Lately I have had the pleasure of going through several complete sets of Beethoven Piano Concertos by leading pianists such as Barenboim, Zimmerman, Pletnev, and others. Each is special in its own way. Because his unassuming, self effacing demeanour, I really did not have high expectations of a new DVD set played by Murray Perahia (Medici Arts/BBC 3085298, 2 DVDs). However, as I write this I am of the opinion that this set is the best of all... for pianistic command, musicality, beauty of phrasing, and rapport between soloist and conductor. These 1988 performances were transmitted live from The Royal Festival Hall, showcasing the young and deservedly esteemed Perahia with the ever perfect Neville Marriner and his Academy of St. Martin in the Fields. None of the other versions generates the sense of forward motion and excited expectancy that often has the listener (figuratively) on the edge of his, or her, chair. This edition easily eclipses the Sony CDs of Perahia’s collaboration with Haitink and the Concertgebouw recorded in 1983-86. When I want to hear any of these concertos this is the set I’ll turn to.

At Grigorian.com

One of the colossal masterpieces of the Romantic era, Verdi’s Messa da Requiem, remains a particular favourite. Even though I have heard it countless times, live and on record, I was tempted to acquire yet another performance. This one was recorded live during a performance in Stuttgart on November 2nd, 1960 with a dream cast of distinguished soloists; Fritz Wunderlich, Maria Stader, Marga Höffgen, and Gottlob Frick. The Stuttgart Radio Symphony Orchestra and Choir, the Stuttgart Bach Choir, the Stuttgart Singing Teachers Association Choir are conducted by Hans Müller-Kray (DG 4766382 2CDs). What a treasure this turned out to be! To my ears this is a total performance that achieves a level of comprehension that transcends excellence. It glows from within. Quoting from Hans Hey, now president of the Gottlob Frick Association, who remembers this performance... “Normally the soprano and tenor are prominent in the ensembles but this time everything was well balanced, just like a string quartet... it was just as it should be: mutual respect, listening to one another making music together.” For readers who may not know the soloists, they were Germany’s best of the era and all steeped in the Bach tradition which accounts, I believe, for their perception what this work is about. Muller-Kray un-erringly draws four soloists, three choirs and orchestra together in this exceptional performance. In excellent sound, this appears to be a co-production with the SWR.

For many classical music lovers who listen to FM radio, WBEN-FM is the station of choice. I listen to it in my car and recently I heard, not on the same day, outstanding performances of two long time favourites, Tchaikovsky’s Manfred Symphony and Rachmaninov’s Symphonic Dances, opus 45. I sat in my driveway waiting for the extros to identify the recordings. As it turned out, they were both NaxosTchaikovsky was played by the Liverpool Philharmonic under Vasily Petrenko (8.570568) and the Rachmaninov featured the Royal Philharmonic conducted by Enrique Batiz (8.550583). I acquired both discs and found them to be all that I expected both in the high octane performances and wide-open, dynamic sound. I recommend them enthusiastically.

discs! The

Tchaikovsky: Manfred Symphony, The Voyevoda
at Grigorian.com

Pierre Monteux, one of the finest and revered conductors of the last century, had a long association with the Boston Symphony, starting in 1919. In his 1947 book, “The Other Side of the Record”, Charles O’Connell, RCA’s producer and conductor argued that Monteux’s music making was superior to Toscanini’s! Pierre Monteux in Boston 1951-58, West Hill Radio Archives (WHRA-6022, 8 CDs priced as 5) brings us some solid reasons to agree with O’Connell. These were halcyon days for Monteux as he guested in Boston after a 27 year absence. Included in this treasure trove of live performances in astonishingly good sound are lots of Tchaikovsky’s including the last three symphonies and the Hamlet Overture, Le Sacre du Printemps, Petrushka (a suite and also complete in stereo), Schubert’s Ninth Symphony, Schumann’s Third, and Prokofiev’s First. Also works by Bartok, Debussy, Wagner, Szymanowski, Elgar, and others. The aristocrat of conductors with the “Aristocrat of Orchestras” – self recommending I would think.

A true legend but not a household name in the celebrated elite group of 20th century violinists, Paul Makanowitzky did not make many recordings but he has a most devoted cult following. Recently on EBay a three LP set sold for US$6,500! Makanowitzky had the élan of the French School with the expressivity of the Russian School. He was born in Sweden to Russian immigrants in 1920 and studied in Paris, aged four, with the mega pedagogue Ivan Galamian. Later with Jacques Thibaud and Nadia Boulanger. The ex child prodigy became a war hero as a volunteer in the USAF in WW2. After the war he enjoyed a brilliant career as soloist with American orchestras. In 1954 teamed up with fellow Boulanger alumnus, Noël Lee who was based in Paris. As a duo, they were critically acclaimed and their performances were always a hot ticket everywhere. For the French label Lumen they recorded the complete Bach, Beethoven and Brahms violin sonatas, the Bach set winning the 1959 Grande Prix du Disc. DOREMI’s new 4 CD set contains the Beethoven (1955/6) and the Bach(DHR7946/9). The musical revelations are both striking and satisfying in their communication of heartfelt and sincere music making. Listeners will be surprised at the refreshing sweetness and purity of tone. The engineer for the Lumen LPs was the iconic André Charlin, whose work is faithfully transmitted here. (1958) sonatas

