Latest CD releases reviewed.
WEILL: SYMPHONIES 1 & 2; WEILL/BENNETT: LADY IN THE DARK, SYMPHONIC NOCTURNE
Bournemouth SO / Marin Alsop Naxos 8.557199 ****
The two symphonies present the European Kurt Weill, both pre- and post-Threepenny Opera. The first is a student work, written at the age of 21. The second was written in Paris in 1933, after the composer had fled Nazi Germany. The Lady in the Dark suite, arranged by Robert Russell Bennett, is by the altogether milder and sweeter Weill of the Broadway years. Marin Alsop's approach is full-toned and firmly driven. She gives highly persuasive accounts of the symphonies, welcomely taking some of the rough edges of the hit-and-miss first symphony, and somewhat diluting the acid of the second, which blends flavours from the Threepenny Opera into the symphony orchestra. She sails through the background music-like suavity of the suite. www.naxos.com Michael Dervan
SZYMANOWSKI: VIOLIN CONCERTO NO 1; SAINT-SAËNS: HAVANAISE; CHAUSSON: POÈME; MASSENET: MÉDITATION; BRAHMS/HEIFETZ: CONTEMPLATION; TAVENER: FRAGMENT FOR THE VIRGIN
Nicola Benedetti (violin), London Symphony Orchestra/Daniel Harding Deutsche Grammophon 987 0577 ***
In January, Scottish violinist Nicola Benedetti, last year's BBC Young Musician of the Year, signed a £1 million, six-album deal with Deutsche Grammophon at the age of 17. Her first disc comes with glamorous photos (credits for stylist, hair and make-up), and a sales-pitch for Benedetti ringtones. But the repertoire is well chosen and the playing style solidly musical. She offered Szymanowski's rarely-heard, sensually alluring First Concerto in the competition, and it's also the main attraction here. She's a little on the plain side in delivering the music's fantastical side, but that's an effect that seems to be part of her groundedness, as she chooses to play to her soulful strengths. The short Tavener piece, in a style of Protecting Veil-like intensity, was specially written for her. www.dgclassics.com Michael Dervan
MAHLER: SYMPHONIES 1-10
Royal Concertgebouw, RSO Berlin/Riccardo Chailly Decca 475 6686 (12 CDs) ***
Riccardo Chailly began this Mahler cycle in 1986 with the Berlin Radio Symphony Orchestra in Deryck Cooke's performing version of the 10th Symphony and, having moved to Amsterdam's Concertgebouw Orchestra for the rest, completed it with the Ninth in 2004. If you like your Mahler with the emphasis on the neurotic, Chailly is not the man for you. His approach is sober, balanced, observant and musicianly. He's more likely to err on the side of relaxation than excitability. His is a mellow Mahler. The Concertgebouw's long and distinguished Mahler tradition is second to none, and the warm detailing of the playing presents the music as the work of an accomplished sophisticate rather than (even in the more grotesque moments) a highly-strung show-off. With Mahler, Chailly clearly feels attitude-striking can be left to others. www.deccaclassics.com Michael Dervan
KREISLER PLAYS KREISLER
Fritz Kreisler (violin), Franz Rupp (piano) Naxos Historical 8.110992 *****
Fritz Kreisler studied with both Bruckner and Delibes, and played in an ensemble with Schoenberg. He wrote two operettas and a sweetly Viennese string quartet. But it's the charm of his short original compositions (some originally published as the work of little-known early masters) and arrangements that audiences still love. As a violinist, he made his last recording sessions with piano in 1938. Even though he was then in his early 60s, he was still in command of his trademark unforced radiance of tone, inimitable gentle grace, and equally unique way of handling double stops. Nobody, but nobody, plays Kreisler quite like Kreisler. Schön Rosmarin, Liebesleid, Liebesfreud, the Caprice Viennois, and a host of arrangements are among the 19 tracks here. The transfers are excellent. A snip at the low asking price. www.naxos.com Michael Dervan
