2 American Concertos

On this CD:

1. Concerto for clarinet & orchestra
Composed by Meyer Kupferman
Performed by Boston Pro Arte Chamber Orchestra with Peter Alexander
Conducted by Leon Botstein

2. Concerto for bassoon & chamber orchestra
Composed by Richard Edward Wilson
Performed by Boston Pro Arte Chamber Orchestra with Robert Wagner
Conducted by Leon Botstein

3. Suite for small orchestra
Composed by Richard Edward Wilson
Performed by Boston Pro Arte Chamber Orchestra
Conducted by Leon Botstein

Editorial Reviews
Fanfare, March/April 1991
This disc presents concertos by two highly accomplished American composers, played by fine soloists and a simply outstanding chamber orchestra under Leon Botstein. The music is interesting, the recording well produced, the product fully recommendable.

Kupferman's clarinet concerto takes its inspiration from musical fragments from Bach, Handel, and Scarlatti. These are then subjected to quite contemporary-sounding treatment, combining serial elements with some very complex rhythmic ideas and even echoes of Gershwin.

Wilson's bassoon concerto takes as its chief artistic challenge correcting his chosen instrument's image as something of a buffoon. He has made a piece with English horn, French horn, cello, bass clarinet, and contrabassoon, always in such a way as to establish a recognizable personality for the soloist.

Wilson's "Suite" shares the concerto's overall sophistication in tone and means. By turns aggressive, driving, and plaintive, it proves to be a challenging yet appealing piece, both intellectually and emotionally satisfying.

Fanfare Magazine, January 1, 1991
The music is interesting, the recording well produced, the product fully recommendable.

Album Description
One of Leon Botstein's earliest recordings, this rare CRI CD features two concertos by American composers Richard Wilson and Meyer Kupferman

2 American Concertos

Tracks:

Pno Con No.1 in a, Op.15: Maestoso - Allegro Con Fuoco
Pno Con No.1 in a, Op.15: Andante Tranquillo
Pno Con No.1 in a, Op.15: Presto
Pno Con No.2 in d, Op.22: Larghetto Calmato
Pno Con No.2 in d, Op.22: Presto Giocoso
Pno Con No.2 in d, Op.22: Largo - Molto Allegro
Witches' Dance, Op.17 No.2
Romance, Op.35 - Aisling Drury Byrne

Customer Reviews:

A budget issue that's worth full-price.......2007-06-24

Chalk up another offering from Naxos classics that is highly competitive with full-price issues. The big treat here is the First Piano Concerto, historically overshadowed by MacDowell's 2nd. Most reviewers tend to give the work short shrift, dismissing it as inferior to the later concerto. I disagree. The main theme in the 1st movement is one of those haunting melodies that will stick with you for days afterward. Even though one hardly ever hears the 1st in the concert hall, many pianists have recorded the two concerti together -- even back in the LP days when each work fit neatly on one side of the record. Stephen Prutsman does this concerto proud, and is given great support by the Irish players. IMHO, the only recording that gives him a run for his money is the old Eugene List performance on Westminster (with the Vienna State Opera Orchestra conducted by Carlos Chavez, of all people.)

In the 2nd concerto, the competition is more fierce. Again, Prutsman does very well, and he shapes the three movements nicely. Many people like Earl Wild and Van Cliburn in this repertoire. I agree about Wild, but Cliburn has never sent me over the horizon, either in his recording for RCA or in the concert hall (I've seem him do this piece twice, 15 years apart -- both times his performance didn't linger long in the memory). There are of course numerous other recordings of the 2nd you can sample. Whatever you do, stay away from Seta Tanyel on Hyperion ... the tempo in the beginning of the final movement is so s-l-o-w, I laughed out loud when I heard it. I know it's marked "largo", but this is ridiculous! Frankly, I'm surprised conductor Martyn Brabbins was part of that recording project. He is normally so "spot on" in conducting romantic piano concerti ... Ms. Tanyel probably insisted on doing it this way (just like her slow Scharwenka concertos, also disappointing). One wonders why Brabbins didn't just put his baton down and walk off the stage!

Anyway, you certainly can't go wrong with the Naxos. Indeed, it would be worth purchasing at twice its budget price.

Great Performance.......2005-01-24

The piano has great reverberation and really sticks out in this recording. The pianist in addition, gives an exceptional performance.

