Norman Lebrecht goes on another tirade against the Vienna Philharmonic

Sigh. British music columnist Norman Lebrecht has developed a reputation for bashing great musicians, and he's published rants against the Vienna Philharmonic multiple times. He finds it troubling that the orchestra is over 90% male, arguing that the orchestra is discriminating against women. He seems unable to look at a great cultural institution without finding some argument to make against it.

But his latest article is especially intolerable. Does Lebrecht realize that Nazi Germany ended 70 years ago? Apparently not. Many music lover are getting ready to enjoy the famous Vienna New Year's Concert. But Lebrehct?  "The tradition, however, is decidedly pernicious. This concert came into being as a gift to Nazi criminals, a cover for genocide."

★★★★☆ The Berliners are impeccable, but Abbado isn't a revolutionary

Beethoven: Symphonies Nos. 1 & 2

Claudio Abbado brought many changes to the Berlin Philharmonic after ascending to the podium after Herbert von Karajan. Beethoven brings out the contrasts with startling realism, as the weltering, homogenized sound of Karajan's orchestra is replaced by Abbado's bright, leaner textures. Frankly, I find myself missing the intensity of Karajan, but the added detail and freedom of expression Abbado discovers keeps me from dismissing it. Even in early Beethoven, though, there could more grandeur and passion than Abbado delivers.

Here the Symphony No. 1 starts out positively, with rather zippy spirits, Abbado clearly favoring a classical coloring. It's athletic, with definite touches of HIP (historically informed performance). We're clearly in the realm of Haydn, but shouldn't Beethoven's revolutionary side be more dominating? The Berliners play without a care in the world, but there's no bite to their timbre, something that was never lacking under Karajan. Niceness is a second cousin to blandness, and after awhile, Abbado starts to sound quite ordinary. At least he's genuinely cheerful; the orchestra is quite impressive, especially the woodwinds. It's hard to have anything but admiration for the Scherzo, which moves with energy and complete dedication from the orchestra--it's the standout for me.

Kyung-Wha Chung responds to her critics after scolding the parents of a coughing child during concert

In the news, the Korean violinist Kyung-Wha Chung has responded to her critics. On December 2nd, she gave her first concert in the UK in over a decade in the Royal Festival Hall. During the concert, she was disturbed by a coughing child in the side stalls. She apparently turned to the child's parents, telling them, "Maybe you should bring her back when she's older". Chung went on to intermittently look over in the direction of the child during the course of the concert.

The incident has sparked a lively online debate. While Chung's comment was unnecessarily abrasive, the fact remains that the coughing was disruptive, taking away Chung's ability to concentrate. Surely musicians deserve respect while performing. Chung has defended herself by pointing out that she enjoys exposing children to great music, but she thinks it should be "appropriate" events that allow the child greater flexibility. She makes good points. It still seems that many people, including the usually snobby Norman Lebrecht, think there's little room for an artist to demand respect. Let's hope the public chooses to continue to respect artists by giving them appreciative silence during performance. (Is New York listening?)

★★★★☆ A surprisingly sunny view of Brahms from Fischer, executed compellingly

Brahms: Symphony No. 1 / Variations on a Theme By Haydn

Can a conductor be intelligent, even compelling, and still be wrong? I view Brahms as a composer of inherent depth, but here Ivan Fischer focuses on cloudless skies and joyful simplicity. It represents a school of thought that I usually denounce unmercifully, but here Fischer is dedicated and fully involved, and I found myself listening with a catch in my throat. Starting out with the Hungarian Dance No. 14 and the Haydn Variations, everything is so joyful it could be Mendelssohn. The warmth is infectious and wins the heart, even if it flies in the face of the image of Brahms as a stern bachelor. In this vision of Brahms, we trade his coffee for hot chocolate, and neatly trim his whiskers. Go ahead and boo, and I'm sure many will, but again, the conviction and sensitivity hidden in Fischer's baton kept me glued to my seat.

★★★★★ Yuja Wang is compelling and refreshing in two Rachmaninov warhorses

Yuja Wang: Rachmaninov

It's been thrilling to watch Yuja Wang develop as a pianist, her charisma leading the way in a successful career. If she and Claudio Abbado come to these classic Rachmaninov mega-hits as non-Russians, it in no way detracts from the joy of this recording. In the Paganini Rhapsody, it's clear that there's a level of sparkling delicacy from this pair that we didn't hear from Denis Matsuev and Valery Gergiev, Russians who made a great recording a year before this one. Here the interpretation is operating less on abrasion and more on charm. There's about the same charisma level, though. Wang weaves her lines with butterfly ease, but she's no lightweight, as her complete control attests. From Abbado, we hear wistful melancholy and his trademark sensitivity. The pair is high on energy and forward motion without seeming focused on the fireworks. This is a musical reading in every sense of the word, one that uses the subtle tosses and turns to build the interpretation. Here the joy of discovery is infectious, with no feeling of schmaltz. Intuition is dominating. The famous 18th Variation is played naturally, with no extra effort, but the conviction is unmistakable. This is an interpretation that feels light, removed from Russian seriousness, yet ultimately there's more depth than usual. And if that's a paradox, so be it.

★★★☆☆ The playing and sound are great, but Jansons breezes over the surface

Mahler: Symphony No 6

Mahler's Sixth Symphony is a work of such intensity and tragedy that it's tempting to dilute the darkness. I think the interpreter needs to find the delicate balance of maintaining the drama while providing enough flexibility to prevent the listener from wallowing in unrelenting seriousness. In today's interpretive world, it's stylish to neglect much of the passion in favor of greater articulation and accuracy.

