Fun reviews corner

[Opus106]

Review: 1/5

Let me make myself clear: I have NOT heard these particular recordings....

(No, he doesn't go on to complain about Amazon's services or any such thing.)

[Brian]

Well, MusicWeb's Byzantion (his real first name; his last is withheld) has some strong words about Karl Jenkins. I bolded a couple highlights.

---------------------

Thus Karl Jenkins, "One of The Most Performed Contemporary Composers", makes his debut for Deutsche Grammophon, the label that baldly says it "is Classical Music". With 'Adiemus Colores' Jenkins redefines 'crossover' in Dantean terms, listeners doomed to flounder in turbid Stygian waters for what feels like an eternity, as they try desperately to reach the final track. Ever the philosopher, Jenkins has once more reanimated, from the fifth circle of Hell, the soul-less corpse of 'Adiemus' to thwart them.
 
DG have pulled in some of their other big names for this project. Rolando Villazón brings a few moments of much-needed class to the proceedings, as does the golden guitar of 'Miloš', whose film-star looks surely have nothing to do with his fairly needless guest appearance.
 
How curious to think that Jenkins was a pupil of Alun Hoddinott. Each of his unlucky thirteen 'Canciones' bears a title colour, yet they could hardly be blander, even with the grand exoticism of Spanish translations. The very first item drops the listener into a parallel, Burt-Bacharach-meets-Antônio-Jobim universe. Yet Jenkins is immediately recognisable, despite the pseudo-Latin rhythms, for there are the helium-high voices of the Adiemus choir and those monotonous ostinatos. The voices are straight back for the next colour, slowed down and softened to prove that it is not simply the same track slightly tweaked. The next, 'Negra', sees the first appearance of a solo voice, the not-so-dulcet tones of fada crooner Cuca Roseta, making her sole contribution. As with Karadaglić, her two colour photos in the booklet are only loosely connected with her pretty face.
 
The longer the album goes on - why oh why a full 76 minutes - the weaker the will to live becomes in any listener with even a modicum of taste or dignity. Bizarrely, the third track from last is a slushy piano solo, complete with recorded footsteps of the approaching pianist - none other than Karl Jenkins. Then straight back to the New-Age-cum-Latin-American pasticcio. The final track - a "bonus", according to DG - is an imagination-free repetition of 'Canción Turquesa', with Villazón's voice replaced by Pacho Flores's trumpet.
 
The fakeness of the whole thing is confirmed in the detail of the booklet notes: the choir were recorded in Finland, Villazón in Paris and everyone else at different times and venues in London. Karl Jenkins's wife is listed as assistant producer, ditto their son. Aiding and abetting! Sound quality is good, it must be said, and chwarae teg, Jenkins' booklet notes are informative, the pages themselves much more colourful than the CD.
 
In short, 'Adiemus Colores' is a travesty of all things truly musical or interesting. It will surely do well.

http://musicweb-international.com/classrev/2013/Sept13/Jenkins_adiemus_4791067.htm

[mc ukrneal]

Well, MusicWeb's Byzantion (his real first name; his last is withheld) has some strong words about Karl Jenkins. I bolded a couple highlights.

---------------------

Thus Karl Jenkins, "One of The Most Performed Contemporary Composers", makes his debut for Deutsche Grammophon, the label that baldly says it "is Classical Music". With 'Adiemus Colores' Jenkins redefines 'crossover' in Dantean terms, listeners doomed to flounder in turbid Stygian waters for what feels like an eternity, as they try desperately to reach the final track. Ever the philosopher, Jenkins has once more reanimated, from the fifth circle of Hell, the soul-less corpse of 'Adiemus' to thwart them.
 
DG have pulled in some of their other big names for this project. Rolando Villazón brings a few moments of much-needed class to the proceedings, as does the golden guitar of 'Miloš', whose film-star looks surely have nothing to do with his fairly needless guest appearance.
 
How curious to think that Jenkins was a pupil of Alun Hoddinott. Each of his unlucky thirteen 'Canciones' bears a title colour, yet they could hardly be blander, even with the grand exoticism of Spanish translations. The very first item drops the listener into a parallel, Burt-Bacharach-meets-Antônio-Jobim universe. Yet Jenkins is immediately recognisable, despite the pseudo-Latin rhythms, for there are the helium-high voices of the Adiemus choir and those monotonous ostinatos. The voices are straight back for the next colour, slowed down and softened to prove that it is not simply the same track slightly tweaked. The next, 'Negra', sees the first appearance of a solo voice, the not-so-dulcet tones of fada crooner Cuca Roseta, making her sole contribution. As with Karadaglić, her two colour photos in the booklet are only loosely connected with her pretty face.
 
