Thomas Gunzig Feel

Thomas Guthrie's arrangement of the "Schöne Müllerin" for small ensemble transports the listener back to a world of sound that Schubert knew from the musical evenings in the homes of his friends - those gatherings where the singing was accompanied by guitars, strings and, if available, a piano. Unlike the lieder recital, where the singer stands at the grand piano in a large hall, in this intimate atmosphere the listener is drawn much more into the drama and emotion of Schubert's music. The singer Thomas Guthrie is supported by Bjarte Eike and members of his ensemble Barokksolistene.

Christian Tetzlaff’s effortless virtuosity, purity of intonation, and slight emotional reticence perfectly suits Sibelius, making this the finest available collection of the Finnish composer’s music for violin and orchestra. In the concerto, Tetzlaff’s relative coolness makes the music sound more like Sibelius and less like a violin concerto, which is all to the good. That doesn’t mean he lacks anything in sheer technique: indeed, his first-movement cadenza impresses as one of the most impressively concentrated and musically satisfying on disc. Tetzlaff’s slow movement sings but avoids panting and heaving, while the finale realizes the music’s gentle melancholy as well as its more thrusting elements. He’s nicely accompanied by Thomas Dausgaard, whose gentle support perfectly suits the overall interpretation.

This is the first recording of the 45-musician Orchestre de Chambre de Paris (OCP) under the direction of famed violinist Thomas Zehetmair, who assumed the role of principal conductor and artistic advisor during the 2012/13 season. Together they present a program of French music by Ravel and Debussy. With a myriad of existing recordings of the orchestral works of Ravel and Debussy on the market, one might ask what would be the reason to pick up yet another.

The three Copland classics on this disc–Billy the Kid, Appalachian Spring and Rodeo–are all ballet scores, and from the very first bars of Billy, with its evocative depiction of the wide-open prairies, you are firmly in the territory of music that tells a story. But you don't need to follow all the ins and outs of each story to enjoy music which paints as vivid a picture of rural America as you could hope for. If the sprightly "Hoe Down" from Rodeo brings a splash of colour to concert programmes, the remarkable thing about so much of the music in these three pieces is how quietly sensitive it is. And while Michael Tilson Thomas does not hold back in wringing every last ounce of splashy razzmatazz, he is equally the master of introspective music which clearly demonstrates that you don't need to be loud to be a populist. The recordings were made in the San Francisco Symphony's home, Davies Symphony Hall. You couldn't hope for more authentic performances than this–more than 76 minutes of dyed-in-the-wool Americana.