To a degree, it's easy to understand this trend. In the present recording, Mariss Jansons and the Royal Concertgebouw play with aplomb and precision. It sounds quite light to me, though. The texture is carefully manicured, smoothing over the snarling bass lines and jagged edges. But it all sounds impersonal to me, lacking the true meaning of the music. In trying to make the music more listenable, Jansons has stolen the novelty. Ultimately, this music relies on emotion, not on the quality of execution. And while I find the sonority of the orchestra impressive, it all seems too polite. And frankly, there are plenty of competing recordings from super-virtuoso orchestras. Abbado released his own interpretation with the Berliners a year before this one, and the virtuosity is considerably more impressive, plus we hear riveting conducting full of conviction. And within a few years of this release, we were gifted with thrilling readings from Gergiev and Pappano. There simply isn't anything to attract me to this recording, as flawlessly as the orchestra plays. The recorded sound is quite good, if that makes a difference.

★★★★☆ 1/2 Gorgeous readings, with the Korngold Concerto as the standout

Brahms & Korngold: Violin Concertos

The tone of the Vienna Philharmonic is so gorgeous that it's hard to listen to this Brahms Violin Concerto without your mouth watering. Valery Gergiev picks a slow tempo, and the strings tug at the heart with their ravishing beauty. It's so sweet that no doubt Nikolaj Znaider found himself in the middle of a taffy pull. Sugary as it is, Gergiev still feels heavy and there's a strain of seriousness that feels restrictive. Continuing to listen, I wonder if it is indeed  too much of a good thing. Gergiev is strong and far from flaccid, but surely the music could breathe a bit more? Znaider himself is quite convincing, his cadenza fully expressive and supple.

Once we head into the Adagio, the problem is that we've already spent 23 minutes in a grave world. I wish this movement was more songful, and Znaider is very nice, even if he could be more lyrical, or at least sweeter. By the time we enter the finale, we're nearly drowning in rich syrup, so does Gergiev give way gypsy abandon? Not really; instead of a lurch of energy we have a steady forward push. This music should be allowed to dance. As it is, we hear a fully professional reading that dazzles in splendor while falling short on the emotional front. Is Gergiev doomed to be eternally serious in Brahms? One wonders, especially after his symphony cycle with the LSO was straightforward and sober. Znaider could only do so much, I suppose.

★★★★☆ Sibelius without intensity, but Maazel held my interest, for some reason

Sibelius: Symphony No. 3, Finlandia, Karelia Suite

I've never understood why Sibelius's delightful 3rd Symphony has been neglected in some circles. Even Herbert von Karajan, the great Sibelius champion, never recorded it. It doesn't take much for me to warm up to the work, and Lorin Maazel starts out with quite a bit more energy than I was expecting. One certainly can't fault him for dragging his feet. He feels a bit breezy, though, and if Pittsburgh Symphony plays quite well, I wish everything could have a stronger darker tint. This is cheerful Sibelius, with gentle conviction that doesn't aim for intensity. If the 1st movement lacks monumental drive, the 2nd movement is nicely conceived, just without  anything to make it stand out. In the finale, Maazel sounds soulful and he reads into the mystery quite convincingly. You can feel the undercurrent rustling and detail. So in all, this is a very good reading, with my only complaint being that it's too straightforward without enough depth. It always flows freely, something that isn't a given in this music.

★★★☆☆ 1/2 Gorgeous playing from the Concertgebouw, but Jansons shows minimal involvement

Stravinsky: Petrushka; Rachmaninov: Symphonic Dances

It works wonders for Stravinsky's music to hear it played with effortless virtuosity, so it's hard to be critical of the Petrushka on this disc. Mariss Jansons and the Concertgebouw are dazzling, and the recorded sound brings astounding realism. But Jansons isn't aiming for aggressive impact, and too often it seems he is missing the inner drama. He rarely gives way to pure energy, preferring to phrase with delicate detail. His advantage is that he doesn't sound contrived; everything sounds clear and natural. But emotionally, it's all rather low key. The playing is so tantalizing that we're almost carried through. At least the music doesn't feel fussed over.

Gently steering the ship and making sure the sounds are gorgeous doesn't work as well in Rachmaninov's Symphonic Dances. Here everything sounds proficient and rather soulless. Many conductors have turned the work into a showpiece for orchestral sumptuousness, but I think the joy of the work lies in its vigor and rawness. With Jansons, we hear great detail and polish, but I wish for more impact.

Riccardo Muti could be Italy's next president

The Italian conductor Riccardo Muti could succeed Matteo Renzi as president of Italy, reports say. He is a favorite of prime minister Matteo Renzi. Muti's son Domenica has told reporters that his father has been given a serious offer for the job. So far Muti hasn't disclosed whether or not he wants the job. “Come on, why don’t you want me to keep conducting? I like it so much”, he says. After all, he's already in a position of power with his baton. Why opt for politics? Read more here.

★★★☆☆ 1/2 An odd idea that's mainly a miss, with smooth conducting from Tilson Thomas

Masterpieces in Miniature

It's an interesting idea for a major conductor and orchestra to release a disc of random short pieces. The program is reminiscent of the budget Classical sampler discs that float around in space. But perhaps Michael Tilson Thomas and his San Francisco Symphony wanted to reach out to the lucky dippers while still appealing to serious listeners. At least we don't have any of the horrific condensed movements from symphonies or any other such nightmares. There is a rather cheesy arrangement of Debussy's La plus que lente, though.

As it is, we start off with the best selection of all. Litolff's Schezo from the Concerto Symphonique No. 4 is a dazzling, scampering piece. And it's hard to imagine anyone outdoing Yuja Wang, who plays with her distinctive control and playfulness. But heading deeper in the program, everything soon starts to suffer from sameness. Hearing classic short works like Faure's Pavane, Rachmaninov's Vocalise, and Sibelius's Valse Triste one after the other isn't my preferred format for listening. But the main problem is that Tilson Thomas runs through most of them rather glibly, without much feeling. One can't fault the playing of the orchestra or the sound, but how many of us want to spend an hour listening to smooth readings of these pieces? As we move through multiple musical idioms, character seems homogenized. Delius should sound quite a bit different from Rachmaninov. After ten fairly tranquil selections, I found relief with the final track, the Cortege de Bacchus from Delibes Sylvia. At least it's upbeat.