The longer the album goes on - why oh why a full 76 minutes - the weaker the will to live becomes in any listener with even a modicum of taste or dignity. Bizarrely, the third track from last is a slushy piano solo, complete with recorded footsteps of the approaching pianist - none other than Karl Jenkins. Then straight back to the New-Age-cum-Latin-American pasticcio. The final track - a "bonus", according to DG - is an imagination-free repetition of 'Canción Turquesa', with Villazón's voice replaced by Pacho Flores's trumpet.
 
The fakeness of the whole thing is confirmed in the detail of the booklet notes: the choir were recorded in Finland, Villazón in Paris and everyone else at different times and venues in London. Karl Jenkins's wife is listed as assistant producer, ditto their son. Aiding and abetting! Sound quality is good, it must be said, and chwarae teg, Jenkins' booklet notes are informative, the pages themselves much more colourful than the CD.
 
In short, 'Adiemus Colores' is a travesty of all things truly musical or interesting. It will surely do well.

http://musicweb-international.com/classrev/2013/Sept13/Jenkins_adiemus_4791067.htm

This is the sort of review I detest. It is, correct me if I am wrong, supposed to be a review of the disc and not a lambasting (as in basting ) of the composer. I am not adverse to a brief opinion of the work itself, but this sort of review is often what is wrong with reviewing. How many times have I read the same thing about some unknown composer, who turns out to be enjoyable? I don't want the reviewer to be the filter (even if he or she is right) - how many works/composers have been consigned to the reject pile of history, when in fact there was more to their work than was understood or appreciated?  The whole thing is an attack on the composer, and there is nothing to explain or support the writer's position (if one thinks the music a waste of space, one should at least take the time to say why, especially as he goes on and on like this). I wonder if the author realizes that he gives the reader sympathy with Jenkins, because of the sheet nastiness of the whole thing (when he probably wants the opposite)?

As people here seem to detest him as well, I fully expect to find little agreement, but Jenkins could easily have been replaced with Mompou, Schnittke, Delius, or some other misunderstood/unappreciated composer, something that I find happens all too often in the reviewing community.

[Karl Henning]

Well said, Neal.  I mean, I enjoy reading a little witty derision now and again, but it is worthless as an indicator of artistic worth.

[Pat B]

And here's amazon's "Editorial Review" (which reads like it was written by an intern at the label's PR department).

Since his self-penned debut album, Adiemus Songs of Sanctuary, Jenkins s albums have sold over two million copies around the world. His distinct signature sound has reached mainstream audiences around the globe through its use in scores of TV and cinema commercials in over 20 different countries. Levi Strauss, Delta Airlines, Cheltenham and Gloucester, Lexus, Japanese Airlines, Lux Soap, Hewlett Packard, De Beers, Johnnie Walker, Renault, BMW, Audi and Chanel No. 5 are just some of the brands to use his music to help sell their products and brand messages.

Adiemus Colores is his first work of its kind for ten years, and employs the rhythms, sounds, colors and textures of Latin American music to create a distinctly unique and exotic sound-world EXPECT THE UNEXPECTED!

Scored for choir (The Adiemus Singers), instrumental forces and a super-tight rhythm section, as well as solo guitar, trumpet and voice this world premiere recording features Fado sensation Cuca Roseta, star guitarist Milos, new trumpeter on the block Pacho Flores and the worlds favorite tenor, Rolando Villazon.

The musicweb review actually makes me want to hear it. The amazon blurb does not.

[Brian]

And here's amazon's "Editorial Review" (which reads like it was written by an intern at the label's PR department).

The musicweb review actually makes me want to hear it. The amazon blurb does not.

That's an Editorial Review?? There are like 5 typos in it, and not a single word of "reviewing".

The MusicWeb writeup DID inspire me to go listen to samples of each track. The samples did not inspire me to buy the CD.

[Opus106]

http://www.classicstoday.com/review/review-2966/

Karl Amadeus Hartmann is [...] one of a tiny handful of contemporary German composers of any significance at all.

Huh?!

