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IVES: Symphony No. 3 / Washington's Birthday

Composer(s):Ives, Charles
Artist(s) Sinclair, James, Conductor • Northern Sinfonia
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.559087
Label Naxos
Quality   320kbps
 
 
 

   




Review By Penguin Guide,January 2009

There have been tauter, more warmly expressive versions of the major work in this enterprising collection, Ives’s Symphony 3. However, James Sinclair is a long-established Ives specialist, who has edited a number of the master’s works, and in the rest of the disc he secures more concentrated playing, notably in the hushed writing of the two Contemplations, The Unanswered Question and Central Park in the Dark. The high contrasts and extrovert humour of Washington’s Birthday, the Country Band March and the Overture and March (1776) are well caught, too, helped by full, colourful recording.



Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....


Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

Review By David Hurwitz,ClassicsToday.com,June 2003

Franz Waxman's celebrated 1940 score to Rebecca, said to be his personal favorite, is magnificent: sophisticated, witty, anxious, decadent, and also very extensive (more than 72 minutes in this recording). He really does capture the full range of the story, from the innocent opening to the creepy music for Mrs. Danvers, and he manages to suggest the evil presence of Rebecca hanging over it all. The movie itself represents an ideal marriage of plot and music; it's impossible to imagine it without Waxman's contribution. This recording, while perhaps lacking the last bit of opulence in the Manderley Ball music and final conflagration, is extremely good in all other respects. Adriano is a pro at this sort of thing, and he gets the Slovak Radio Symphony (studio musicians, after all),

more....

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