★★★★☆ The Concertgebouw is gorgeous, but the timing is stingy and Jansons holds back too much

Mussorgsky: Pictures at an Exhibition

Mussorgsky's Pictures at an Exhibition with no fillers makes for a skimpy disc. Apparently the Concertgebouw thought it was worth releasing even in a crowded market, even though the recorded time is barely over a half-hour. And fans of the orchestra are sure to be impressed with the playing, which is transparent and vivid. I don't think I've ever heard better percussion in this piece.

Mariss Jansons' reign at the Concertgebouw has been afflicted with lapses of energy, and here he doesn't read into the dramatic undercurrent. His eye for detail remains, though. He's slow and serious for the most part, and occasionally a new idea jumps out. He's best at the shadowy elements of the music. The Great Gate of Kiev, on the other hand, is smooth and lacking in grandeur.

★★★★★ Gergiev commits himself to Tchaikovsky's world, producing a thrilling, virtuosic reading that is ultimately devastating

Tchaikovsky: Symphony No. 6

I've been guilty in the past of neglecting Tchaikovsky's symphonic masterpieces. They are so familiar, and besides, there's an astronomical number of recordings on the market that all sound practically the same. It's unfair to Tchaikovsky, though, as his symphonies are true masterpieces. It's essential, I think, that the listener choose readings that are truly inspired.

And this reading with Valery Gergiev and the Vienna Philharmonic is enlightening in every way. I'm impressed with Gergiev's natural flow, which is sweeter than I would have imagined. He's far from being merely refined, but this is the same Vienna Phil that recorded the ballet suites with Levine (another must-have disc), and you can tell. There's great energy to Gergiev's conducting, though. The first movement unfolds with a sense of tragedy.There's a way to highlight the melancholy without wallowing in it, and Gergiev isn't focused on isolated moments but on the drama as a whole. You're swept along, but there's no impatience, just the sense that the music is unfolding before your eyes.

Dropping pessimism for a moment, here's why we should be thankful today

It's easy to be pessimistic about the Classical music scene today. After all, we've watched the major labels crumble, and apprehension about the future of musicians' careers has been widespread. I have my concerns, too. But there are a few bright spots that are worth remembering. So yes, Happy Thanksgiving everyone!

Let's take a look. Regardless of the overall state of the recording industry, the fact remains that when recordings are actually released, they are in better sound than ever before. Audiophiles have their preferred formats, but even for the regular listener, we have new technology available that makes recordings more vibrant and life-like. And we're seeing in-house orchestra labels continue to produce new recordings. No label has outdone BR Klassik, the label of the Bavarian Radio Symphony, in producing many recordings under the leading conductors of the day, all in incredible sound. But 2014 has also seen the start of Berliner Philharmoniker Recordings, the orchestra's own label. If they decide to turn prolific like their counterparts in Munich, it could be thrilling. Let's hope.

Has Mariss Jansons eclipsed Sir Simon Rattle?

At a first glance, Mariss Jansons and Sir Simon Rattle don't appear to have much in common. But both of them lead orchestras of the highest caliber of virtuosity, Rattle with the Berlin Philharmonic, and Jansons with the Bavarian Radio Symphony and Royal Concertgebouw. Jansons will leave the Concertgebouw next year; Rattle leaves Berlin in 2018. I've followed both of them closely in the past few years. I'm a great fan of the world's best orchestras, and both conductors make their respective orchestras sound fully virtuosic.

But their reigns have not been without criticism. Most of Jansons' term at the Concertgebouw suffered from refinement and politeness. Occasionally a masterful recording would come along, but for the most part, Jansons went along for the ride. The orchestra sounded in shape, and their in-house label delivered great sound, but the interpretations lacked energy. Rattle was more convincing in Berlin, with multiple recordings that deserve to be heard. For all his critics, I find his Brahms, Bruckner, Schoenberg, and Strauss to be inspiring, ready to be compared with the best. All the same, he has too often succumbed to fussiness and over-refinement. Detractors claim he lost the fire of his younger self, and he has been unable to satisfactorily refute such claims.

★★★★★ Abbado uses freedom to maximize the emotional impact in the Mahler 6th--one of the very best

Mahler: Symphony No. 6

Abbado had many strengths as a conductor, but his cumulative triumphs in Mahler will probably go down as his greatest achievement. Somehow he managed to fully enter the emotionally volatile world of the symphonies while maintaining his sensitivity and naturalness. His Mahler sounds free and limitless, with searing melodic lines that take the breath away.

Karajan made a famous recording of the Mahler 6th, and critics still argue over it. Some find it relentlessly heavy and unmusical while fans point to the power and breadth of Karajan's control. I'm still undecided myself; a good case can be made on both sides. But either way, when we come to Abbado's recording, we hear the Berliners without Karajan's homogenized sheen and iron grip. Here one senses spontaneous freedom and great individuality in the orchestra. A whole new world of beautiful sounds is opened. Whichever side you take on Karajan's reading, Abbado has more variety; you won't catch yourself looking at your watch.

Berlin's next conductor: a few names to watch

Yes, many of us are wondering who will succeed Sir Simon Rattle at the Berlin Philharmonic in 2018. The orchestra will be choosing their successor this coming May, we've heard. So here's a rundown of some of the most prominent candidates.