Glorious MacDowell Piano Concerti Given Expert Performances.......2001-04-10

Except for a misreading of a bass note in the cadenza in the first movement of the first concerto, Stephen Prutsman plays flawlessly. His virtosity is effortless, and never strained. He does not get in the way of the gratutious orchestral parts, so the balance between soloist and orchestra is exemplary. The first concerto especially sounds fresh and newly-minted. Even though the Wild and Cliburn recordings of the 2nd concerto resonate in the mind, this certainly stands as a fine alternative interpretation, and should be listed alongside them. The other short works are well done, too. Great sound and worth the money!

Average customer rating:

Eccentric but not Insightful
Please, remember: we are talking about of Mr. Glenn Gould!
Mixed bag
An historic collection
Impressive performance!

Beethoven: The 5 Piano Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mozart: The Complete Sonatas; Fantasias, K397 & K475
The Glenn Gould Edition: Ludwig Van Beethoven Piano Sonatas, Volume II
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Glenn Gould Edition: Chopin / Mendelssohn / Scriabin / Prokofiev

ASIN: B0000028NU
Release Date: 1992-10-27

Tracks:

Concerto For Piano No. 1 In C Major, Op. 15: I. Allegro con brio (Cadenza: Glenn Gould)
Concerto For Piano No. 1 In C Major, Op. 15: II. Largo
Concerto For Piano No. 1 In C Major, Op. 15: III. Rondo. Allegro Scherzando
Concerto For Piano No. 4 In G Major, Op. 58: I. Allegro Moderato (Cadenza: Ludwig Van Beethoven)
Concerto For Piano No. 4 In G Major, Op. 58: II. Andante Con Moto
Concerto For Piano No. 4 In G Major, Op. 58: III. Rondo. Vivace

Tracks:

Concerto For Piano No 2 In B-Flat Major, Op. 19: I. Allegro Con Brio (Cadenza: Ludwig Van Beethoven)
Concerto For Piano No 2 In B-Flat Major, Op. 19: II. Adagio
Concerto For Piano No 2 In B-Flat Major, Op. 19: III. Rondo. Molto Allegro
Concerto For Piano No 3 In C Minor, Op. 37: I. Allegro Con Brio (Cadenza: Ludwig Van Beethoven)
Concerto For Piano No 3 In C Minor, Op. 37: II. Largo
Concerto For Piano No 3 In C Minor, Op. 37: III. Rondo. Allegro

Tracks:

Concerto For Piano And Orchestra No. 5 In E-Flat Major, Op. 73 'Emperor': I. Allegro
Concerto For Piano And Orchestra No. 5 In E-Flat Major, Op. 73 'Emperor': II. Adagio Un Poco Moto - Attacca:
Concerto For Piano And Orchestra No. 5 In E-Flat Major, Op. 73 'Emperor': III. Rondo, Allegro

Amazon.com

Glenn Gould and Leonard Bernstein bring an attractive regal pomp and broad rhetoric to the Third Concerto, yet these qualities work to the more lyrical Fourth's disadvantage. Gould's well-oiled fingers zip rather mechanically through the outer movements in the first two concertos, and he scrutinizes the Emperor with the inquiring mind of a brilliant crank. Excellent remastered 20-bit sound. --Jed Distler

Customer Reviews:

Eccentric but not Insightful.......2007-05-14

Why does Gould always prefer to quarrel with the composer rather than to collaborate? The 5th in particular is incoherent, but each of the others strives to revise the "playing tradition" in labored and arbitrary mannerism. The most remarkable thing about Glenn Gould, at this point in time, is the passion of his cult worshippers. I am now very close to having listened to the entire Gould Edition; I'll be glad to get it over.

Please, remember: we are talking about of Mr. Glenn Gould!.......2005-11-14

The eccentricity was one of the most remarkable features of Glenn Gould. His honesty as artist and personal convictions permeated every one of his performances. And his Beethoven 's interpretations are always surrounded of a clear intention of dismemberment, he liked to crumble and abrade all kind of mystification signal around the figure and ominous presence of Bonn 's genius. All of us who followed the musical legacy, we can agree or disagree around this aspect. But Gould always got to state his personal convincement, loaded of profound disparity and visible alteration of the tempos; a clear signal of his total irreverence respect the genius and figure of one of the Holy Gods in the musical Pantheon.

