5 comments about Tchaikovsky: The Sleeping Beauty / Pletnev, Russian National Orchestra.

1. This recording has been praised to the high heavens in the UK -- Gramophone Mag, Penguin Guide etc.
   
   It's just been reissued in Universal Classics' "Rosette Collection" (based on its Penguin Guide Rossette recommendation), so the other day I picked it up for a tenner to see what all the fuss was about.
   
   My first impression: IT'S FAST. Of course having the whole ballet squeezed onto just 2 CDs it would have to be. Some numbers work quite well at Pletnev's pace, but at times it all just becomes a bit relentless. And I can say as a regular ballet-goer, this simply bears no resemblance to what you would hear in an actual ballet performance. Fair enough if you view it as a concert performance of this most lustrous of Tchaikovsky's scores (I guess)..
   
   The recording itself is a hugely CONTRIVED affair. The strings (clearly not the weightiest of string bodies) are given a forward balance compared to the rest of the orchestra, and while it's good to hear the 1st and 2nd violins split left & right, that only reinforces the GIMMICKY quality of the recording (especially listened to on headphones). The cellos are unneccesarily spotlit at times, but they do play gorgeously (as does the whole orchestra throughout). It's not a very atmospheric sound overall (compared to say, the sumptuous sound Decca achieved in the Kingsway Hall in the 70s for Bonynge's ballet recordings). The individual instruments within the orchestra are often startlingly clear, almost like you're listening to a really good chamber orchestra -- for me not an appropriate soundworld for a Tchaikovsky ballet. I must say, however, the harp is beautifully balanced within the orchestra (not too forward as is often the case).
   
   
   Pletnev avoids milking the most spectacular moments, and in the process throws out the baby with the bathwater: the delectable Act 1 Waltz, the Rose Adagio and even the Panorama all fail to catch the magic of the music and frankly, without magic there isn't much point in playing, recording, or listening to The Sleeping Beauty.
   
   In a word: DISAPPOINTING.



2. As I write this review, I listen to Pletnev's recording of Tchaikovsky's Sleeping Beauty. Before I say anything else, I must say this set is very well done indeed. But really, which beauty is the best? The following are the main contenders:
   
   1. Dorati on Philips
   2. Gergiev on Philips
   3. Mogrelia on Naxos
   4. Pletnev on Deutsche Grammophon
   5. Previn on EMI
   6. Rozhdestvensky on the BBC label
   
   All of them qualify as good performances, but that alone is not all that recommends a CD. The buyer must also take into account the recording quality, price/economy, and completeness of score.
   
   As for recording quality, Gergiev, Mogrelia, and Pletnev, all have the benefit of digital sound. According to what I've heard, the others are good as well (Dorati can be a bit too brassy here and there; some may feel the same about Mogrlia, though I do not). Nothing is over-accentuated in Pletnev's clear recording. I have heard complaints about the cloudiness in Gergiev's.
   
   Dorati, Mogrelia, & Previn fall into the bargain category, Previn being the least expensive of all. As for packaging and economy, Mogrelia, and Gergiev have the disadvantage of being spread onto three CDs. This factor raises the price of the Naxos disc a bit, and makes the Philips set the most expensive of the lot. Rozhdestvensky costs a bit more because his recording comes from England. As for Pletnev, the present set comes at full price, but may be purchased used for significantly less. Universal has reissued this recording on their "Critics' Choice" label at mid-price, but we have yet to see if it comes to us in the USA.
   
   But on to the music itself. Only three are entirely complete in every way: Gergiev, Mogrelia and Pletnev. Rozhdestvensky is complete other than the omission of repeats here and there (this is probably because it was performed live: not everyone wants to hear all the Sleeping Beauty at once, though I wouldn't mind). Previn and Dorati's accounts have entire numbers missing (for Dorati, the No. 18 Entr'acte; for Previn, the penultimate No. 29 Sarabande).
   
   So where does this leave us? Pletnev wins in two of the three categories, and even the other--price--can be helped by purchasing a used copy. It is indeed worth it, for the playing of the Russian National Orchestra is magnificent. I find myself drawn into the performance even when doing something else engaging (like writing this review). Hardly the "cold, clinical sounding and clumsily-crafted westernized surrogates" that another reviewer referred to. There are no extreme tempi (though he never chooses the slowest possible tempo); Pletnev finds the right speed in all cases (unlike Dorati and Mogrelia who drag here and there--notably Dorati's variations) and this set makes its way to the top.
   
