Allebou Prelude

Christine Brewer - Wagner: Prelude and Liebestod / Strauss: Tod und Verklärung, 4 Last Songs
Atlanta Symphony Orchestra / Donald Runnicles
EAC+LOG+CUE | FLAC: 252 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Telarc # CD-80661 | Country/Year: US 2006
Genre: Classical | Style: Opera, Songs, Vocal

…Nowhere is this overindulgence as exciting but in his rendering here of Strauss' Death and Transfiguration. Charged with energy, depth, and intellect, this is one of the finest modern-day accounts of this work ever recorded. Telarc's sound is naturally clear and deep, which makes for a riveting compact disc all the way around. If you aren't familiar with Runnicles or his work, you deserve to know both him and it. This recording is not to be missed.

The irresistible title of Prelude, Fnugg & Riffs refers to the opening work on this delightful disc of wind music, Leonard Bernstein's Prelude, Fugue and Riffs for clarinet and jazz ensemble of 1949. The Bernstein touches off a high-spirited and pleasingly international collection of wind pieces that keep the listener engaged and entertained even as they push into contemporary instrumental techniques.

Alto saxophonist Jason Stillman's Montreal-based quartet makes its recorded debut on Prelude, a sunny and engaging blend of Stillman originals and jazz standards whose spacious boundaries provide ample room for ardent blowing, especially by Stillman and pianist Josh Rager. Although the group has been a working unit for more than five years, Stillman waited until the time was right before entering a studio, and his patience has paid dividends, as the group dynamic is impressive throughout…

Naxos’ exciting and important American Classics series now includes music of the present day, in this case three recent works by Philip Glass. The Violin Concerto, a work that (surprisingly) adheres to classical conventions, lures us in with beautiful, seductive harmonies. Glass relies both on his trademark arpeggiated technique (sounding in the first movement somewhat like Vivaldi’s “Winter” concerto) and on his favorite harmonic progressions to suggest a sustained melodic line. In the first two movements Glass’ carefully timed harmonic and rhythmic shifts keep you in a happy daze. He breaks the mood in the finale, however, leaving the soloist to practice arpeggios at length until the quiet, serene coda steals in. Adele Anthony, who plays with the kind of skill and grace we would expect in a Mozart concerto, brings off Glass’ work with consummate, convincing musicianship. Company (music for Becket’s prose) for string orchestra is in four movements, characterized by stimulating changes in time signature and rhythm.

The 15th studio long-player from the progressive rock/AOR legends - and first collection of new material in 16 years - The Prelude Implicit is the first Kansas album to feature new vocalist and keyboardist Ronnie Platt, who replaced founder Steve Walsh after the former announced his retirement in 2014. The 12-track set also marks the studio debuts of keyboard player David Manion and guitarist Zak Rizvi. That's a lot of new blood, but rest assured, The Prelude Implicit is very Kansas-y. Platt's amenable voice is custom made for melodic rock - think Tommy Shaw-meets-Paul Rodgers - and the presence of founding members Phil Ehart (drums) and Rich Williams (guitar), alongside longtime violin/guitar player David Ragsdale and bassist Billy Greer, helps to further ground the proceedings, resulting in something that sounds both familiar and forward thinking…