Respect the Fifth Concerto, Gould had the occurrence to record with Leopold Stokowski, who, as conductor was not neither a devoted Beethoven 's interpreter nor a consummate interpreter. The result of this weird musical alchemy was possibly the most eccentric and intentionally provocative personal reading. Gould disdains the aristocratic vein and any symbol that represents an idiosyncratic icon. Under this perspective the Emperor is a celebrated work that engages and captives rapidly the most primitive of the listeners, its long cantabile lines allow to retain in the memory the core of the work. But it is time to acknowledge in this piece its unencumbered lyricism and a certain atmosphere of theatrical triviality respect the figure of the Emperor. Perhaps this was a frontal statement against Napoleon his maxim disillusion as emblematic symbol of the new renovator airs after the French Revolution. After all the Emperor has also his little heart. The performing is absolutely free from all standpoint. That can generate serious problems respect the purists who may be accustomed to a major classical approach. You must realize the funny arpeggios that should proclaim epic vigor; but Gould disfigures it and transforms in a very sarcastic bourgeois hymn, with a very clever purpose, to eviscerate the contemplative and illusionist character of this Imperial fairy tale.

The Fourth Concerto is played under the same conception; it is erratic but supported by an original statement. Being the most classical and perhaps the most solid of the Set Gould undermines the heroic spirit and proverbial beauty of the score.

The Third Concert is to my mind one his best achievements. If we have to recognize the lack of visceral ignition of Leon Fleisher or the magisterial and unbeatable approach of Ivan Moravec or Wilhelm Kempff, Gould gets to convince, according his irreverent behavior, the minimum facets of this work.

The Second Concerto is what we might call "a work in progress", whose final result we would appreciate it in his admirable live recording in the Russian tour in 1958, as good will musical Ambassador. This last version is just an echelon blow the unsurpassable version of William Kapell.

And finally the First Concerto, loaded of a energetic and mercurial flair is to my mind one of his two major achievements and shares honors with Second. Gould displays passion, virility and thundering fingering combined of a fabulous musicality. In this sense this First one can rival easily with the superb and towering reading of Casadesus Van Beinum, the lovable version of Kempff Van Kempen, the fierce performance Richter Munch and the epic live version of Barenboim playing with the Berlin Philharmonic on November 12th 1989.

Mixed bag.......2003-07-13

Much like any other Gould recording of Beethoven, some of these entries will please, some won't. I recommend the 1st, 2nd, and 4th Concertos in this set.

An historic collection.......2001-08-03

If one is looking for a collection of all five of the concerti, this is an excellent selection. Gould's entrance to the 5th is enough for me. His brilliant work on the cadenzas, and the teaming with Bernstein makes this collection an excellent journey through Beethoven's evolution as a composer.

Impressive performance!.......2000-06-15

Though the sound quality especially of the 2nd piano concerto in B-Flat is likely poor, this recording can be highly recommended for the Beethoven and Gould "fan": In particular in the 4th concerto Mr Gould strikes the wonderful and ever-changing balance between play and elegance that that makes Beethoven that great.

Tracks:

American Trombone Concertos, Volume 2: I. Adagio; doloroso - Cadenza - attaca
American Trombone Concertos, Volume 2: II. 144 - Cadenza - attaca
American Trombone Concertos, Volume 2: III. Elegiaco, lugubre
American Trombone Concertos, Volume 2: Concerto para tromb orquesta
American Trombone Concertos, Volume 2: Meditation For Trombone And Orchestra

Customer Reviews:

Inspired concertos of a one-time neglected brass sackbut.......1999-06-06

The Trombone has come of age of itself. Time was it inhabited the backwalls of the orchestra to sit tirelessly counting rests. Slowly we have pieces now for solo trombone, in fact there is an entire repertoire which Lindberg has recorded vigorously. The Rouse concerto casts something similar to his "First Symphony" with bursting lyricism of strings screeching in the stratosphere,with thick impenetrable lower strings. The odd mimicking of ideas is slightly humorous. A direct imitation is quite innocent yet filled with high energy,even jazzy in gesture at times. Rouse knows how to build momentum,but I think it is not enough all the time or not well paced With this large gestural scope the Rouse requires a possessed performer at minimum. Augusta Read Thomas has an original voice here. Her music displays well crafted lyricism,lapidiarian like with well balanced chordal sonorities,knowing how to mix and blend strings and winds. She is less informed in her use of percussion. She knows brass well, she played trumpet once,but here the trombone has a story to tell, one of elegant lyricism,meaning her music transcends the instruments obvious historical baggage of relative arrogance heaviness and clumsiness. She knows how to shape her solo accomplice into the fabric of the orchestra. The Chavez as well is a good example of this neglected composer. And Lindberg knocks the hell out of anything he blows. He can also be senstitive as well to the metaphysical voice contained within each work

