SACDs - Ives, C

“Litton hits his stride in the Third - an evocatively Romantic, overwhelmingly lyrical, and dangerously expansive interpretation. The result is ravishing… Hyperion's engineers have got it absolutely right.” BBC Music Magazine, November 2006 ****

“Ives's symphonies were premiered almost 50 years after they were written – practically nothing was performed when he wrote it – but against all the odds they have achieved classic status. The composer was dismissive about the First Symphony, a student work, but this is now its eighth available recording. Litton has strong climaxes in the first movement, although there's a tendency for the woodwind to get swamped by the strings and brass, and sustains an almost Mahlerian passion in the Adagio. There's a magical pianissimo at the start of Central Park inthe Dark with no evidence of the audience at all – apparently they were warned that the performance was being recorded! Each recording of the Fourth is defined by the inevitably different balance of the dense textures in the second and fourth movements. For example Litton, supported by one associate conductor, rightly has the orchestral piano prominent in the shattering second movement and in the mystical finale the voices enter with unique effect. It's good to hear a little more than usual of the offstage players both here and in the first movement.
The spacious Second Symphony takes its pervasive popular melodies and makes them symphonic – again a completely convincing performance.
The only shock is the dissonant raspberry blown as the final chord – that's what folk fiddlers did to show the evening was over.
The Third Symphony is saturated in hymn tunes and anyone familiar with earlier recordings will notice the few extra bits in the latest edition of the score. The bonus is a gutsy delivery of Becker's orchestral arrangement of the song General William Booth Enters into Heaven.
Overall these two CDs are a winning representation of the Ives symphonies with the fine Dallas Symphony consistently impressive throughout.
One might want to look back at certain historic versions of individual symphonies, but as a package this is well recorded, fastidiously presented and deservedly pre-eminent.” Gramophone Classical Music Guide, 2010

“…these two CDs are a winning representation of the four Ives symphonies with the fine Dallas Symphony consistently impressive throughout.” Gramophone Magazine, November 2006

“His Fourth is better still. How ravishing the divided strings sound at the opening of the treacherous 'Comedy' movement, their layered quarter-tones creating a glistening sonic web. And in the main body of the movement… Litton manoeuvres so deftly through the sudden shifts in tempo and character that the result is unexpectedly dreamlike - a truly haunting effect.” BBC Music Magazine, November 2006 ****

“Ives's symphonies were premiered almost 50 years after they were written – practically nothing was performed when he wrote it – but against all the odds they have achieved classic status. The composer was dismissive about the First Symphony, a student work, but this is now its eighth available recording. Litton has strong climaxes in the first movement, although there's a tendency for the woodwind to get swamped by the strings and brass, and sustains an almost Mahlerian passion in the Adagio. There's a magical pianissimo at the start of Central Park inthe Dark with no evidence of the audience at all – apparently they were warned that the performance was being recorded! Each recording of the Fourth is defined by the inevitably different balance of the dense textures in the second and fourth movements. For example Litton, supported by one associate conductor, rightly has the orchestral piano prominent in the shattering second movement and in the mystical finale the voices enter with unique effect. It's good to hear a little more than usual of the offstage players both here and in the first movement.
The spacious Second Symphony takes its pervasive popular melodies and makes them symphonic – again a completely convincing performance.
The only shock is the dissonant raspberry blown as the final chord – that's what folk fiddlers did to show the evening was over.
The Third Symphony is saturated in hymn tunes and anyone familiar with earlier recordings will notice the few extra bits in the latest edition of the score. The bonus is a gutsy delivery of Becker's orchestral arrangement of the song General William Booth Enters into Heaven.
Overall these two CDs are a winning representation of the Ives symphonies with the fine Dallas Symphony consistently impressive throughout.
One might want to look back at certain historic versions of individual symphonies, but as a package this is well recorded, fastidiously presented and deservedly pre-eminent.” Gramophone Classical Music Guide, 2010

“Music for a Time of War is a compelling and inspired example of intelligent programme planning, and it’s extremely well played by the Oregon Symphony conducted by Carlos Kalmar… The live recorded sound is exceptionally vibrant.” International Record Review, February 2012

“The Unanswered Question is given a refined and cultivated reading...Sylvan is a most eloquent soloist...Kalmar’s interpretation [of the Vaughan Williams] is probing. He controls the stretches of quiet music very well while the climaxes have strength.” MusicWeb International, July 2012

“The live recording...is absolutely stunning, with the organ clearly spaced in Davies Hall, allowing Paul Jacobs to be in the foreground, and yet an integral part of the orchestra, as the composer intended.” BBC Music Magazine, June 2011 *****

“[The Concord Mass] demands playing of tireless energy and gentle lyrical touch. This superb orchestra rises to the challenges, although the players sound more at ease with the long, clear lines musical lines of Copland's magnificent Organ Symphony. It's difficult to imagine a finer performance than this one, with a mighty solo instrument and the orchestra beautifully balanced against each other.” Classic FM Magazine, May 2010 ****

“Paul Jacobs faultlessly exploits this fine score. With this degree of drama, eloquence and style, it's the ideal recording of this incomprehensibly neglected work...Brant has added an imposing document to the Ives repertoire and these two live recordings are a stunning success.” Gramophone Magazine, June 2011

“In 'Emerson', Tilson Thomas is a sure guide to the music's emotional breadth as Brant hears it...Similarly in 'Hawthorne', Tilson Thomas renders the more extrovert passages - such as the jazzy episode near its centre - with undeniable verve.” International Record Review, April 2011

“It's surprising that Five Take-Offs are not better known...The second one, 'Rough and Ready', is certainly that and O'Donnell is a match for everything.” Gramophone Magazine, August 2010