Classics at the Pops

Editorial Reviews

All Music Guide - Richard S. Ginell
Given Telarc's usual preference for film and popular music from Cincinnati, it's a pleasure to report that Erich Kunzel has been turned loose on a brace of short classical pieces this time. Quality material, too -- with an emphasis upon sonic spectaculars like "The Pines of the Appian Way" from Respighi's "The Pines of Rome," Copland's "Fanfare for the Common Man," and "Fetes" from Debussy's "Nocturnes" but also subtler things like "Nimrod" from Elgar's "Enigma Variations" and Vaughan Williams' "Greensleeves" fantasia. That said, it's not a pleasure to report that Kunzel's renditions are mostly on the tepid side -- underplayed, restrained. The extroverted numbers are ...
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Editorial Reviews

All Music Guide - Richard S. Ginell
Given Telarc's usual preference for film and popular music from Cincinnati, it's a pleasure to report that Erich Kunzel has been turned loose on a brace of short classical pieces this time. Quality material, too -- with an emphasis upon sonic spectaculars like "The Pines of the Appian Way" from Respighi's "The Pines of Rome," Copland's "Fanfare for the Common Man," and "Fetes" from Debussy's "Nocturnes" but also subtler things like "Nimrod" from Elgar's "Enigma Variations" and Vaughan Williams' "Greensleeves" fantasia. That said, it's not a pleasure to report that Kunzel's renditions are mostly on the tepid side -- underplayed, restrained. The extroverted numbers are short on the very quality of pizzazz that such pieces suggest, and even the more sensitive pieces come off as matter-of-fact run-throughs. Kunzel's concept of Berlioz's "Roman Carnival" overture is especially leaden, like Otto Klemperer without the latter's implacable authority. On some of the selections, the Cincinnati Pops is reinforced by the College Conservatory of Music of the University of Cincinnati Brass Choir, which produces an especially hefty brass sound in the "Grand March" from Verdi's "Aida." Yet Telarc's surround setup is rather conservative, as it usually is for Cincinnati Pops offerings, reserving the rear channels for hall ambience. It might have been more fun if, say, the engineers had recorded the brass in "Fanfare for the Common Man" antiphonally as Copland has suggested which has been done before in DVD-A with striking results.
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Product Details

  • Release Date: 3/23/2004
  • Label: Telarc
  • UPC: 089408059520
  • Catalog Number: 80595

Tracks

Disc 1
  1. 1 Fanfare for the Common Man, for brass & percussion (from Symphony No. 3 - Cincinnati Pops Orchestra (3:14)
  2. 2 Danse Bacchanale - Cincinnati Pops Orchestra (7:33)
  3. 3 Pines of the Appian Way - Cincinnati Pops Orchestra (5:40)
  4. 4 Fantasia on Greensleeves, for harp, flute & strings (arranged by R. Gre - Cincinnati Pops Orchestra (4:38)
  5. 5 Act 2. Grand March - Cincinnati Pops Orchestra (7:44)
  6. 6 Fêtes, for orchestra (Nocturne No. 2), L. 91/2 - Cincinnati Pops Orchestra (6:25)
  7. 7 Nimrod - Cincinnati Pops Orchestra (4:18)
  8. 8 Le carnival romain (Roman Carnival Overture), ouverture catactéristique fo - Cincinnati Pops Orchestra (9:34)
  9. 9 Polka and Fugue - Cincinnati Pops Orchestra (8:52)
  10. 10 Festive Overture, for orchestra in A major, Op. 96 - Cincinnati Pops Orchestra (6:54)
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Album Credits

Performance Credits
Erich Kunzel Primary Artist, Conductor
Cincinnati Pops Orchestra Performing Ensemble
College-Conservatory of the University of Cincinnati Musical Theatre Ensemble
Technical Credits
Hector Berlioz Composer
Aaron Copland Composer
Ottorino Respighi Composer
Camille Saint-Saëns Composer
Dmitry Shostakovich Composer
Ralph Vaughan Williams Composer
Giuseppe Verdi Composer
Erich Kunzel Arranger
Robert Wood Producer
Michael Bishop Engineer
Claude Debussy Composer
Robert Woods Producer
Anilda Carrasquillo Art Direction
John Windt Engineer
Richard E. Rodda Liner Notes
Jaromir Weinberger Composer
Ed Meitner Engineer
Timothy J. Northcut Director
Timothy Northcut Director
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