   As for the humming, I cannot for the life of me hear anything out of the ordinary. Recommended with the highest confidence.



3. I cannot stand this recording! And I've tried so hard to like it ever since I purchased it over a year ago. As others have mentioned, it's a cold, hard-heartened, unemotional and uninvolving interpretation from Pletnev, and it is, frankly, boring. The best thing about it is the Arthur Rackham art-work used on the CD cover and inner booklet.
   
   As someone mentioned below, of especial annoyance, even if I had liked the performance, is the extraordinarily irritating 'humming' by Pletnev as he directs the orchestra. Perhaps if the performance was better it would not have been such an issue but it's really quite unbearable.



4. Mostly well done, if a little too pared-down for my tastes. Other recordings have captured a more "lush" quality in the piece. If a quintessential Romantic-era work doesn't beg to be embellished, I don't know what would.
   
   By far the most aggrivating (and damning) aspect of this recording is a low, mysterious humming that follows the punctuation of the orchestra, clearly not produced by an instrument, and especially bad on "No. 4 Final. Andantino." Casual listeners may not notice or care, but I find it intolerable. I suspect it is either a player or the conductor himself, unaware of their dubious contribution.
   
   I find it hard to believe that the engineers working on a major label, professional quality work wouldn't notice this fatal flaw. Whatever the case, it is unacceptable and in the end renders this recording admirably intentioned but poorly executed.



5. I wouldn't think of buying multiple Sleeping Beauty recordings except for the ultra-cheap opportunities here at Amazon. Recently I acquired this set to compare to my pervious Dorati two-fer with the Cocertgebouw on Philips and the 3-disc set from Gergiev and the Kirov, also on Philips. How do they stack up?
   
   Gergiev: First-rate conducting in excitable mode with an excellent orchestra but rather dull, tubby sonics. The only one on three discs at full price, unfortunately.
   
   Dorati: A sprightly, often dramatic reading--but with lapses--and a world-class orchestra in bright analog sound (oddly, the recording sessions went from 1979 to 1981). A budget Duo.
   
   Pletnev: An excellent orchestra led by a so-so conductor in a polished, somewht uneventful reading, in the best sound of all, from 1997. Pletnev's urbane approach is reminiscent of Ozawa and Dutoit, two other precise conductors who rarely catch fire. Two mid-priced CDs or part of a super-budget box set with Ozawa's underwhelming Nutrcracker and Swan Lake.
   
   Musically, unless you value cautious sophistication, Pletnev's reading often feels too cool and smoothed over, but DG's warm, natural sound is very involving. Dorati brings us into the theater and keeps the proceedings eventful over the long stretch of this ballet. Gergiev is the only one who pushes the music into non-balletic territroy with a strong symphonic emphasis, but the merely serviceable sound is a let down, not to mention the high price.
   
   I was surprised, not being a particular fan of Dorati's, that I become more involved in his performance than the other three. But each set has its points, and none is an outright clear winner. I only wish Decca would re-issue the classic Ansermet set, which I remember from LP as the best of all--but that was a long time ago, so who knows?

1 comments about First Steps in Classical Music: Keeping the Beat.

1. This CD is great, my son Noah and I listen to it in the car and although he is only 12 months he gets excited when I turn it on.
   
   Andrea

3 comments about Chabrier - Orchestral Works ~ España · Fête plolonaise · Joyeuse marche / Niquet.

1. I've been listening to Paray's celebrated recording of Chabrier's orchestral works for over a decade, so it was time for a change. This compilation looked promising, as it presented the familiar repertoire with two important additions--the largely unknown Lament for English horn and orchestra, and the Prelude pastoral. If nothing else, I would have two rarities to add to my collection.
   
