![]() This register with particularly prominence not so much in the wild goat caperings as in the woodwind solos which are superb. A Night on the Bare Mountain is given one of its most sinister outings. The fourth disc is largely Mussorgsky - or I should say largely Stokowski-Mussorgsky. We end with the balm and flame-flicker of the Magic Fire Music from Die Walkure and a lavishly potent but respectfully understated Ride of the Valkyries. The Parsifal confection is grand on religiosity - just as prescribed. The depth and affluence of tone is stirring in the Tristan Synthesis. The anvil blow in the Entrance of Gods into Valhalla certainly lets you know it's there and the fortissimos are stunning. Gorgeous is the word for the effects secured. Symphonic syntheses of Wagner were a specialty of Stokowski. I am not sure the trumpet principal really enjoyed the piece. The Clarke Trumpet Prelude seems a bit less than special. We divert from Bach for pulse-slowing works such as the Adoramus te by Palestrina, the Byrd Pavane, a fairly fleet Boccherini Minuet sounding a little like the Elizabethan Serenade as does the Haydn Andante Cantabile. It leaves a suspicion that one of the longer bipartite Bach works might have rounded out the second collection with greater emotional symmetry. Majesty opens the anthology and returns for the Bach Fugue in C minor. Indeed much that we hear on the two Bach discs suggests that Stokowski would have been a great Finzi interpreter -listen to the Siciliano if you remain to be convinced. Mein Jesu, like many of these honeyed cantabiles, reminds us how much Finzi owed to Bach. The Adagio seemed almost to launch into a certain work by Rodrigo. With the Arioso and Wachet auf we return to the legato piacevole of the first disc. Serebrier attends to the conflagration but also brings out the exciting elysian harp arpeggios. It picks up even the key tickle of the woodwind. On the other hand the recording is sensitive and wide in dynamic range. In volume 2 the Toccata and Fugue in D minor is as grandiloquent as need be without quite the gargantuan Stokowski-Decca balance. ![]() Indeed it is a surprise that the two giants did not exchange such salves for the soul. These symphonic transcriptions reveal a side of Stokowski that could be relied upon during his long Philadelphia tenure to have the same soothing effect as a Beecham lollipop. This delivers drama to end a disc that otherwise seems designed to soothe the savage breast. We return to Bach for the final Passacaglia and Fugue in C minor BWV582. In the Purcell the solo cello takes the seraphic voice of Dido in the Lament. And the mood remains largely undisturbed into the Stokowski ‘originals’ and in the Handel. A remarkable kinship of serenity of spirit arches over the first eight tracks with the Chorale from the Easter Cantata providing a rhetorical majestic flourish over this sea of peace. Serebrier builds and sustains the blessing and does nothing to break the spell. 3 is a gentle feather-fall in this reading. We start not with a showstopper or at least not in the Technicolor sense. This is Bach orchestrated and shaped in performance with responsive musical sensitivity. Fear not - it's not a case of glitz and glare. ![]() Concert Hall, The Lighthouse, Poole, UK 2004-2008. 2 8.572050ĬD 3 MUSSORGSKY: Pictures at an Exhibition Boris Godunov (Stokowski Transcriptions) 8.557645ĬD 4 BACH PURCELL HANDEL: Stokowski Transcriptions 8.557883ĬD 5: Serebrier on Stokowski (not available separately)īournemouth Symphony Orchestra/José Serebrier Bach, Mussorgsky, Wagner – the Stokowski TranscriptionsĬD 1: WAGNER: Symphonic Syntheses by Stokowski 8.570293ĬD 2: BACH PALESTRINA BYRD CLARKE BOCCHERINI HAYDN MATTHESON: Stokowski Transcriptions, Vol. ![]()
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