Monthly Archive: December 2008

* DURUFLE: Requiem*(3rd version for choir, small orchestra and organ); Quatre motets sur des themes gregoriens; Messe Cum Jubilo**; 4 pieces for organ – Fugue, Prélude, Chant donné, Méditation — Soloists/Choir/English Sinfonia/Bill Ives – Harmonia mundi

******* MULTICHANNEL DISC OF THE MONTH ********
The recording is spacious, yet clear, the small orchestra in the Requiem well balanced. The voices sound entirely natural, the soloists not closely miked.

George Szell Conducts – Cleveland Orchestra “Live in Tokyo” = WEBER: “Oberon” Overture / MOZART:, Symphony No. 40 in G minor, K.550 / SIBELIUS: Symphony No. 2 in D major, Op. 43 / BERLIOZ: Rakoczy March from “The Damnation of Faust,” Op. 24 – Sony Japan

This SACD is evidence for the very high quality of playing of the Cleveland and of Szell’s conducting, and the reputation Szell had for his orchestra’s tight ensemble.

Richter = HAYDN: Piano Sonata No. 44 in F Major; PROKOFIEV: Piano Sonata No. 2 in D Minor, Op. 14; Legend, Op. 12, No. 6; 10 Visions fugitives, Op. 22; Piano Sonata No. 8 in B-flat Major, Op. 84 – Sviatoslav Richter, piano – BBC Legends

Richter = HAYDN: Piano Sonata No. 44 in F Major; PROKOFIEV: Piano Sonata No. 2 in D Minor, Op. 14; Legend, Op. 12, No. 6; 10 Visions fugitives, Op. 22; Piano Sonata No. 8 in B-flat Major, Op. 84 – Sviatoslav Richter, piao BBC Legends BBCL 4245-2, 75:37 [Distrib. By Koch] ****: The Royal Festival Hall recital of 8 July 1961 marks the British debut of Sviatoslav Richter (1915-1997), who begins with the relatively rare 1776 F Major Sonata of Joseph Haydn, one of nineteen Richter committed to his programs in the course of his career. In spite of his rather percussive approach, the Haydn achieves a combination of bright militancy and restrained introspection, especially in the second movement, an Adagio of poised inwardness, The opening movement begins in the manner of a march but soon becomes an acrobatic two-part invention. Richter takes all repeats in the final movement, a Tempo di minuetto that luxuriates in pearly trills and lyrical swagger – despite the persistent coughing of the audience, as though they were auditioning for Violetta in La Traviata. The Prokofiev D Minor Sonata (1912) always provided a calling-card for Richter, which along with No. 6, he became closely identified, […]