Simon Philips

Seiji Ozawa - The Art of Seiji Ozawa (2013) [16CD Set] {Deutsche Grammophon}
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© 2013 Deutsche Grammophon / Universal | DG 4807020
Classical / Concerto / Symphony

A rewarding release… As to the Mandarin, first impressions suggest a gloved fist on Ozawa's part and a general softening of attack since [his earlier DG recording from] 1975… Ozawa is strong on sensuality - those all-pervading glissandos, the seduction games and the languidly teasing sequences that lead to the chase… As to the Concerto for Orchestra…the Bostonians' Bartókian pedigree - it was, after all, Koussevitzky who commissioned the work — guarantees a certain élan and refinement… Ozawa is best where the going gets frantic (his finale is terrific, especially at the outset, and he plays Bartok's more concise original ending)… Ozawa's virtues are intelligence, alertness and a fine ear for detail… (Gramophone [8/1995] reviewing the Bartók recordings, originally released as Philips 442783)

Barenboim and Boulez celebrate Liszt’s 200th birthday with gripping readings of the Concertos no. 1 in E flat major and no. 2 in A major.

As many readers know, although Bach composed a number of violin concertos (and for other melody instruments), mostly during his years in Coethen (approximately 1717-1723), with respect to violin concertos, only the three represented here remain in their original form (Violin Concerto in A minor, BMV 1041; Violin Concerto in E major, BMV 1042; and the Double Violin Concerto in D Minor, BMV 1043). (The concerto for flute, violin and harpsichord in A minor, BMV 1044, not included here, also remains in its original form).

This is the masterwork, Gluck's last important opera, which convinced the teenage medical student Berlioz, when he first heard it in 1821, that he had to be a composer. He worshipped Gluck and took his side in the phoney "Gluck vs.Piccini War". He set himself the task of sitting in the Conservatoire library to copy out the entire score in order to absorb its lessons. Its directness and drama influenced his artistic style his whole life through, as evinced by key points in "Les Troyens".

On this disc, the Choir of St John’s College, Cambridge performs alongside four soloists and the period instrument ensemble St John’s Sinfonia. The tenor Sam Furness and bass George Humphreys both started their careers as Choral Scholars with this very choir. The mezzo-soprano Frances Bourne is in great demand on the concert platform and has sung with many of Europe’s leading conductors; the soprano Susan Gritton has amassed a vast discography that has earned her two Grammy nominations and includes, for Chandos, recordings of works by Haydn, Schubert, Mendelssohn, and Vaughan Williams.