   After a handful of listens, I have returned the Paray collection to its case. Jean-Marc Jordan's account with the Monte-Carlo Philharmonic captures the sheer joy and sensuous color of Chabrier's orchestral art. While Paray is masterful, sometimes his disc is a little abrasive and narrow; these accounts are more spacious, and at times a bit more slow, letting Chabrier's gorgeous melodies unfold. His most famous piece, Espana, is given a beautiful performance, fiery and colorful, playing up its picture postcard aspects, while highlighting its sheer originality. Yet the true masterpiece of this collection is the Suite Pastorale, based on his Scenes Pittoresques for piano. This is the best version I've ever heard; the poetry shines through in the opening "Idylle," which may be my favorite French orchestral miniature. The melody is so charming and wistful, yet it has such personality--only Chabrier could have written it. This is contrasted by the rambunctious "Danse villageoise," with its remarkable clarinet opening. A lullaby follows, the utterly captivating "Sous-bois," which is then concluded by the breathtaking "Scherzo-valse," which the orchestra plays to the hilt. A remarkable performance on every level.
   
   The rest of the disc is just as successful, particularly as it offers some out-of-the-way repertoire. We have the two staples of most Chabrier collections, the dances from "Le Roi malgre lui," the Dance slave and the Fete Polonaise. Spot-on performances and great attention to detail; not even Offenbach could write such infectious dance tunes. Then we have the gorgeous orchestration of his famous piano miniature, "Habanera." I had only heard the piano version, and was amazed to hear it transcribed so masterfully (by Chabrier, no less); its origin is completely masked by Chabrier's skill in clothing the familiar melody in a unique orchestral garb (it almost sounds like a different piece). The famous Joyeuse marche is played with gusto, and again, is among the best versions I've heard. The two new pieces are very worth getting to know: the Lament is the odd piece out in this collection, as it is pure melody, and a little less characteristic of Chabrier; nevertheless, it's a gorgeous piece, using the English horn effectively in dialogue with the orchestra (though the piece sounds less like a lament than a gentle elegy). The Prelude pastoral is a major piece--dramatic, ambitious, and somewhat Wagnerian. The notes don't tell me much about the piece's origin, though it sounds like it could have come from an opera, as it has some affinity with his overture to Gwendolyn.
   
   Brilliant job Naxos for issuing this wondeful compilation. My only qualm is the time: at 60'42, you could have made room for the overture to Gwendolyn (which Paray plays magnificently), the orchestration of Bouree fantastique, and/or the Larghetto for horn and orchestra (which I've never even heard). Oh well, another disc?



2. This CD of Chabrier's orchestral works is a delightful compilation of classical music. Chabrier was a composer of the romantic period of classical music, and his music portrays this; it is strong in melody and fills the listener with delight. The middle pieces remind this listener of a horseback ride thru a bucolic village in Southwestern Europe. Being lighthearted in tone, the music is nice and lively and features multiple instruments. It is sure to entertain without boring any to sleep like some other classical pieces.



3. For short pieces with a bright and colourful attitude, it is hard to go past the music of Chabrier. The mix of pieces on this CD is varied and thoroughly enjoyable.
   
   other recommendation:
   
   Overtures of von Suppe

No comments about Please Play a Polka.

1 comments about Chopin: 4 Ballades; Scherzos; Mazurkas.

1. I think Emanuel Ax has settled into routine playing as he's aged, but these are premiere Chopin interpretations from two decades ago. Now that Sony and BMG have merged their classical divisions, it's possible to issue Ax's excellent 1985 reading of the four Ballades--the best ever done by an American--with a 1988 recital of Mazurkas and the four Scherzi. The first recital was originally on RCA, the second on Sony. But just to confuse things a bit more, the readings here of Scherzos #2 and #4 are dropped in from an even earlier RCA recording.
   
   The provenance won't matter that much to the general listener, who will be happy with the budget price for probably the best Chopin two-fer on the market. Begin listening with the four Ballades, where Ax is at his most impassioned and inspired. Even three years later, when he got to Scherzos #1 and #3, he had become more refined and relaxed, less a romantic risk-taker. He's remained that way ever since, but here at least we can hear Ax in his glory. Faithful as I am to Pollini and Kisin in this repertoire, this collection often rises to their heights.

3 comments about Dreams Of Desire.

1. This album is a must for a quiet evening with that special someone. It is sensual and romantic and there's a great mix of old and new. A+



2. I love this CD, often putting it on repeat for a romantic evening! I especially like track number ten, since I wrote it as a teenaged girl full of passionate dreams. I am thrilled to be on a recording with Pachelbel and Beethoven and I love Mark Chait's beautiful arrangement of my song! Though all the pieces on this album are different, they flow together gracefully and create a soft, alluring background sound. Two thumbs up!