Three knockouts by a trombone heavyweight.......1999-04-13

Read Thomas is someone who has found a unique voice. She is elegantly ugly at times, and evocative without knowing. But there is an intense transparent lyricism which runs through all her music. She glides and lilts her way through her well thought-out pieces not bothering to write so that everyone in the orchestra plays. She for instance downsizes the lower voices, something I find fascinating. Here the trombone solo is music it has been wanting to play all its life,so neglected and pigeon-holed as a clumbsy clown. But not here, Read Thomas reestablishes its grandeur and dignity. So does Rouse but in an ever more gut-wrenching way. I feel the presence of his "First Symphony" here the "Adagio" the darkly packed lower voices there and here again served him well with high-tension violin melos.Dedicated to Bernstein a friend, the piece has an obvious miniature requiem-like feel. But things do get jazzy,huffy with Lindberg teasing and tempting the orchestra to mimic him and does a few times. A funny bit I guess proclaiming Lenny's self-consciousness. Chavez to we hardly hear or know, but this is a well constructed work with again the lyricism the trombone has been begging for and needs.

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Native American Spectacular

Two World Concerto

Manufacturer: Canyon Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000138P
Release Date: 1997-09-30

Tracks:

Two World Concerto: Spirit Call: 'Paint For Us The Times To Come...'
Two World Concerto: Lake That Speaks: 'This Trembling Of Beings And Things'
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Native Drumming: Part 1: 'Flag Song' - Black Lodge Singers/Canyon Symphony Orchestra
Native Drumming: Part 2: 'Destiny Song And Mask Dance' - Black Lodge Singers/Canyon Symphony Orchestra
Encores: Seasons - Black Lodge Singers
Encores: Zuni Corn Grinding Song

Product Description

01. Spirit Call: “ paint for us the times to come..”; 02. Lake That Speaks: “this trembling of beings and things”; 03. Crow Smoke: “shaping worlds as fire burns...”; 04. Gray Hawks Rising (aria for Native American flute and orchestra); 05. Native Drumming Part 1: “Flag Song”; 06. Native Drumming Part 2: “Destiny Song and Mask Dance”; 07. Seasons (by Sahwn Scabby Robe); 08. Zuni Corn Grinding Song (arranged by R. Carlos Nakai)

Format: CD

Customer Reviews:

Native American Spectacular.......2003-01-31

Two World Concerto is a masterpiece of Native American flute and musical impressionism. Mark me, this is not an easy, "Home on the Range" listen. Striking strings, melodious flute and vocals added by the renowned Black Lodge Singers work together to paint tone poetry that is simply remarkable. Go for it!

Average customer rating:

masterful

J. S. Bach: Harpsichord Concertos
J. S. Bach , Michael Sponseller , Jeffrey Thomas , and American Bach Soloists
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000A8AXCC
Release Date: 2005-08-09

Tracks:

Concerto for Harpsichord, Flute, Violin, Strings, and Basso continuo in A Minor, BWV 1044: Allegro
Concerto for Harpsichord, Flute, Violin, Strings, and Basso continuo in A Minor, BWV 1044: Adagio, ma non tanto, e dolce
Concerto for Harpsichord, Flute, Violin, Strings, and Basso continuo in A Minor, BWV 1044: Allabreve
Concerto for Harpsichord, Recorders, Strings, and Basso continuo in F Major, BWV 1057: [Allegro]
Concerto for Harpsichord, Recorders, Strings, and Basso continuo in F Major, BWV 1057: Andante
Concerto for Harpsichord, Recorders, Strings, and Basso continuo in F Major, BWV 1057: Allegro assai
Concerto for Harpsichord, Strings, and Basso continuo in D Minor, BWV 1052: Allegro
Concerto for Harpsichord, Strings, and Basso continuo in D Minor, BWV 1052: Adagio
Concerto for Harpsichord, Strings, and Basso continuo in D Minor, BWV 1052: Allegro
Concerto in D Major, BWV 972 after the Concerto for Violin, op.3, no.9, by Antonio Vivaldi: Allegro
Concerto in D Major, BWV 972 after the Concerto for Violin, op.3, no.9, by Antonio Vivaldi: Larghetto
Concerto in D Major, BWV 972 after the Concerto for Violin, op.3, no.9, by Antonio Vivaldi: Allegro

Customer Reviews:

masterful.......2006-03-22

My favorite track is number seven, BWV 1052, Allegro I. This is an excellent recording and is enjoyable to listen to again and again.