Christian Thielemann has been considering the leading candidate for the job in many circles. He's German and traditional, two qualities that could place him in favor with the orchestra. It would be a sweeping change after the British Rattle, who was new to much of the central German repertoire. But Thielemann's advantage could also be his vulnerability. Since he doesn't have wide repertoire, would the orchestra find him restrictive after Rattle, who conducted a wide variety? Regardless of his chances for the job, I'm personally not sure that he has the desired musical inspiration. Shouldn't the new director be forward looking?

The young Gustavo Dudamel has been a favorite of the orchestra for years, but has he matured enough past his wunderkind stage? Certainly his appointment would be a gamble, but perhaps the orchestra would be willing to give it a shot. It's unlikely, however.

★★★★★ Tchaikovsky so beautiful it almost hurts--a must listen

Tchaikovsky: Ballet Suites

Sometimes indulging in orchestral sumptuousness is irresistible, and that's certainly the case with these delectable Tchaikovsky ballet suites from James Levine and the Vienna Philharmonic. The playing is so rapturous it almost takes the breath away at times, and thankfully DG has captured the moment with warm, detailed sonics. I wish recordings always gave such full justice to the individuality of this great orchestra.

Andris Nelsons and the Boston Symphony are releasing their first CD together

I'm a great fan of the idea of in-house orchestra labels, so I'm delighted to pass on the news that Andris Nelsons will be releasing his first CD with the Boston Symphony. The CD is under the orchestra's own label and contains the Second Symphony of Sibelius along with Wagner's Tannhäuser Overture.

Nelsons is one of the most dazzling young stars on the scene today, just recently relinquishing his post with the CBSO. He now leads the Boston Symphony, and rumors of his potential as Berlin's next conductor have not been entirely squelched by his move to America. He deserves to be heard.

★★★★☆ Rattle is inspired, if EMI and the CBSO keep this recording from competing with the best

Sibelius: Symphonies Nos. 4 and 6

I've wished for years that Rattle would release the Sibelius symphonies with the Berlin Philharmonic, and the wish will soon be fulfilled thanks to the orchestra's new label. It was only natural for me to head back to Rattle's earlier readings with the CBSO as prep work. And it's clear that Rattle is a gifted Sibelian. In his younger years, he was less concerned with refinement and orchestral beauty. To be candid, the lower playing standards of the CBSO can keep readings from being completely successful, even when Rattle is inspired on the podium. Ironic of course, as today one can guarantee impeccable virtuosity from the Berliners on every last release.

So it's no fault of Rattle's that the thrust of the strings at the start of the 4th Symphony is a far cry from Karajan's chilling intensity. Rattle's not guilty of over-refining this music or making it too polite. He's willing to be fully aggressive. At times, I think he's a little too forward, not quite brooding enough. And outside of the orchestra, EMI's sound is rather distant, so the music doesn't unfold before your eyes. I wish it would. But this is interesting music-making, and the finale has great passion, Rattle superseding his limitations.

★★★★☆ Gorgeous, ravishing readings, but Rattle can be emotionally removed

Schumann: The Symphonies

This new set of the Schumann symphonies is an historic release, as it marks the beginning of the Berlin Philharmonic's new enterprise as a label. I'm enthusiastic about the prospect, which should enable the orchestra to release whatever it wants to, without having to please a major record label. This set should have been the orchestra's last release with EMI, but we hear that EMI turned them down, saying the symphonies wouldn't sell. Freed from restriction, the orchestra hopes also hopes to release the symphonies of Beethoven, Sibelius, and Lutosławski. I'm thrilled to bits.

For now, the orchestra is making the listener spend a pretty penny to hear their CDs. I downloaded the set from iTunes for $25, which was by far the cheapest price I could find. The physical CD comes in a luxury package with multiple playing formats, bonus Blu-rays, and a ticket to the Digital Concert Hall. Rather elitist, it seems, but as soon as I started listening, I was floored by the sound quality, which is far above what EMI produced for the orchestra. It's clear, vivid, and natural, the closest I've heard a  recording come to capturing their sound live.

Is Gatti right for the Concertgebouw?

It's over a month now since the Royal Concertgebouw announced that Daniele Gatti will be succeeding Mariss Jansons as chief conductor in 2016. I'm a fan of the orchestra and I've followed their output with Jansons closely in the past few years, but I was relatively unfamiliar with Gatti when the announcement was made. His discography isn't that big.

I was bit disappointed by the announcement, I must admit. Many listeners will insist that the orchestra itself knows who will suit them best. Perhaps they are right. Any conductor of a great orchestra should be able to generate gorgeous, lovely sounds. Gatti has this capability. But I'm still wondering if he has sufficient energy for the job. Too many great orchestras can become stuck with conductors who know how to produce virtuosic sounds without much interpretation.

Karajan leaves me stunned, again

Just last night I watched the documentary Karajan: The Second Life  on the Berlin Philharmonic's Digital Concert Hall. The film focuses on Karajan's recording life, detailing his habits in the recording studio. I found it fascinating and painful all at once. The incredible greatness and intensity of the man is irresistible, yet he's forever gone and no one since has come close to showing his towering genius.

Thank goodness we have so many recordings, though. His commitment to the highest quality in the studio has enabled his mastery to outlive him. Imagining the discography without him is impossible. He will always have his critics—no genius doesn't—but the overwhelming power and control that he showed at the Berlin Philharmonic is a phenomena we dare not hope to see again.

★★★★★ Tchaikovsky from Italy to join the best? Yes, really.

Tchaikovsky: Symphonies Nos. 4 -6

The last three Tchaikovsky symphonies are masterpieces of the highest caliber, but they've been recorded so often that sometimes the listener becomes exhausted. It's no fault of Tchaikovsky's, but the library is crammed full of readings that sound practically the same.

