No timbral difference separates this midprice reissue of one of the best-loved concertos by Mozart from its previous, full-priced equivalent. There's a bit more ambience and warmth and less stridency on top. If you own the original CD, there's no need to replace it, but first-time buyers should snap up these sensitive, stylish performances in their Great Recordings of the Century guise. One of the main attractions is the extended compass and deliciously "woody" tone of Sabine Meyer's basset clarinet. The clarinetist's fleet, effortless dispatch of the Clarinet Concerto's outer movements is a delight to the ear, and her improvised (or so they seem!) flourishes fit into their environment as if Mozart had written them himself.
This is the premiere recording release of The Atlanta Symphony under the baton of their new Music Director, Yoel Levi, who was formerly Assistant Conductor of The Cleveland Orchestra.
The three Copland classics on this disc–Billy the Kid, Appalachian Spring and Rodeo–are all ballet scores, and from the very first bars of Billy, with its evocative depiction of the wide-open prairies, you are firmly in the territory of music that tells a story. But you don't need to follow all the ins and outs of each story to enjoy music which paints as vivid a picture of rural America as you could hope for. If the sprightly "Hoe Down" from Rodeo brings a splash of colour to concert programmes, the remarkable thing about so much of the music in these three pieces is how quietly sensitive it is. And while Michael Tilson Thomas does not hold back in wringing every last ounce of splashy razzmatazz, he is equally the master of introspective music which clearly demonstrates that you don't need to be loud to be a populist. The recordings were made in the San Francisco Symphony's home, Davies Symphony Hall. You couldn't hope for more authentic performances than this–more than 76 minutes of dyed-in-the-wool Americana.
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 as Copland the Populist to become the best-known, most loved, and greatest American composer? But was his Piano Concerto from 1926 really too jazzy and vulgar, his Symphonic Ode from 1928 really too cerebral and severe, his Piano Variations from 1930 really too harsh and austere, and his Short Symphony from 1934 really too rhythmic and complex or was it lack of familiarity made them seem so? From this 1996 recording by Michael Tilson Thomas and the San Francisco Symphony, one would have to vote for the latter because Copland the Modernist is every bit as great a composer as Copland the Populist.
Christopher Rouse (b. 1949) is one of America's most prominent composers of orchestral music, and has created a body of work of great emotional intensity. It is precisely this aspect of the music, coupled with its inherent honesty and lack of artifice which has attracted the conductor Alan Gilbert, soon-to-be music director of the New York Philharmonic.