Three recent purchases, which I have enjoyed very much, and a portion of
their lukewarm reviews in Gramophone:

Strauss: "Taillefer," Op. 52; "Wandrer's Sturmlied," Op. 14; and "Die
Tageszeiten," Op. 76; for Choir and Orchestra.  Plasson/Dresdner EMI.

   "This is a disc that will appeal for the most part to the Strauss
   specialist, none of the three works representing the essential Strauss."

Granted, the first two works are bombastic, but the last work on the CD,
Die Tageszeiten for Male Choir and Orchestra, is an entirely different
story.  A cross between the Alpine Symphony and the Four Last Songs, it's
luminous as dribbled honey on Brahms' beard, gleaming in the late-afternoon
sun.  Just its 23 minutes alone are worth the price of admission.  Strauss
sets four poems by Eichendorff:  Morning, Midday Rest, Evening, and Night.
You can imagine....

Brossard: "Lecons des morts,"  vocal and instrumental music.  Lesne/Gens/Il
Seminario musicale on Veritas.

   "Four years back, I confessed in a review of some of Brossard's
   small-scale motets (Opus 111, 9/93) that I found little to write home
   about when there was so much similar but better music to choose from,
   and my first feeling on listening to Il Seminario Musicale's new
   recording of petits motets for two voices, two violins and continuo
   was not much different."

Johnophone disagrees.  Comparing music to other music is a dubious
business.  For me, a piece's worth should be based upon how well a composer
fills the aesthetic space his ideas suggest for themselves at the outset.
Brossard's ideas are simple, but sincere and elegant; some very nice
suspensions and turns of phrase beautifully wrought by Gens and Co.  I look
forward to the CD of his music that has been critically acclaimed--Coin's
performance of the Grand Motets.

Bach: Motets.  Junghanel/Cantus Colln.  DHM

   "Memorable characterization is a rare commodity with Cantus Colln
   and therefore, in toto, this cannot be regarded as much more than a
   qualified success."

Junghanel's performance of Monteverdi's Vespers is a favorite of mine; the
cool voices and liberal lute accompaniment present the music in a way that
I like.  His performance of the Bach Motets employs two singers per part
with instruments providing, for the most part, discreet coloring.  Call it
a case of Bach for Dummies again, but compared to my other motet recording,
Koopman's on Philips, I find Junghanel's intimate and engaging performance
much easier to follow.  He makes Bach sound strikingly similar to the petit
motets of the French.

Well, my two cents.

John Smyth
http://facelink.com/j66560