The  Hidden Heart is a DVD of a 2001 TV documentary by Jake Martin concerning Benjamin Britten, his compositions and his relationship with Peter Pears (EMI 50999 21657191). Following the immediate success of Peter Grimes in 1945, Britten was acclaimed and music lovers around the world waited for his next opera. Then came The Rape of Lucretia in 1946, Albert Herring in 1947 and The Beggar’s Opera in 1948. The relationship between the composer and his tenor was no secret but it was against the law in Britain in those days. “The Hidden Heart” leads us through their lives to the last opera, Death in Venice. Some of their private correspondence is read and it is their last words which close this exceptionally well fashioned appreciation of their special relationship. Film clips of Britten, the operas, rehearsals, and many new and archival videos around The War Requiem are featured in this memorable presentation. Get It.

A recent Britten- Pears DVD from the BBC archives (DECCA 0743257) contains a formal Winterreise produced by John Culshaw in 1970 with Britten accompanying off-stage and also three of the songs filmed in rehearsals at home. Many of Britten’s arrangements of folk songs are heard in a recital before a select audience in 1946. For me, these little songs were worth the price of the disc... The Foggy Foggy Dew; The Ploughboy; O Waly, Waly; Oliver Cromwell; and many others. Oh, by the way... Decca has assembled their Britten recordings into several packages: Operas, volume 1 on 8CDs (4756020): Operas, volume 2 on 10CDs (4756029): Choral works on 10CDs (4656040); and a mainly instrumental collection of 7CDs (4756051). Check out the contents with your dealer or on the Decca site at http://www.deccaclassics.com.

Last year’s MET production of Peter  Grimes, as seen live in high definition on movie screens around the world, is available on an EMI DVD exactly as seen live, plus interviews and behind the scenes activities (EMI 509921 741494, 2 DVDs). Donald Runnicles conducts with Anthony Dean Giffey perfectly cast as the unfortunate Grimes. Watching at home is quite an experience, arguably better than sitting in the opera house, especially with the (optional) English subtitles to clarify the text.

Among the foremost violin exponents of the 20th Century, Christian  Ferras (France 1933-1982) holds a special place. He had a rather short career but while his playing was well in the league of the superstars of the era, Heifetz, Oistrakh and Francescatti, he suffered from severe depression which eventually led him to end his life. His achievements from an early age were so sensational that EMI placed him in their top line-up along with Menuhin and Oistrakh. His success was such that the powerhouse DGG picked him to assume the top position on their roster. In short time he recorded the four most popular concertos of the repertoire, Tchaikovsky, Brahms, Beethoven and Sibelius with Karajan and his Berlin Philharmonic. These marvellous recordings remained in the active catalogue for over forty years. DOREMI’s 2cd set of four live concerto performances from Paris confirms his place in the violinists’ pantheon (DHR-7880/1). The Mendelssohn E minor (1965) is beautifully communicative; Tchaikovsky (1968) impassioned; Mozart K.219 (1955) pure and stylistic while Jean Martinon’s intriguing, post-Berg 2nd concerto (1968) is brilliant. Derived from recently discovered pristine radio archives, this is an attractive collection.

The illustrious Zino  Francescatti (France 1902-1981) had a totally different kind of career and personal life. For more than half a century he was a frequent and favourite guest of almost every important orchestra in the world. We know him from his many Columbia recordings with the New York, Philadelphia and Cleveland orchestras but none with Boston, with whom he often performed. DOREMI has corrected this in Volume 3 of their Francescatti discs (DHR-7888) with Charles Munch conducting the Tchaikovsky (1958, stereo) and Brahms Double (1956) with first chair cellist Samuel Mayes. Hear Francescatti in his prime and his distinctive sonority and characteristic artistry. I have reservations about the sound but the three bonus tracks from The Bell Telephone Hour of 1952 are very good.

Silvia  Marcovici (Romania b.1952) had a sparkling career during the last three decades of the century. Lesser known than the above, judging from these live performances she well deserved prime billing on a major label but was only heard on a number of lesser ones, except for the Sibelius on BIS and the Glazunov with Stokowski on Decca. Marcovici’s complete mastery of the instrument is amply conveyed playing seven concertos in the new DOREMI set (DHR-7942-4) containing 2 CDs and a DVD. Her characteristic sensitivity and warmth illuminate the Tchaikovsky, Brahms, Beethoven, and Saint-Saëns No.3 on the CD. On the DVD she plays Lalo, the Bruch no.1 and the Bartok 2nd to perfection, made all the more enjoyable by her striking, charismatic stage presence.