Average customer rating:

2 American Concertos

Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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Classical | Indie Music | Stores | Music
ASIN: B000005TU3
Release Date: 2005-08-01

Tracks:

Clarinet Concerto (1984): Con Moto
Clarinet Concerto (1984): Adagio Non Troppo
Clarinet Concerto (1984): Allegro Vivace E Scherzando
Concerto For Bassoon And Chamber Orchestra
Suite For Small Orchestra (1988): March
Suite For Small Orchestra (1988): Nocturne
Suite For Small Orchestra (1988): Waltz
Suite For Small Orchestra (1988): Benediction
Suite For Small Orchestra (1988): Tarantella
Suite For Small Orchestra (1988): Arabesque
Suite For Small Orchestra (1988): Prelude
Suite For Small Orchestra (1988): Valediction

Product Description

One of Leon Botstein's earliest recordings, this rare CRI CD features two concertos by American composers Richard Wilson and Meyer Kupferman

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500 Classic Masterpieces

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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Fantasies | Forms & Genres | Classical | Styles | Music

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ASIN: B00008FZWM
Release Date: 1992-11-04

Claudette Sorel Plays 3 American Concertos

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Claudette Sorel Plays 3 American Concertos

Manufacturer: Emsco
ProductGroup: Music
Binding: Audio CD

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A Yankee Victory

American Piano Concertos

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

David Ott: Symphony No. 2; Symphony No. 3

ASIN: B00000K2FO
Release Date: 1999-09-21

Tracks:

Black Light: Aggressively driving
Black Light: Forcefully
Black Light: Presto
Allegro
Piano Concerto No. 2: Adagietto
Piano Concerto No. 2: Allegro
Piano Concerto

Customer Reviews:

A Yankee Victory.......2000-04-04

This set of excellent recordings of American piano concertos gives the lie to the claim that contemporary music lacks expression of beauty. Paul Barnes gives a flawless performance on three very difficult yet thoroughly listenable modern works. The Bohuslav Martinu orchestra supports admirably.

Victoria Bond's "Black Light," a celebration of jazz, while not a jazz piece, is full of jazzy syncopation and frequent use of chords that, though not used as functional jazz harmony, utilize added color tones a la jazz. Numerous other composers have sought to meld jazz with symphonic works: Shostakovich wrote what were really mere caricatures of jazz; Stravinsky's "Ebony Concerto" used the rhythmic phrasing and instrumentation of a big band; Milhaud's "Creation du Monde" used true jazz harmonies of the time; and midwest composer John Downey has used in some pieces what he calls "undercurrent jazz," which I perceive as punctuating the piece with the pulse of jazz music. Bond's piece fits in as an homage to black jazz musicians, using jazzy chords and some jazz rhythms -- though the roots of many of these rhythms could as easily be traced back to Rimsky-Korsakov as to early American jazz musicians. And I'm bothered by the inherent racism of the title -- as if white jazz musicians used some wholly different musical language, or as if white musicians had nothing to do with the development of jazz.

After the strident introduction of the first movement, the second movement begins more like the introduction to a Shostakovich symphony than a jazz work, but consists of an intriguing question & answer session between orchestra and soloist. Eventually the two parties overlap and synthesize, and the movement develops into a fascinating alternation of quiet ruminations and contrapuntal dialogue.

The third movement is easily the jazziest portion, energetic and heavily percussive.

David Ott's piece opens almost immediately with a virtuosic cadenza that Barnes incredibly sails through as though it were kid stuff. Pensive and meandering, and never lacking in musical interest, the movement ends in a thoroughly entertaining cat and mouse chase between Barnes and orchestra, carried off with sparkling brilliance by both cat and mouse.

The Adagietto second movement is a brown study, often mysterious and sometimes sombre. The third movement is a jaunty, adventurous scherzo that only an American composer could write. Stay tuned for the intriguing harmonic progressions in the cadenza.

Though the form of Joan Tower's concerto is rather episodic, it's full of sonic treats, and Barnes' faultless, expressive play makes it well worth the listen. The second of the two cadenzas contains a surprise, going into a beautiful sequence wholly unexpected given the harmonic language of the rest of the piece.

Throughout the recording, Barnes' touch is impeccable. He is not one of the many pianists who sacrifice musicality and soulful expression for brilliance and accuracy; with Paul Barnes you get the whole package.

Music Track:

Music Track

music track

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