Ok Orchestra

Swedish composer Ture Rangström (1884–1947), a contemporary of Sibelius and Nielsen, was largely self-taught and defiantly independent in his approach to symphonic composition. Though well versed in counterpoint and sonata principles, Rangström largely rejected these techniques in favor of his own, which emphasized content over form, and drama over development. While there’s no doubting the dramatic and narrative power of the music, the lack of true counterpoint (his themes are not harmonically interrelated or contrasted, but rather blatantly juxtaposed) makes them ultimately unsatisfying as symphonies but perfectly suitable, as, for example, film scores, or as multi-movement symphonic poems (poets were his main inspiration).

Swedish composer Ture Rangström (1884–1947), a contemporary of Sibelius and Nielsen, was largely self-taught and defiantly independent in his approach to symphonic composition. Though well versed in counterpoint and sonata principles, Rangström largely rejected these techniques in favor of his own, which emphasized content over form, and drama over development. While there’s no doubting the dramatic and narrative power of the music, the lack of true counterpoint (his themes are not harmonically interrelated or contrasted, but rather blatantly juxtaposed) makes them ultimately unsatisfying as symphonies but perfectly suitable, as, for example, film scores, or as multi-movement symphonic poems (poets were his main inspiration).

No opera composer of the Baroque era invested his stage works with more imaginative orchestral music than Jean-Philippe Rameau. The adventurous wind orchestration, rhythmic drive and variety, and complex interplay of voices found in his interludes, dances, and preludes are immediately striking to modern ears in a way that only the dedicated orchestral works of other Baroque masters can match (think Handel's Royal Fireworks Music, for example).

Bernard Haitink's classically clear and direct approach combines élan, elasticity and, where appropriate, tremendous rhythmic punch – his readings of Boléro and La valse are volatile, yet thrillingly disciplined to the last. He brings a natural compulsion to the languorous eroticism of Daphnis et Chloé Suite No. 2, while his idiomatic handling of the earliest (and slightest) of these works, the Menuet antique and familiar Pavane pour une infante défunte, is equally beguiling. Haitink's painstaking attention to fine orchestral detail adds refined distinction to his Valses nobles et sentimentales and crystalline delicacy to both Le tombeau de Couperin and the more elusive Ma mère l'oye. There are few more vibrantly evocative, or palpably exciting versions of the Rapsodie espagnole and Alborada del gracioso. Don't be in the least surprised, however, if the phenomenal sound quality prompts an incredulous second glance at the recording dates quoted in the booklet!

The Best of the Love Unlimited Orchestra collects 15 tracks by Barry White's groundbreaking instrumental support outfit. Their sound as assembled by White – thick layers of sweet strings, pulsing beats, chunky wah-wah guitars, plus tinkling piano and gently swelling horns – played a huge role in creating the blueprint for disco, not to mention countless porn soundtracks. In addition to backing White and his female protégées Love Unlimited, the Love Unlimited Orchestra also made their own recordings, naturally with White at the helm. Although they recorded up to 1983, their commercial heyday lasted from 1974-1977, when they charted regularly on the pop, R&B, and disco/club listings. They even scored a number one pop hit right out of the box with 1974's "Love's Theme," a watershed record in the history of disco. That's here, of course, plus the Orchestra's other chart hits: "Satin Soul," "Rhapsody in White," "Forever in Love," "My Sweet Summer Suite," "Bring It on Up," and their theme from the 1977 remake of King Kong.

Riccardo Muti takes time out here to present some of the lesser known, rarely heard orchestral scores of his fellow countrymen, and a superbly played, enjoyable concert it is too. Proceedings commence with a fine and spirited performance of Alfredo Casella's divertimento Paganiniana—not a great piece by any means but a work possessing plenty of charm and humour nevertheless; the outer movements are a bit of a romp (very opera buffa) and must have been as much fun to write as they clearly are for the La Scala Philharmonic to play.

This CD features a logical combination: singer Diane Schuur with the Count Basie big band. In what would be longtime rhythm guitarist Freddie Green's final performance, Schuur and the Basie ghost band (under the direction of Frank Foster) perform material that includes her standards (such as "Deedles' Blues" and "Climbing Higher Mountains"), Dave Brubeck's "Travlin' Blues" and the Joe Williams-associated "Everyday I Have The Blues." Unfortunately, the Basie band is mostly used in accompaniment without any significant solos, but Schuur sounds quite comfortable in this format and her voice is in prime form.