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.