[not edward]

http://www.classicstoday.com/review/review-2966/

Huh?!

I also like the comparisons for Hartmann's 6th, particularly Varese's Ameriques. I mean, whaaaaat? (Admittedly, I can't really think of a good parallel for the finale--perhaps the Grosse Fuge comes as close as anything--but comparing it to Varese is an exercise in orthogonality.)

[Daverz]

This is the sort of review I detest. It is, correct me if I am wrong, supposed to be a review of the disc and not a lambasting (as in basting ) of the composer. I am not adverse to a brief opinion of the work itself, but this sort of review is often what is wrong with reviewing. How many times have I read the same thing about some unknown composer, who turns out to be enjoyable? I don't want the reviewer to be the filter (even if he or she is right)

This does annoy me, particularly when one of my own oxen is gored.  I remember a Dubins review where he was dumping on CPE Bach.  I wanted to bop Dubins on the nose.  He's often dismissive of music I like.  However, I do like a critic to show some discernment about the quality of the music and to at least place it in perspective.  Too often they'll rave about music that is fairly forgettable.

[Sammy]

Well, MusicWeb's Byzantion (his real first name; his last is withheld) has some strong words about Karl Jenkins. I bolded a couple highlights.

---------------------

Thus Karl Jenkins, "One of The Most Performed Contemporary Composers", makes his debut for Deutsche Grammophon, the label that baldly says it "is Classical Music". With 'Adiemus Colores' Jenkins redefines 'crossover' in Dantean terms, listeners doomed to flounder in turbid Stygian waters for what feels like an eternity, as they try desperately to reach the final track. Ever the philosopher, Jenkins has once more reanimated, from the fifth circle of Hell, the soul-less corpse of 'Adiemus' to thwart them.

I had never heard any music from Karl Jenkins so I spent some time with it at NML.  He's definitely not my cup of tea, but i can't deny he writes some attractive melodies in styles that likely offer something to everyone.  I can easily hear how he could be a very popular composer. 

[Daverz]

I had never heard any music from Karl Jenkins so I spent some time with it at NML.  He's definitely not my cup of tea, but i can't deny he writes some attractive melodies in styles that likely offer something to everyone.  I can easily hear how he could be a very popular composer.

Music for those who find Albinoni too challenging?  (I'm an Albinoni fan BTW).

[Brian]

This does annoy me, particularly when one of my own oxen is gored.  I remember a Dubins review where he was dumping on CPE Bach.  I wanted to bop Dubins on the nose.  He's often dismissive of music I like.  However, I do like a critic to show some discernment about the quality of the music and to at least place it in perspective.  Too often they'll rave about music that is fairly forgettable.

I'm assigned to write a lot of reviews of very little-known music, from all eras, and in these cases, I do feel obliged to tell readers whether they should hear the performances and whether they should hear the music. I try to describe the music in such a way that, if our tastes differ significantly, you'll still get some idea of what the music is like and whether it would suit you. Of course, the other thing is, I never seek out recordings of music I hate. I wouldn't request Karl Jenkins, for instance. Where possible, I listen to samples before accepting an assignment to make sure the music is something about which it will be possible to write fairly and (even better) enthusiastically.

It doesn't always work that way. I've had to be pretty negative about the music itself sometimes:

"Neukomm's compositions showed that Haydn had taught him how to be pleasant but not how to be interesting....

"Everything runs together, with one exception: the first 30 seconds of the Quintet are energetic, exciting, and vaguely Latinate in rhythm, with a prominent harp, so I was scrambling to the booklet notes to tell you about this one undiscovered gem before, just as suddenly as the party had started, it withdrew into a harmlessly cheery tune that the booklet tells me is "practically identical" to a piece by another, earlier composer. So much for that!

"It's very well-played, and the recorded sound is very good too - the trumpet never dominates the other instruments - but this is only for those who already know they are devotees of late-classical-era chamber music with no dramatic pulse. While listening to the Notturno, I had a thought: if someone said to me, "classical music is so boring," and I played them this CD, they would say "I told you so"."

[EigenUser]

Some more forum archaeology...

Maybe you already know this, but for contemporary music reviews you can use it.

http://www.dominicirving.com/cccbsg/

It works! 

This is hilarious, not to mention spot-on if you've ever read some of the esoteric descriptions composers like to give.

