Triple Axises

The air on Mt. Olympus must have been something like that in Berlin’s Jesus-Christus-Kirche when, in September 1969, the threesome of Richter, Oistrakh and Rostropovich joined Herbert von Karajan for this majestic recording of Beethoven’s underrated Triple Concerto. That there could have been such a meeting of the minds in this gathering of greats is difficult to believe, until one remembers that the three soloists were frequent collaborators who all spoke the same musical language, and after years in the trenches knew each other and their conductor very well. As one would expect, the solo work of the three Russians is brilliant and deeply musical. But just as delightful is the way they adjust from solo to ensemble roles and play together, with perfect unanimity, in the duet and trio passages. Karajan and the Berliners provide a monumental accompaniment, weighty, powerful, and rich in tone. The recording, one of the best from EMI in this venue, has been remastered in exemplary fashion and is impressively detailed and vivid.

Passionate, dramatic, yet poetic and richly nuanced Mari Kodama brings all these qualities to her interpretation of Beethovens Complete Piano Concertos. This exceptional recording with the Deutsches Symphonie Orchester Berlin shines with extraordinary intensity and contrast, due in no small measure to the artistic bond between Mari Kodama and her husband, the conductor Kent Nagano. Beethovens Piano Concertos are undoubtedly amongst the most influential works in the history of music. Art demands of us that we shall not stand still, the composer once wrote, placing the idea of development at the heart of his music. His five piano concertos saw Beethoven take piano music out of the salon and into the concert hall, playing a crucial role in advancing the genre towards the symphony, whilst simultaneously creating a bridge from the First Viennese School to the Romantic period. Mari Kodama, whose virtuosic mastery of the piano made her a household name all over the world, has completed the Beethoven Piano Concerto Cycle with her husband Kent Nagano, the international star conductor.

2009 three CD set of solo live tracks from the Deep Purple vocalist, authorized by Ian Gillan himself. Disc One was recorded at London's legendary Rainbow Theatre on 4th March 1981, with Bernie Torme on lead guitar. With the exception of one song, the performance is previously unreleased…

Beethoven’s Triple Concerto, completed about the same time as the Eroica Symphony, has suddenly become popular. One reason for its previous lack of popularity was the fact that three soloists cost three times as much as one normally expensive pianist, violinist or cellist. Another reason is that the work seeks to be a popular success, hence the Rondo alla Polacca with which it concludes. The piano part was intended for Beethoven’s patron and pupil, the Archduke Rudolph von Habsburg, and hence is less technically demanding than the composer’s usual pianistic writing, destined for himself. The standard CD (previously LP) of the work was a spectacular performance and recording made by EMI many years ago with David Oistrakh, Rostropovich and Richter with the Berlin Philharmonic under Karajan. It was opulently played with the BPO’s luscious sound, but has little to do with what Beethoven would have heard in 1804. Another choice was the version of Stern, Rose and Serkin (Sony), less lush and not so high-powered as Karajan’s.

The Triple Feature series by Sony Legacy compiles three – usually well-known – catalog albums by big-name artists, assembles them in a slipcase box, and sells them at a budget price to consumers. While the reason may be simply a new package in order to clear shelves of excess inventory, this exercise also serves a purpose for collectors and fans filling in holes for a favorite artist. In the case of Frank Sinatra, Sony actually compiled three previously issued compilations – Classics & Standards, I’ve Got a Crush on You, and Songs from the Movies. Sinatra-philes already know that the earliest part of his career was spent recording for Columbia, and these titles reflect more the crooner than the finger-popping swing daddy of jazz and pop. It’s not that the music here isn’t worth hearing…

Continuing to blaze a trail as a poll-winning clarinetist and far-sighted bandleader, Cohen delves into the wealth of ideas summoned by Lev-Ari on “Triple Helix”: classical and contemporary sounds, Americana lyricism, Latin and Middle Eastern rhythms and more. The clarinet trill at the outset hints briefly at Rhapsody in Blue, subtly proposing a 21st-century perspective on Gershwin’s model of hybrid-genre works for the concert hall. The Tentet has grown from workshops at Shapeshifter Lab in Brooklyn to multi-night runs of rousing club experiences at the Jazz Standard in Manhattan as well as high-profile engagements at the Newport, Monterey and SFJazz Festivals.