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Mairéad Hickey. Photo: Santiago Cañón Valencia
This showcase for current stars of the Kronberg Academy was recorded live and unedited – there is a distracting trail for another TV programme – and sometimes rougher than ready. Both Mairéad Hickey and Santiago Cañón Valencia seemed to struggle against Christoph Eschenbach’s inclination towards expansive tempos, which produced a slightly lumpen accompaniment to the first movements of the Bruch G minor and Haydn C major concertos respectively and allowed their slow movements to drift.
There was certainly no excess sugar or fat in Hickey’s articulation of a solo part which responded well to her vibrant, slimline tone and as much improvisatory phrasing as she could muster under the circumstances. Cañón Valencia took the corners of his own first-movement cadenza on two wheels, but some mellow pure tone and imaginative ornamentation confirmed the positive impressions left by his albums on the Atoll label.
D. A Wend
| 10/04/2002 (3 out of 5 stars) I recall this recording when it was issued as an LP several years ago. The jazz band recording of Rhapsody in Blue is quite a novelty since we usually heard the version for full orchestra. Both orchestrations by Ferde Grofe are wonderful but the jazz band version with its smaller forces is refreshing to hear. The short pieces recorded here like Short Story, Sleepless Night and the Promenade (Walking the Dog) are quite great compositions and are seldom recorded.However, I have serious reservations about Mr. Tilson Thomas performance of the Second Rhapsody. This piece is called a recreation from George Gershwin s manuscript. One wonders what this means. The Second Rhapsody was originally a sequence in the film Delicious (under the name Manhattan Rhapsody where it was part of a New York setting) which Gershwin developed into a concert work. Gershwin said there was no program for the Rhapsody. The theme Gershwin started with was