<%@LANGUAGE="JAVASCRIPT" CODEPAGE="1252"%> Lutoslawski symphonies / Duo Kemi Scjibert / Gordan Nikolic Mozart

LUTOSLAWSKI: Symphony No. 1 (1947). Jeux Vénitiens (1961). Symphony No. 4 (1992).
Finnish Radio Symphony Orchestra / Hannu Lintu, cond.
ONDINE SACD ODE 1320 TT: 57:21

SCHUBERT: Sonata in A minor "Arpeggione.. D 821. Somata (Duo) in A. D. 574. Sonatina in D, D. 384.
Duo KeMi (Daniel Migdal, violin. Jacob Kellermann, guitar).
BIS SACD 2375 TT: 61:22

MOZART: Symphny No 35, K. 385 "Haffner." Sumphony No. 36 ion C LK. 425 "Linz."
Netherlands Chamber Orchestra / Gordan Nikolic, cond.
TACET SACD S 230 TT: 65:23

Conductor Hannu Lintu has made many superb recordings with the Finnish Radio Symphony of which he has been music director for the past six years. This site recently praised their SACD releases of music of Fagerlund and Sibelius (REVIEW) They have made numerous recordings of a wide range of repertory mostly on regular CD. Now we have another superb multi-channel release of three major works of Witold Lutoslawski: two symphonies and one of his best-known works: Venetian Games. The composer's Concerto for Orchestra is performed often, but unfortunately these two symphonies are not—and they should be. These remrkble scores are rather violent and of great substance, richly and intricately orchestrated. I'm sure the large orchestra and conductor are challenged in every way, but the virtuoso Finnish players manage admirably. All of this music has been recorded before, but this new release recorded in spectacular multi-channel sound, is the way to hear them. Tthis is am important issue. Don't miss it!

Here is another winner from TACET - two well-known Mozart symphonies in vivid performances by the superb Netherlands Chamber Orchestra under their conductor Gordan Nikolic. It is another example of the label's approach to multi-channel sound, taking full advantage of available channels to provide a most realistic audio picture with the listener in the middle. As orchestration is slightly different for each symphony, a diagram is provided for each showing specific location for all instruments. If you are interested in true "surround" sound you surely should investigate these TACET releases, most of which have been praised on this site, in particular the Beethoven symphonies. Thanks TACET!!

Schubert apparently was very fond of the guitar and throughout his life owned one or two of the instruments. In spite of this, he wrote only few works for the guiutar, although often many of his works were arranged by others for guitar accompaniment. On this delightful nw BIS SACD we have three works arranged for violin and guitar. This elegant music is well-suited for this gentle combination, and the music emerges with a new c simplicity. AUDIO The Swedish team Duo KeMI (Daniel Migual, violin, and Jacob Kellermann, guitar) was formed in 2006. Each has enjoyed a successful solo career, and they present elegant performances of this captivating music. I look forward to future releases.

Witold Lutoslawski is one of 20th Centurys greatest composers. He is also a remarkable symphonist. The three works on the present release performed by the Finnish Radio Symphony Orchestra and conducted by Hannu Lintu, represent three important stages in Lutoslawskis career: his 1st Symphony, one of his earliest significant works; Jeux vénitiens was the first work in his best-known stylistic phase; and his 4th Symphony remained his last extensive work. Lutoslawski began his First Symphony in difficult times, during the Nazi occupation of Poland. At the time, he was making a living playing piano duos with composer colleague Andrzej Panufnik in the cafés of Warsaw. It is firmly rooted in Neo-Classicism but has none of the irony or stylization commonly associated with that style. Also, it makes no use of folk music elements, which frequently appear in many of Lutoslawskis post-war works. The title of Jeux vénitiens alludes to the fact that the work was meant to be premiered at the Venice Biennale. In the end, only three movements were performed there in April 1961, and the final four-movement version of the work was premiered in Warsaw in September in the same year. Secondarily, the title alludes to the game-like nature of its aleatoric writing. The Fourth Symphony is a product of Lutoslawskis late period at its most refined, characterized by a more nuanced and translucent harmonic approach than before, greater rhythmic clarity, a more straightforward approach and an expanded role for expressive melodic writing. These features stemmed in part from the fact that the importance of aleatoric sections was decreasing. In the Fourth Symphony, aleatoric counterpoint only accounts for about one fifth of the duration of the work. Conductor Hannu Lintu is an excellent advocate of Lutoslawskis music. Hannu Lintu recently won the Gramophone Award for his recording of the Bartók Violin Concertos together with Christian Tetzlaff and the Finnish Radio Symphony Orchestra.


As Jacob Kellermann points out in the commentary to this album, there is an unbroken tradition of performing arrangements of Franz Schubert s music on the guitar. Already in his lifetime some of his most popular songs appeared with simplified guitar accompaniment, marketed by music publishers wanting to exploit the growing market for domestic music-making. Schubert himself composed very little for the instrument, and there are doubts regarding Schubert s own skills on the instrument. Nevertheless it is well known that the guitar was in fashion with the middle-class Viennese among which Schubert and his circle of friends moved. In his notes, Kellermann argues that elements of the light, melody-driven and carefree musical style favoured in that environment and present in stylized form in much of Schubert s music is the very aspect that makes it so inviting to play on the guitar. DuoKeMi was formed by Kellermann and Daniel Migdal in 2006, and the two are constantly aiming to expand the repertoire for their combination of instruments. This has resulted in a number of commissions as well as new transcriptions, often by Kellermann himself as in the case of the much-loved Arpeggione Sonata recorded here.