This also made me laugh out loud (mentioned previously) -- and I like Penderecki (including the "Da Natura Sonoris" sequence).

I also wonder how many members of NARAS who voted for this disc actually listened to it (or anything in the classical category, for that matter). This collection—excuse me, compendium—contains some of the composer's gnarliest music. Fonogrammi, Anaklasis, Partita, and De natura sonoris I consist almost entirely of noise—often wonderful, imaginative noise, but noise nonetheless. When listening to De natura sonoris I, for example, I was so captivated by a strange percussive sound that I went back to listen to it again—only to find it missing. Turns out on closer examination that it was the ice maker in my refrigerator dumping cubes into the hopper. It fit perfectly into the texture of the piece. Indeed, if Mr. Penderecki is listening, I strongly recommend that he consider scoring his next work for a Bosch side-by-side refrigerator-freezer with automatic ice dispenser in the freezer door. It's amazingly musical. - See more at: http://www.classicstoday.com/review/naxos-penderecki-grammy-winner/#sthash.jiZMUf9D.dpuf

From http://www.classicstoday.com/review/naxos-penderecki-grammy-winner/

[EigenUser]

Here's a personal favorite of mine, on the Anda/Fricsay Bartok PC cycle: http://www.amazon.com/review/R2Q10QBQGY9310/ref=cm_cr_pr_cmt?ie=UTF8&ASIN=B000001GPW#wasThisHelpful

I don't understand why people get so annoyed and make angry comments when the piece gets reviewed instead of the performance, though. It's strange, because for newer works the piece usually gets reviewed. For older works (and works with several recordings), the performance almost invariably is reviewed. Frankly, I prefer reading people's thoughts on the music itself (though performance is very important, too). That's just me, though.

But, seriously, no one likes it when someone says "My order didn't show up, etc..." and gives the product 1 star. At least listen to it first!

[Pat B]

I don't understand why people get so annoyed and make angry comments when the piece gets reviewed instead of the performance, though. It's strange, because for newer works the piece usually gets reviewed. For older works (and works with several recordings), the performance almost invariably is reviewed.

I don't think that's strange. For a work that has been recorded once, then the decision is whether or not to buy the piece, and a review of the recording is likely to be seen by many people making that decision.

But for something like the Bartók piano concertos, which have been recorded many times, there is a good chance that the buyer has already heard the work and is just deciding which recording to buy. Plus, a review against the piece will only be seen by those who are considering that particular recording.

FTR I mostly disregard amazon reviews and ratings unless I am familiar with the reviewer -- but I suspect a lot of buyers don't.

[Ken B]

I don't think that's strange. For a work that has been recorded once, then the decision is whether or not to buy the piece, and a review of the recording is likely to be seen by many people making that decision.

But for something like the Bartók piano concertos, which have been recorded many times, there is a good chance that the buyer has already heard the work and is just deciding which recording to buy. Plus, a review against the piece will only be seen by those who are considering that particular recording.

FTR I mostly disregard amazon reviews and ratings unless I am familiar with the reviewer -- but I suspect a lot of buyers don't.

Yes. When I see the first recording of Le Tombeau de Ligeti for Gob-Smackingly Large Orchestra, Choir, and Wind Machine by Eigen N. User I am most interested in a review of the piece.

[EigenUser]

Yes. When I see the first recording of Le Tombeau de Ligeti for Gob-Smackingly Large Orchestra, Choir, and Wind Machine by Eigen N. User I am most interested in a review of the piece.

Well, that seems to be a bit ambitious -- even for me! 

Coincidentally, I am working on composing a short piece that I have given the name "A la Maniere de Ravel" (he wrote ones with this title, but for Borodin and Chabrier). BUT -- it's for solo piano  .

And, as a side note, Le Tombeau de Couperin is the most perfect piece ever composed for piano that I've heard (according to me, which probably makes it far from credible ). It's... simply...... lovely. I can think of no other word to describe it. The orchestral version is great, too.

[Ken B]

And, as a side note, Le Tombeau de Couperin is the most perfect piece ever composed for piano that I've heard

Sounds interesting. Who wrote it?

[Brian]

Sounds interesting. Who wrote it?

http://www.youtube.com/v/eb5OHsOYG5c

Favorite recordings: Michael Endres, Abbey Simon, and a sizzling arrangement by the Ellipsos Saxophone Quartet

[EigenUser]

Sounds interesting. Who wrote it?