmark is of course the legendary Mravinsky's 1982 live version with the Leningrad (click here for interesting review), now issued as a budget CD on Regis. The old Philips was long out of print, and controversial for pitching (said to be a semitone off; meaning the engineering, not the orchestra). Aside from terrifying power when appropriate, this is incomparably characterful playing with an urgent, acerbic, even acidic quality to the sonority that just IS the music.

But the Previn/LSO is the one I grew up with and still play the most. It has recently been re-issued on budget EMI Encore (while you're at it, grab also its companion issue, Previn's Shostakovich No.4, very good though the piece is a harder nut to crack). Not only is it shattering in its power, it has by far the most stunning sonics (who else, by the 2 Chistophers) to merit the designation "Desrt Island Disc". Believe me, sonics is important in this symphony!!!

BOTH these issues are available at budget price now. Grab them ASAP.

Here's a related video that I think you shall enjoy:

Mravinsky conducts Shostakovich 8th (Brilliant! Sound not bad!)

PROKOFIEV: Romeo and Juliet

Pics: Great interpretations by Previn and Maazel.

The first question for someone who knows a little about this music is to ask himself whether he wants to have the whole ballet or excerpts of it in the form of suites.

For me the answer is simple. The music is top-drawer Prokofiev and as timeless as Shakespeare's play that so inspired the ballet impressarios. Prokofiev is one of the greatest composers for me, with a color palette second to none, not even Ravel. However, he doesn't sell well, and much of his music is available on the cheap, which benefits us. So, why not get the complete ballet, now on 2 CDs rather than the old 3 LPs. With a complete set, you get the action in sequence and can follow the drama. This you cannot do with the suites, which jumble up the sequences for "musical" purposes. Of course, the best way is to watch the ballet in the theater. I shall never forget the magnificent effort in March 2007 by the HK Ballet in Shatin Town Hall, accompanied beautifully by the HKPO and conducted con amore by Richard Bernas (I went twice).

Andre Previn and the LSO have been criticized for all kinds of things but, one thing is for sure, they know how to "make" love together. Previn knows how to conduct ballets (you can safely get his equally distinguished Tchaikovsky ballets while you're at it) and deliver the important atmosphere to you in your sitting room, while the LSO play with passion, if not always precision. Fortunately, their great music making were more often than not captured in great recordings by the "Two Christophers". Released almost at the same time was another complete version, equally distinguished in both performance and recording, the Cleveland/Maazel. Now, Lorin Maazel is not a conductor that I usually like, but here he plumbs great depth in the tragedy. There is an inexorability in the prceedings, razor sharp in presentation and recording. I'd get both versions, classics of the gramophone, as they are on budget 2fers.

That said, come digital age, 2 versions stand out. Ashkenazy is a vastly under-rated conductor, especially in Sibelius and the Russian works of Rachmaninov, Shostakovich and Prokofiev. Many of his RPO (like here) and Philharmonia recordings (like Sibelius) are excellent performances in resplendent Decca sound. Of course, Kirov/Gergiev brings a special urgency to this music and the characterful Russian sonority makes this a version one should listen to; next to it the "better" Western orchestras may start to seem bland to you!

Now to the suites. There are many good versions, but the justly famous (for hifi buff especially) Mercury issue of Skrowazewski is a good place to start. And, last but not the least, since we talked about Russian performances, how can one neglect the Legendary Lenningrad/Mravinsky? I think there's only Suite 2, and I am not sure where you can get it, but you can certainly hear Mravinsky's interpretation on the internet, and I recommend that you do that (and while you're at it, grab their legendary and harrowing Shostakovich 8th, now budget on Regis!)

This is not meant to be exhaustive. Check out some selected related Music/Video that I think you shall enjoy:

Montagues and Capulets (Mravinsky)
Death of Tybalt (Abbado)
Mravinsky conducts Shostakovich 8th (Brilliant! Sound not bad!)