Joel Lazar wrote:

>I would disagree completely with Mr. Satz' remarks - I find Paisiello's
>instrumental music, particularly the piano concerti, intolerably dull, but
>his operas [I've conducted two productions of "Barber"] quite charming.

Our opposite opinions might have something to do with the fact that I feel
a general affinity for piano concertos, whereas with opera, particularly
comical ones, very good music is needed to keep my attention (close to the
level of Haydn or Mozart).  And Paisiello doesn't come close.  But, if
Joel ever shows up in Albuquerque, I'll attend to see him conduct even
Paisiello's Barber.  It's called List loyalty.

Speaking of piano concertos, I revisted last night a disc I have of
Dussek piano concertos performed by Staier/Concerto Koln for Teldec.  My
past opinion of this disc was okay, but I did find it more to my liking
last night.  First, recorded sound, orchestral playing, and Staier's
performance are absolutely first-rate.  It's such a pleasure to hear good
music with expert playing and engineering.  The disc contains two of
Dussek's piano concertos plus a solo piano work with speaker introductions
for each section of the work.  As I was listening to the first concerto, in
G minor, I was mighty impressed with the first movement.  Except for some
inspirational breakdown about two-thirds through the movement, it compares
well even with early Mozart concertos.  The other movements are a bit of a
let-down, but not by much.  Unfortunately, the next concerto, in B flat
major, written eight years prior to the G minor, has a first movement with
little musical invention to recommend it; in fact, it's bad music.  The
solo work is mostly a throw-away piece except for a couple of lyrical
sections.

Overall, this Dussek disc is not essential even if you happen to like piano
concertos from that era.  One great track does not make a whole disc.  But,
you might want to hear a little of it to experience a truely outstanding
engineering job.

Don Satz
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