So when a British conductor joins with an obscure Italian orchestra to record these symphonies, it would seem wise to pass by. But Antonio Pappano defies all odds, and this set is ready to be stacked up against the best. His secret is a natural, lyrical flow that builds the drama without wallowing in it. There is a ring of authority to the orchestra's sound that is captivating and hard to resist. But they're playing for beauty, and for once Tchaikovsky is completely stripped of gloom and doom. These are refreshing, exuberant readings.

★★☆☆☆ Barenboim is dull and the Berlin Phil sounds dull too, if that is possible

Berlioz: Symphonie Fantasique

Simon Rattle's recording of the Berlioz Symphonie Fantastique with the Berlin Philharmonic had a mixed reception. Critics complained about a lack of drama, a tendency to fuss over details. And there's good reason for the hesitation many record reviewers showed. All the same, I think most listeners agreed that the sound of the orchestra was splendid, and Rattle voiced with astonishing precision; there just wasn't enough interpretive flow.

But what happens when a conductor records a warhorse with a great orchestra and bulls his way through? If you succumb to the curiosity, make a scramble for this CD. Daniel Barenboim simply doesn't have anything to say here. He charges through with no feeling of character, much less suspense or mystery. One couldn't say that there are "problems" with the interpretation; there isn't one to begin with. The Berlin Phil sounds better than your average orchestra, but they've played rapturously for a tepid baton bearer on multiple occcasion. If the Berlin Phil can sound dull, they do here.

★★★★☆ Shaham and Boulez pair for a vivid, detailed, Bartok 2nd, but there's a lack of spontaneity

Bartok: Violin Concerto No. 2; Rhapsodies

Pierre Boulez has made a name for himself in Bartok, and Gil Shaham has recorded a glittering array of concerto discs for DG, so it's easy to see why listeners are attracted to this disc. I've just recently come to know the Bartok Second Violin Concerto, and have been amazed at the wealth of inspiration; it has sent me running around, buying half a dozen copies. Surely this disc should be one of them?

This is clearly a beautiful interpretation, one that takes advantage of the sound of the Chicago Symphony, which plays with impeccable polish.  Shaham is assured and golden-toned. This is Bartok played more for elegance than the struggle, for sure, so it sounds a bit smoothed over. Boulez is an accomplished conductor, and there's no denying that he finds a wealth of ideas. But I miss the elements of desperation and agony. The detail and novelty are on a high level, but it doesn't emotionally charge you.

★★★☆☆ Jarvi skates across the surface of the Nutcracker--at least the ice doesn't crack

Tchaikovsky: The Nutcracker

Another Christmas, another Nutcracker, and why not? I've been a fan of Tchaikovsky's ballet since infancy, and repeated exposure has only increased my admiration. I can enjoy the music for its own sake after all these years, but does the prolific Neeme Jarvi have anything new to say in the ballet?

From the start, it's clear Jarvi is taking a balletic approach, not the symphonic one featured on the last major release with Simon Rattle and the Berlin Philharmonic. The Bergen Philharmonic isn't aiming for depth here, or at least Jarvi isn't. He chooses a lean sound and we start out with chipper tempo. Has the March become a racetrack? It might be thrilling momentarily, but it is painfully lacking in substance. There's a wealth of inner drama that develops in Act One that Jarvi rides over with spiritless energy.

And the lightness of the orchestra actually detracts from the nostalgia and festivity.There's a difference between speed and charm, baby. Valery Gergiev took the speed approach in his famous interpretation with the Kirov Orchestra, but at least he has genuine drive. I find Jarvi to smack of glibness, a tendency to interpret the music as if though all the greatness could be assimilated in a quick sight read. And a quick sight read this is, but why cheer?

★★★★☆ New ideas abound, but can we forgive Fischer for toning down the abandon?

Mahler: Symphony No. 5

Does the rise of new ideas deserve to be applauded? I had to ask myself that question multiple times listening to this Mahler 5th from Ivan Fischer and his Budapest Festival Orchestra. Shifting trends have brought about a stylish new approach to Mahler that is light on emotions in favor of more accuracy and articulation. In general, I'm not a fan of this development. Fischer veers in that direction, but he's a convincing representative. More than anything else, he shows conviction in his conducting, the main thing lacking in much modern Mahler.

So we start off with a funeral march played with more tenderness than passion. The Budapest Festival Orchestra isn't on par with the Berlin or Vienna Phil, but they have a compact, impressive sound. The orchestral landscape is detailed and intriguing, but rather homogenized, so you don't hear individual parts jumping out, even if they're nicely welded together for the whole. This subdued feeling continues into the 2nd movement, where Fischer avoids the scrambling brutality one hears from Abbado and Rattle. This is a nicely judged account, with freshness and new ideas. I can't think of another reading like it. But must it sound so nice? I miss the strings digging into their notes with raw fervor.

★★★★☆ Gatti is lovely with a French orchestra in Debussy, if the interpretation is lacking

Debussy: La Mer, Prelude to the Afternoon of a Faun, Images

Up to this point I haven't followed Daniele Gatti on disc, but after it was announced he'll be succeeding Mariss Jansons at the Concertgebouw, I felt like I had missed weeks of homework. So I pulled out this Debussy disc of La Mer, Prelude to the Afternoon of a Faun, and Images to give myself a little idea of what to expect in 2016.

Gatti is Italian, but he's working with the French National Orchestra, and there's a strong French tint to this reading. Sony's sound is a bit dry and distant, lending a slight heavy feel, but overall this is a delicate, beautiful La Mer. The tempo is a little slow, but that almost seems to be the point. I prefer interpretations from Karajan, Abbado, Rattle, and Gergiev, and in comparison this reading smacks of sameness, but the sounds are lovely.

It's strange, though, because coming to the Prelude to the Afternoon of a Faun, Gatti chooses a brisk pace that misses opportunity for color. Laziness is actually a good thing in this piece, so I wish for more hazy languor.

