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^V '(?,W'Mozart Plano Conctrtoa no*. 19, k.459 and 23,488; Rodo k. 386 experience Was the 19th Concerto just not as wellJohn O’Conor, piano, with the Soothe Chamber ; prepared at the 23rd? Anyway, the sparkle and boldness Orchestra; Sir Charles Mackerras, Conductor ofthe latter validatesthecontinuingofthis cycle Inckxted(Teiarc) CD-80285 (DOO); Disc time: 58:48 as an extra bonus is a wellpaced performance of theRating: B Rondo k. 386.^^|bold chalenge from Teiarc: two of theirbrightest stars, John O’Conor and Sir Charles Enigma MCMXC A.D. IMackerras against everyone's favorite. Murry Perahia Charisma 2*91642; Virgin Records Ltd.and the English Chamber Orchestra's identical Disc time: 40:15coupfings of Mozart gems. Both CDs have exoeient Rating: Asound, the C8S more transparent, the Teiarc warmerBut, the winner and sttt champion is Perahia, who is both conductor and soloist in the C8S release (mkEvery so often a band comes out with a sound so innovative and so unique, oecan not help but appreciate39064.) OConor who scored highly in this senes first it. Such is the case with Enigma, a provocative new bandrelease (Concertos 21 and 27, Teiarc CD 80219) from Europe, wel on their way to oonquering musicshows himself at times to be more than just a worthy charts around the world,competitor. Romanian bom Michael Cretu developed Enigma’sThe 19th Concerto demonstrates why Perahia inventive sounds branching from the hip-house musicis master of this repetone Teiarc's forces display scenes of Spain and Germany And by adding somethinggreat agtty and energy, but paie beside the deeply as simple as a Gregorian Chant, he has redefined theleft poetry that Perahia brings to this virtually perfect possfcie future of popular music. The music holds bothcomposition. On identical passages, the CBS disc religious and sexual innuendos, which togethr reflect aoffers careful dynamic shading, vtfwte on Teiarc there very real truth n today’s society.is just a static forte, ft’s not that Mozart doesn't benefitfrom extroverted readings, it’s just that Perahia isThe afeum opens wth a verbal introduction, spoken by Cretu’s wife, Sandra Together, Michael and Sandraremarkably adept at portraying the pastel coloring are Enigma. It was written, produced, and creatednherint in the form that Mozart perfected But in the exclusively by them.23rd Concerto, O’Conor’s position of intensity creates an even more urgent reading than the competition.The first single, Sadeness, Pari I, is an aluson toMarques De Sade, a famous French sokker and novefistDetails are not glossed over; Markerras is very much renown for his perverse 9exual conduct. With a perfectthe scupor. Orchestral passages are stil extrovertedblend of unimposing hip-house percussion and soothingbut have great shape and contrasts. Solo wnd Gregorian melody, the song creates a perpetual dreampassages have a personalty not found in the English bke quality that demands recognition.Chamber Orchestra's reading Perahia stil is the poetThe other tracks on the abum, hinting with reigiousand the development of these melody lines as theRivers of Belief, keep with the intensity of the single, and II piece progresses. Most notable is Barber’s use ofconstant theme throughout. The entire work is // counterpoint, (the use of more than one melody atgeneral has a tranquil, harmonious feel, suitable virtuarfly any music formal. In fact, the sound is so diverse, Enigma has gained air play not only on mainstream radio, but on alternative Cdtirtg Edge andeasy listening stations as wel.This atoum is highly recommended for any form of relaxation. The music creates a world of emotinal depth very suitable for post-stress situations. Enigma is a mustown for anv music connoisseurDanny SerbibBarber: Symphony no. 1, Piano Concerto, Souvenirs;John Browning, piano; Saint Louis Symphony Orchestra; Leonard Siatfdn, conductor and piano;RCA Red Seal 60732-2, Disc time 69:36 Rating: B+Samuel Barber lived from 191 Oto 1981 .He studiedat the Curtis institute of Music in Philadelphia. The bulk of his training was as a singer, \Miich accounts for the lyrical, melody oriented nature of his music. Because of this, I would invite those who shy away from those ghastly 20th century compositions' to try listening to I accompanied here by Leonard Slatkinthe same time.) This is a delightful piece wonderfuly played.The Piano Concerto was written for John Browning in 1962. It is a difficult piece which requireshigh technical ability of the soloist. Barber again usescountrapuntal techniques to create dramatic, introspective melody lines. The slow movement evenhas the melody accompanying itself but at a differentspeed. There are abrupt mood changes and wide varieties of instrumental couplings which create vastly different colors of sound in the orchestra. Sometimes I could hear similarities to the music of Copland and Gershwin. Browning's performance is nothing short of amazing. The orchestral parts are as demandingas are those of the piano and are superbly played.The final selection on this disc is one cat led Souvenir. This was written between the time of the First Symphony and the Piano Concerto. It has a nostalgic nature to it, reminiscent of salon music.There are six short movements written as dance type pieces. They range in mood from light waltz feelingsto a more dark, ominous feel. This is written for piano four-hands, (two players.) John Browning isThis RCA recording is terrific in it’s imaging. All the instruments are in the right place. If you dose your eyes you can point to where the flutes are sitting,Barber's music.Symphony no. 1 was written in 1936, the same year as the Adagio tor Strings. Often referred to as the Symphony In One Movement, it is a four movement where the brass is and to the piano sitting right uppiece of about 21 minutes in lenth. The thing that struck front. Yet with it’s sense of ensemble you can stillme most as listened to it was the traditional nature of the discern ail the instruments. I highly recommend thissymphonic style of composition. There is a beginning,who are interested in superior qualitymiddle and end to each movement. You can feel a sense recordings of American composers and Americanof forward motion to this work. While it is a twentiethperformerslaureate, but O’conor creates just as moving and subtlety on titles such a Mea Culpa and Back to the century composition, one can hear definite melody linesBob Wolf
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Colorado Springs Magazine
Colorado Springs, Colorado, US
Sat, Jun 01, 1991
Page 16
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