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Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski
The Rodrigo concerto (double woodwind, 2 horns, 2 trumpets and strings) needs real virtuoso playing—it is one of those works which are harder than they sound—but is most skilfully written. The cheerful first movement, starting up with typical Iberian belatedness from apparently idle introductory strumming, may make the most immediate effect, but undoubtedly the finest part of the work is the introspective Adagio, which shows that in the right hands even such seemingly cliché-bound elements as melancholy cor anglais solos and quasi-flamenco fiorilure can still be moving. Williams's reading differs somewhat from Bream's (which I still think superb): he takes the first movement a thought slower and just misses Bream's élan, but gives the finale actually more bite: he plays the slow movement sensitively, less dramatically and more dreamily than Bream (and incidentally changes the notes of the final arpeggio). It is a throughly musical performance, a worthy rival to that by his distinguished fellow-countryman.
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
$24.99
Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski—
$24.99
Music Of Spain - Rodrigo, Falla, Albeniz / Williams, Entremont, Ormandy, Stokowski
The Rodrigo concerto (double woodwind, 2 horns, 2 trumpets and strings) needs real virtuoso playing—it is one of those works which are harder than they sound—but is most skilfully written. The cheerful first movement, starting up with typical Iberian belatedness from apparently idle introductory strumming, may make the most immediate effect, but undoubtedly the finest part of the work is the introspective Adagio, which shows that in the right hands even such seemingly cliché-bound elements as melancholy cor anglais solos and quasi-flamenco fiorilure can still be moving. Williams's reading differs somewhat from Bream's (which I still think superb): he takes the first movement a thought slower and just misses Bream's élan, but gives the finale actually more bite: he plays the slow movement sensitively, less dramatically and more dreamily than Bream (and incidentally changes the notes of the final arpeggio). It is a throughly musical performance, a worthy rival to that by his distinguished fellow-countryman.
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
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The Rodrigo concerto (double woodwind, 2 horns, 2 trumpets and strings) needs real virtuoso playing—it is one of those works which are harder than they sound—but is most skilfully written. The cheerful first movement, starting up with typical Iberian belatedness from apparently idle introductory strumming, may make the most immediate effect, but undoubtedly the finest part of the work is the introspective Adagio, which shows that in the right hands even such seemingly cliché-bound elements as melancholy cor anglais solos and quasi-flamenco fiorilure can still be moving. Williams's reading differs somewhat from Bream's (which I still think superb): he takes the first movement a thought slower and just misses Bream's élan, but gives the finale actually more bite: he plays the slow movement sensitively, less dramatically and more dreamily than Bream (and incidentally changes the notes of the final arpeggio). It is a throughly musical performance, a worthy rival to that by his distinguished fellow-countryman.
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
-- Gramophone [7/1966]
reviewing Concierto de Aranjuez on LP
-------
This is not a record for purists, but never before on disc have I heard a performance of the vividly atmospheric Falla ballet anything like so involving as this. Stokowski may indulge in some souping up of the texture in the haunting "Pantomime", but I confess that that is how I have always wanted to hear it, and the brisk songs and dances (not just the "Ritual Fire Dance") have a dramatic bite that conveys the freshness of excitement that must have attended the first appearance of a ballet which so patently extended from Russia to Spain the new and exotic medium developed by Diaghilev. Diaghilev himself certainly appreciated its potential quickly enough with the ensuing Three Cornered Hat.
Shirley Verrett makes a superb soloist, characteristically rich-toned most of the time but from time to time flinging at us impressive imitations of raucous flamenco chest-tone. The recording, larger than life, dates from the early sixties, but it is still impressive, rich and atmospheric.
-- Edward Greenfield, Gramophone
reviewing El Amor Brujo on LP