★★★★★ Jansons is searching and galvanizing in the Verdi Requiem--expect things you haven't heard before

Verdi: Requiem

I've surprised myself by becoming a fan of Mariss Jansons, a conductor who was suddenly hit with inspiration with his Bavarian Radio Symphony. There's vitality and sparkling new ideas coming from Germany that we haven't heard in Amsterdam. Irony prevails; I'm glad Jansons is leaving the Concertgebouw instead of the Bavarian Radio Symphony, even though most critics will tell you that the Concertgebouw is the better orchestra.

Jansons is releasing his new Verdi Requiem just over a year after Decca released Barenboim's reading with La Scala, including star soloists Anja Harterost, Elina Garanca, Jonas Kaufmann, and Rene Pape. Jansons' quartet of  Krassimira Stoyanova, Marina Prudenskaja, Saimir Pirgu, and Orlin Anastassov isn't on the same level. Pirgu's Ingemisco is refined and lyrical, a far cry from Kauffman's effusive power.

What should the critic be reviewing?

Reviewing who?

Should music critics base their rating on the quality of the composition or the quality of the performance? It's a question that was thrown around a bit on Amazon in chat forums. Anyone who has followed me on Amazon knows that I believe in rating the performance, not the piece, with rare exceptions. Why? Well, when we're reviewing a classic masterpiece down the lines of a Beethoven, Schumann, Tchaikovsky, Bruckner, or Mahler symphony, it's clear that the passing of time has sided with these masterpieces. Must we all adore them? Of course not. We all have personal tastes and preferences, no matter how quirky they may be.

But if I'm going to post a public review, I either keep those preferences hidden or casually state them. I have no qualms telling readers I've gotten tired of the 1812 Overture, any more than I'd rave about my obsession with the Britten War Requiem. But in either case, my rating will be based entirely on the performance. Yet I'm familiar with a handful of reviewers who will give unfavorable ratings to well known works over some quibble about the composition. Frankly, I find such writing useless. I don't need anyone telling me why they don't like the Bartok Second Violin Concerto, for instance. If the reviewer has a personal dislike for the work, just steer clear of it. It's not too different from conductors recording works they don't admire. If you're not in sync with the music, don't try to judge it.

Pianist wants a negative review of one of his performances removed

The Croatian pianist Dejan Lazic is asking the Washington Post to remove a negative review of his 2010 concert at the Kennedy Center. Citing the  EU's "right to be forgotten" ruling, the pianist argues that he should be able to control his own public image. The article is currently at the top of his google search results.

No doubt the pianist feels a bit bummed. But the review was honest, not defamatory in any way. There's no reason for it to be removed. In fact, let's hope it's not, because that would be a slap in the face for free speech.

★★★★★ Yet another great Alpine Symphony, the second one from Welser-Most

Strauss: Eine Alpensinfonie

When is the flood of great new Alpine Symphony recordings going to stop? After years of abuse from critics, Strauss's elusive masterpiece has finally come to the fore. We haven't been lacking in new readings in the new millennium. Before this reading was released I already owned stellar accounts from Thielemann, Harding, and an earlier one from Welser-Most with the Mahler Youth Orchestra. So here Welser-Most is duplicating himself within the same decade, but with good reason. This is an entirely different animal from his earlier reading. And who could turn down yet another reading from the Bavarian Radio Symphony, which plays with such striking virtuosity? And BR Klassik's sound is impeccable, of course.

The opening is aptly mysterious, building naturally, and the Bavarian Radio Symphony plays with more virtuosity than the Gustav Mahler Youth Orchestra. This time around, Welser-Most seems less inward and more propulsive. It's hard to blame him, really, considering how full and magisterial the orchestra sounds. When you add the stellar sonics, this release is bidding to displace Thielemann's reading with the Vienna Phil as the best modern virtuoso version.

It would be wrong to suggest that Welser-Most is simply going through the motions, but this reading isn't as searching or elusive as either his earlier recording or Harding's from earlier this year. He unabashedly aims for thrills, and they're a joy to hear. The warmth of the orchestra is unmistakable. As much as I appreciate other versions, there's a Straussian instinct inherent in the best European orchestras that's hard to replace. The vibrancy from the first desk players is delicious and ravishing in its gentle-hued beauty.

★★★★☆ A moving memorial for a great conductor, though Abbado is subdued and low on intensity

Bruckner: Symphony No. 9

I find myself trembling penning this review, surprised at my own audacity in delivering a critique so soon after our beloved Claudio Abbado passed away. Music lovers universally have mourned the loss of one of our greatest conductors. Despite Abbado's success in Mahler, he seems less suited to Bruckner, despite a generous assortment of discs on DG with the Vienna Phil. Abbado seemed unlikely to gain intensity last minute, given his fragile health, so I didn't expect this Bruckner 9th to truly compete with the best. Nonetheless, I'm too devoted a fan not to give it a listen.

Abbado seems calm and controlled in the opening. He gets a full sound from Lucerne, caught in great sound by DG. Heading into the lyrical second theme, he is fairly subdued and straightforward. This music sounded more passionate under Sir Simon Rattle on his recent recording with the Berlin Phil, and of course Karajan is the perfect exemplar of fire and intensity. Here the strings don't have a real full presence; there's not the sonority in full volume found in the best rival European orchestras. I'd appreciate more impact in the climaxes. But the lyrical passages aren't much better. Abbado has a rare gift of sensitivity that enables him to bring out detail with touching sincerity—I wish I heard that in evidence here. As it is, this first movement sounds like a highly accomplished run-through. The main thing missing is mystery. Abbado is capable of maintaining the line and flow, but he doesn't seem to be searching for anything; at its best, this music is unsettling. The problem isn't so much that he holds back the power in the climaxes as it is that he doesn't find a captivating pulse. It feels smooth, well considered, yes, but not emotionally involving. There's not the rapport between Abbado and the musicians that is indicative of him at his best.

