There are plenty of fine recordings of Gustav Mahler's popular Symphony No. 5 in C sharp minor, but each decade seems to produce its own landmark renditions: Bernstein's in the 1960s, Solti's in the '70s, Sinopoli's in the '80s, and Abbado's in the '90s. For the first decade of the twenty first century, Michael Tilson Thomas' riveting 2005 version ...
To judge any performance of Berlioz's Symphonie fantastique, one must look beyond the portrayal of its sensational program to see how well it coheres as a symphony. Berlioz may have been the maddest of the Romantics, but he was quite sane in planning his work's design, and this daring score is still dependent on form to effectively tell its tale. ...
A work of Gustav Mahler's youth, Das klagende Lied has much in common stylistically with Des knaben Wunderhorn and the early symphonies, yet it has never enjoyed a similar popularity, due in part to its awkward construction, huge instrumental and vocal demands, and atypical operatic character; perhaps most of all, its unfamiliarity owes to its ...
Beautifully shaped, wonderfully colored, powerfully dramatic, and lovingly lyrical, Michael Tilson Thomas and the San Francisco Symphony's recording of Mahler's Seventh Symphony is not as only as good or better than the previous seven recordings in their Mahler cycle, it is as good or better than most of the Sevenths recorded in the past 20 years. ...
As a Mahler conductor, Michael Tilson Thomas is a better Leonard Bernstein. The same sense of inchoate excitement and impending ecstasy that permeated Bernstein's performances permeate Tilson Thomas'. But Tilson Thomas' performances are also thoroughly planned and flawlessly executed. In this June 2004 recording of Mahler's Resurrection Symphony, ...
Aaron Copland may well be the best-known, the most loved, and the all-around greatest of twentieth century American composers, but his music from the '20s and '30s is still relatively unknown, still relatively unloved, and of still questionable greatness. Was Copland the Modernist too far out to connect to a big audience so he re-created himself ...
Anyone who remembers Alexander Brailowsky (1896-1976), raise your hand. Your virtual non-response is understandable. The Russian-born pianist who later became a French citizen and ended his career in America rarely gets more than a brief paragraph in the standard references. He also rarely gets reissued with hardly any of his Columbia or RCA ...
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