I'm a big fan of Copland. His music can be dramatic, sad, joyful, and just plain fun. I also think his music is a good vehicle for personal expression of the performer/conductor. I don't think this is true for all composers–-I cringe at some interpretations of Bach–-but I usually enjoy it when a performance of Appalachian Spring or Bill the Kid contains some individual stamp that indicates the performer is really feeling and enjoying what they are doing. The combination of Copland's timeless compositions and subtle playing effects can be very sophisticated indeed.
Sony Music Entertainment is pleased to announce another ten Masters, the latest instalments in this mouth-watering series for collectors of the great artists. Here are ten new budget-priced box sets of classic recordings by some of the most celebrated musicians of the 20th century.
The coherence of the program on this release by the increasingly popular British cellist Steven Isserlis may not be evident at first glance, but it's a nifty idea, and one with a weight that not so many contemporary composers can comfortably support. What Franz Liszt, Leos Janácek, Gabriel Fauré, and György Kurtág have in common is that they all influenced the last composer on the program, Thomas Adès. This gives you an idea of Adès' eclecticism, which is brought into relief when you hear the strands of music that he likes.