★★★★☆ 1/2 Finally one of the Russians sounds original in Brahms, if highly unusual

Brahms: Symphonies Nos. 3 and 4

With this final release in his Brahms cycle, Vladimir Jurowski naturally finds himself competing with Valery Gergiev, his elder Russian compatriot also at the head of a major London orchestra. I was disappointed with Gergiev's cycle, which was moderate and resigned with almost no new ideas. Did Jurowski eclipse the more experienced Gergiev, and more importantly, did he prove that the Russians have a legitimate approach to Brahms?

Thanks partly to the clearer sonics, we instantly hear that Jurowski's Brahms is much fresher than Gergiev's. The opening movement of the 3rd Symphony feels alive and warm, and Jurowski voices with compelling impact. It's a tad on the lean side, though; it sounds more modernist than romantic. But it's more moving than I was anticipating. It has a very precise, rhythmic feel, but nothing seems stodgy—Jurowksi is fully involved. Heading into the heart of the movement, Jurowski doesn't try to compete with the heft of the Berlin Phil. He is still fairly lean, but again, surprisingly moving. He's not simply going through the motions, even if he's not outright passionate and far from turbulent. This is comparatively smooth sailing over a land of incredible beauty, realized impeccably. The back and forth between the strings is immaculate. Proceeding into the closing minutes, Jurowski is excitable, but he doesn't try to build to a ringing climax in the way that Karajan and Rattle do. He's entirely stripped of any pretense of nobility. It sounds a bit aloof, but only by a little.

Berlin Philharmonic reported to be announcing their successor in May 2015

Sir Simon Rattle gave the Berlin Philharmonic plenty of time to appoint a successor when he announced in January 2013 that he will be leaving the orchestra in 2018. But according to Norman Lebrecht of Slipped Disc, the orchestra will be announcing his successor sometime in May 2015.

No other job in music is as coveted as the post at the Berlin Philharmonic, so no doubt rumors and speculation will be thrown around. In fact, there has already been considerable talk. Who knows what will happen? I think the orchestra would be wise to go with a conductor from the younger generation, such as Daniel Harding, Vladimir Jurowski, Andris Nelsons, Vasily Petrenko, or Gustavo Dudamel. My pick right now would be Jurowski, but it's useless to stake too much hope on any one candidate. Christian Thielemann has been a favorite name from the beginning.

★★★★★ Welser-Most is captivating and vibrant in the Alpine Symphony with a skilled youth orchestra

Strauss: Eine Alpensinfonie

After years of being one of Strauss's neglected masterpieces, the Alpine Symphony has gotten a number of very good recordings in the past decade, this reading from Franz Welser-Most and the Gustav Mahler Youth Orchestra among them. I find the work memorable, so it's great to suddenly have a number of viable options.

Opening with the stillness of Night, Welser-Most builds naturally; the climax leading into the Sunrise is fresh and alive. We instantly hear that the youth orchestra is capable and inspired. Their individuality is unmistakable. They play with vividness, delivering a compact sound without aiming for bombast. It makes sense to view the Alpine Symphony as a more pastoral, searching work, and Welser-Most is wise to be fervent without constantly looking to deliver fireworks. The variety of careful beauty is remarkable.

After the natural display of color in the beginning of the work, it's refreshing to hear the Entry Into the Forest played with such tenderness. Yet Welser-Most shows no passivity; for all the attentive balance, there's a great feeling of freedom and spontaneity, a lilt, even. Proceeding through such numbers as On Flowering Meadows and On Alpine Pasture, there's just the right combination of delicacy and forward motion—the pace never drags.

★★★★★ A thrilling solo recital from the blossoming Weilerstein that's sure to please her many fans

Alisa Weilerstein Solo

I've found it thrilling to follow Alisa Weilerstein, the young American cellist who has suddenly come under the spotlight in the past few years. It makes sense that Decca is releasing her first solo album, since her charisma is thrilling all by itself. Earlier this year, she was galvanizing in the Dvorak concerto, only I found that she had several times more imagination than her conductor, Jiri Belohlavek. Her tone showcases an incredible warmth and richness, all delivered with the power of one of the rare greats.

I'm not a solo cello aficionado, so all the works on this disc were new to me. I'd dare to guess, though, that most prospective buyers will be enticed based on their satisfaction with Weilerstein's concerto discs, as I was myself. I found the most delight in the first work on the program, the Kodaly Sonata for Solo Cello. But there's plenty of interest in the Bright Sheng Seven Tunes Heard in China, which has a strong folk flavor. For me, the most important part of this disc is that Weilerstein plays everything with the same golden tone, the same variety, and the same concentration. She seems unable to play without inserting her own personality, which I find gripping and moving. Decca captures her with close-miking, a bit larger than life. It just adds to the impact, though. Her ability to plunge beneath the depths of these scores is penetrating. I only hope she doesn't lose her raw passion as she continues to grow. It's not an everyday phenomenon. 

Elgar and Vaughan Williams top a poll of favorite British composers

A poll was recently conducted by the BBC Music and Countryfile magazines. Readers were asked to choose their favorite British composer from a list of ten composers. Sir Edward Elgar won, but just by a hair. He received 22.5% of votes, with Ralph Vaughan Williams right behind with 22%. Third place was Benjamin Britten with 14.5%.

New BBC Radio 3 controller promises says he won't be "dumbing down" station

Right on the heels of debate about the accessibility of Classical music, the the new BBC Radio 3 chief has maintained the he will continue "wise up". Coming from the Arts Council, Alan Davey doesn't believe it's his job to change programming in response to falling listener figures. He disagrees with those who think making the music more accessible will fix the problem. "If you do complex culture properly, it makes sense to people", he says.

