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December 21, 2009
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Thomas leads a big romantic performance of the 5th. While he never gets in the way of the music, he has few insights to offer -- it's a solid performance, but I didn't feel that I took anything new away from the Symphony. The only major gaffe of his is a bit of rubato before launching into the 5th ... more |
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October 7, 2007
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I have greatly enjoyed Jacobs' recordings of the two other Da Ponte opera for his creative reimagining of the dynamics and balances, as well as use of the continuo. Jacobs, though, began to loose his way in a recent recording of the 41st symphony where tempos were micromanaged for the sake of trying ... more |
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August 26, 2007
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This is not really a bad recording of the 4th, but it brings little to the catalogue.
Eschenbach's big 'innovation' is to play the first movement slow. And it's not just that the near 20 minute timing of the movement reflects its slowness -- it sounds and feels it. Everything is drawn out. ... more |
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July 5, 2007
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Gruber is a difficult composer to summarize. Each of his compositions vary quite a bit. He doesn't compose by a harmonic and tonal creed, but instead does whatever best suits the music. If there is an underlying element that connects much of his music, it's his fascination with jazz, much in the ... more |
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May 31, 2007
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In the pantheon of Gershwin recordings, the Piano Concert and Rhapsody receive fine performances, but ultimately nothing that rivals what's already currently available in any format. The most noteworthy performance on this disc is the Cuban Overture, so I'll focus on that.
Rather than trying to ... more |
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