Sir Simon Rattle reveals why the Berliner Philharmoniker decided to launch its own record label.

For long regarded as a lower grade symphonist by sniffy critics of the past, Robert Schumann’s orchestral output has been reassessed thanks to illuminating period aware performances that have aerated his supposedly thick orchestration and revealed a timbral spectrum that was obscured by the overlay of late-19th-century orchestral technique. Conductors on the traditional side have overcome problems with textual tampering while revelling in the weighty sound at their disposal, so it’s no surprise that Sir Simon Rattle chooses to sit on that particular fence considering the character of his orchestral forces. Despite the essay espousing the Berliner Philharmoniker’s long tradition of Schumann performance, today’s orchestra sounds very different to earlier incarnations with a vibrant transparency and a responsive flexibility that allows the ensemble to turn on a dime – a long way from the luxurious juggernaut of yesteryear.  The string sound, while still luxuriant, is exquisitely focused and supple while the wind section is predictably magnificent, boasting starry names such as Emmanuel Pahud and Albrecht Mayer. Symphonies 1 & 4 (here in its original 1841 form) inhabit a Mendelssohnian sound world that suits Rattle’s approach and for me the fourth symphony is the standout performance of the… Continue reading Get…

Founded in 1937 under the Boston Symphony’s legendary conductor Serge Koussevitzky, the Tanglewood Festival is one of the most famous in the world. Based in the hills near Boston, it has a superb site and access to some of the world’s best tutors and soloists. Programs such as this are usually a mixed bag. How many of us are going to buy a DVD with such disconnected compositions? Not many by my guess. Copland’s Fanfare is splendidly done by the BSO, as are the dances from On The Town. Bernstein’s second musical is a marvellous piece and the Bostonians rattle it off to the manor born. The outstanding track contains Anne Sophie Mutter’s dazzling rendition of Sarasate’s Carmen Fantasy. It is superb. On the down side are James Taylor’s poorly sung American Songs. He’s lost it and it is painful to endure. In the classical department, Emanuel Ax turns in a slightly idiosyncratic performance of the second two movements of the Haydn Piano Concerto and Peter Serkin delivers a straightforward account of Beethoven’s Choral Fantasy. The orchestras and choir perform well and it is always a delight to see so many talented and dedicated young people flying the flag for classical…

We examine the cultural phenomenon of Nellie Melba, the Aussie voice that wowed the world.

A projected lightshow will accompany the Sydney Symphony’s Visions of Vienna performance.

The British actor has played a TV vet, the fifth Dr Who and in his spare time, the Clarinet.

This program was the opening concert of the 2013 Lucerne Festival and Abbado would die a few months later. It is an intensely moving memorial. For conducting students this is a lesson in economy of means as his frail state dictated that he achieve so much with so little effort. His beloved “hand-picked” orchestra respond to his slightest gesture; what an extraordinary ensemble they are – a hyper-attentive giant chamber group all listening to one another, shaping phrases with love and care. The Schoenberg is a treat with two extracts from Gurrelieder; the Orchestral Interlude with its luscious ultra-Tristanesque harmonies and soaring Tove melody, and the Song of the Wood Dove sung by the lovely Mihoko Fujimura who inhabits the role. The main work is the Eroica Symphony and may divide opinion; some may consider the tempi too broad in the grand old manner but I was captivated. This was a loving performance crafted from years of experience and deep wisdom with phrases floating weightlessly and moments of breathtaking stasis and innigkeit. There is some exquisitely beautiful playing here such as that by oboist Lucas Macias Navarro. It is rare to hear such finely graduated dynamics and perfectly balanced textures…

Frédéric Chaslin refuses to conduct in light of unsympathetic management response.

In a review, one critic referred to the “period instrument colonization” of 20th-century French orchestral repertoire, which set me thinking about those fears we used to have about an historically informed performance of Wozzeck. I have many older LP recordings of French repertoire performed by French orchestras which are so distinctly “Gallic” in the slightly flatulent horn sound and the (usually) delightfully vinegary woodwind, as to be instantly identifiable. Over the decades, this sound has virtually disappeared. Perhaps these recordings mark a reaction. Immerseel and Anima Eterna achieve a sound in Mother Goose which, in terms of sheer exquisiteness, is hard to beat. I instantly admired the way the cor anglais has been caught but the flute and clarinet are equally beguiling. The strings are similarly gorgeous. Did anyone ever compose anything as civilized? Pictures at an Exhibition is equally suave, perhaps a touch too much so. I like the trumpet slurs throughout the promenade sections but I think this super-refined playing isn’t really earthy enough: after all, it’s hard to depict a Polish ox cart as anything other than a Polish ox cart. The Great Gate of Kiev lacks the grandeur we normally associate with it. My main problem is…

Hush Live in Concert is the 14th in a series of albums released to calm and comfort families facing stressful medical procedures. It’s a compilation of Hush Foundation recordings selected by former ABC Classic FM presenter Emma Ayres. Composer/pianist Paul Grabowsky states in the notes: “music has its roots in healing, dreaming, and story-telling”. Opening with two of his jazzy Ten Healing Songs, it becomes apparent from the outset that this is anything but the conventionally soothing Debussy for Daydreaming or Relaxation Made Easy style album. Andrea Keller’s A Castle for All is oddly uplifting as it cycles repetitively through the same series of chords. Brass, wind, and percussion instruments appear to improvise around Keller’s piano, and while it has plenty of musical tension, the overall feel is not a dark one. Tony Gould’s Gentle Conversations is as it sounds – a smattering of percussion, a gentle pulse, and a layering of instruments simulate just that. Though magnificently portrayed by the Grigoryan brothers, Songs with Strings is perhaps a touch too intense and emotionally confronting for an album attempting to reduce stress. Mark Isaacs’ romantic and visually evocative The Wind in the Willows is more fitting; one can just imagine a…

We talk to Melbourne Symphony Orchestra’s Bassoonist to find out where did it all begin? Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Limelight’s top gong goes to the Canadian Baritone’s Vocal Category winning album.