Like many others, I am concerned about the future of Classical music, though I must agree with Davey that the solution doesn't lie with tampering with the product. Classical music has survived the ages because of its originality and sacrificing that novelty to appeal to a wider fan base misses the whole point.

Galway is trying to save the Ulster Orchestra

Flautist Sir James Galway is among multiple musicians trying to save the Ulster Orchestra. The orchestra could be forced to close, as it was announced earlier this month that it will be losing 28% of its public funding. It has not been easy for musicians recently, and the dilemma of this orchestra mirrors the trouble multiple orchestras have faced. Let's hope the orchestra can be saved.

Applauding between movements and phones in concerts? Really?

The Swiss conductor Baldur Brönniman has just made a list of ten things he thinks should be different at classical concerts.  Apparently he wants to make classical music more accessible for a changing world.  I found the list disturbing on multiple points.  Do we really want to sacrifice the novelty of our music to appeal to a wider audience?  

Applauding between movements, as Brönniman suggests, would only take away from the magic of the music.  If in some cases it would be tolerable, there are other instances where it would be distracting and break the spirit.  The devoted admirers of the music in a concert are going to want to hear everything as clearly as possible with no interruptions.  

Going solo: why I think orchestras should have their own label

It seems more and more of the big labels are going under as it becomes harder for musicians to make money from recording.  This is unfortunate, but I'm becoming enamored with one development that has taken place.  Since the usual big labels no longer provide satisfactory contracts for most major orchestras, they are going solo, creating their own label.  The LSO Live is the most famous example, but there's a whole row of other orchestras also releasing their own CDs, including the London Philharmonic, Royal Concertgebouw, Chicago Symphony, Bavarian Radio Symphony, and most recently, the Berlin Philharmonic.  

It was Sir Simon Rattle who hit on the biggest reason I like the idea.  Without the obligation to please a record company, the orchestra can literally release whatever it wants. They are no longer being restricted to the "surefire bestsellers", as Rattle calls them.  If the orchestra feels they have something unique to say, they can choose to release it.  And generally, we end up seeing more releases.  The LSO Live, for instance, has released over 100 albums since being founded back in 2000.  We all know nothing close to that output could have come from a regular record label.  

★★★☆☆ Chicago plays marvelously, but Muti is unsmiling and dogmatic

Prokofiev: Suite from Romeo and Juliet

Prokofiev's Romeo and Juliet seems inherently virtuosic to me.  The music has a wealth of marvelous orchestration, and thankfully we have masterful readings with the Berlin Philharmonic from both Salonen and Abbado.  The Chicago Symphony is in very good shape today, and it helps that the sound on the CSO Resound label is full and rich.  Ricardo Muti favors the big, brassy sound that makes the orchestra famous. At under fifty minutes, the timing is very stingy; couldn't they have recorded more?  Either way, I'm a great fan of the music, so I listened with anticipation.

From the beginning, one hears a powerful sound from the orchestra, very much in a heroic mood.  The Montagues and Captulets is fairly stolid, relying on a heavy bass feel.  Cold accuracy dominates, driving the music with solid blocks of rhythm.  From the start, however, a problem begins to surface: Muti is rather aloof.  This isn't desperate passion; it's more of a military march. Juliet as a Young Girl shows beautiful solos, but the tempo is slow and the color rather dark.  There's no blissful abandon here, and for all the crystalline attention to detail, there's a lack of grace. Although the sound of the orchestra is attractive, Muti seems to be admiring the music from a distance.  And one does hear a gentle building of emotion; it's just that romanticism is treated with caution.  Muti favors distinct thrusts of sound, so the Minuet feels deliberate and almost forceful. He seems a stranger to lilting energy, so the Masks is earthbound instead of mercurial and vivacious.

★★★★☆ Better than Gergiev's Brahms cycle, but still not back to greatness

Berlioz: Symphonie Fantastique and Waverly Overture

Perhaps in preparation for his upcoming post with the Munich Philharmonic, Gergiev has lately turned to the traditional romantic repertoire with the LSO.  He just finished his Brahms symphony cycle and now he's back to Belioz's Symphonie Fantastique, a decade after recording it with the Vienna Philharmonic.  Unfortunately, I found the Brahms set to be a great disappointment and I've worried that he is sacrificing too much of his own personality in an attempt to adapt with the romantic style.

The work opens with a soft hush, Gergiev almost tip-toeing his way through the opening lines.  Unlike Jansons in a thrilling recording earlier this year, Gergiev doesn't have an overriding air of spookiness.  He prefers a sense of classical refinement, with intrinsic sensitivity.  As the movement develops, Gergiev slowly warms up, although he's still surprisingly unaggressive, without taking advantage of the potential swirling, jagged sounds.  The execution is great, just rather timid.

★★★☆☆ 1/2 Dudamel is refined and subdued overall, but the finale is thrilling

Mahler: Symphony No. 7

I've been a fan of Dudamel's Mahler in the past; both his 5th with the Simon Bolivar Orchestra and his 9th with the Los Angeles Philharmonic were telling successes.  Although the "youth" part of his Venezuelan orchestra has been dropped, it's been a joy to see the level of talent Dudamel has encouraged.  A few years ago, it might have seemed a stretch to imagine the orchestra being prepared to tackle the massive Mahler 7th, but now they are fully up to the challenge.  In fact, by now it's a bit outdated to view them on a separate scale than the world's best orchestras.  They play with astonishing virtuosity.

But has the increased level of playing threatened to take away the orchestra's exuberance?  Opening the symphony, Dudamel is a little deliberate, stressing lyricism and focused lines.  Sonics are great, and climaxes ring with impact. Dudamel is more inward than spontaneous, and his flow is gentle and natural.  In a blatantly elusive symphony, however, is it wise to aim for a seamless feel?  The absence of jagged edges threatens to remove some of the originality.