3. For the beginner or the avid classical music listener, this collection is amazing.Diverse but tranquil pieces, collected to set the perfect mood.

5 comments about Rubinstein Collection, Vol. 43.

1. The audio quality was near pefection on this cd. The case in which it came was nice, sturdy, neat, in essence, there was nothing wrong with it. The attatched mini-biography was a nice touch and enhanced my audio experience. If you are a fan of French, classical, piano, music then you will not be disapointed with this package.



2. Most of this music was released on an RCA LP called "Music of France," which consisted of pieces by Ravel, Poulenc, Faure & Chabrier, & was soon recognized as one of Rubinstein's recorded masterpieces. I owned the LP & cherished it - from the opening bars of Ravel's waltzes you knew that Rubinstein had an instinctive feel for this music. Indeed, he lived in Paris & knew Ravel among others; but he never was known as a "specialist" in French music, like Gieseking, even though as this recital demonstrates, he had a great affinity for it. To say that his interpretations are charming is to completely underestimate them - they do have charm, but also so much more: breadth, dash, nuance, insight, structure, perfect pace. For example, I have never heard a more inward and gorgeous Valle des Cloches, including Richter's classic reading from his 1960 Mosque Theater recital. This is Rubinstein at his most sublime.
   
   The original program was also brilliantly conceived, with rarely heard pieces by Poulenc, Faure & Chabrier - and no Debussy! When "The Music of France" was transferred to cd it was altered from its original gem-like incarnation with the addition of the Debussy tracks. They're nice to have, but are almost an afterthought. I'm sure RCA's intention was good - where else to put these pieces? - but, the original disc stands alone as a timeless classic of recorded piano music.



3. 
   I like French piano music but after listening to Richter's early recordings of Ravel and Debussy, I am rarely satisfied with most of pianists, not to mention today's generation of pianists whose idea of artistry is simply playing loudly or quietly with fluent fingers! They all give an impression that French piano music is somehow shallow. Not so with Rubinstein. He has authority and special feelings for each work to make it sound afresh.



4. So, last night I sat four of my kids down and played four different pianists performing the first of the Ravel "Valses nobles et sentimentales". They were Paul Crossley, Jean Yves Thibaudet, Friedrich Gulda, and Arthur Rubinstein. I didn't tell them who the pianists were and simply asked them which of the performances they preferred. My middle daughter (13) and middle son (15) immediately and without hesitation picked the Rubinstein performance. They commented on the care he took to PLAY the piece. My son felt the other performers pounded too much and my daughter felt some of the others too rushed. They all liked the Gulda second best, the Crossley third. The middle daughter hated the Thibaudet. She said it sounded harsh and clanged. Brian felt the Thibaudet was all over the place - rushed, then too slow, then rushed again. My youngest daughter (9) liked them all. She noted that they were different, but didn't feel she could like one better than the others. My seven year old son was just too young but knew he liked the music. Then I played the orchestrated version conducted by Boulez and the ALL loved and responded in a big way and decided that the orchestrated version was MUCH nicer than the piano version because of the rich sounds of the orchestra.

   For my own rating, I love the Rubinstein, admire the Gulda, and like the Thibaudet and Crossley for what they are while not being totally convinced by their performance choices. And being a pianist of a sort, I always like the piano best even when I also like orchestrations.




5. Some of Rubinstein's best work on record is on this disc. Although known as a Chopin player, that was by no means the limit of his pianistic culture. Rubinstein, who lived a considerable portion of his life in Paris, was especially adept in the French repertoire.

   Ravel's Valses Nobles and Sentimentales, and the other pieces, benefit from Rubinstein's urbane, unfussy approach. Rubinstein never attempts the "piano without hammers" approach of Gieseking, but his tone is far from percussive.

   The Chabrier Scherzo Valse demonstrates Rubinstein's remarkable memory and ability to assimilate new music. While recording this album, a friend showed Rubinstein the printed score for the Scherzo Valse. The pianists liked the piece, memorized it overnight, and recorded it the next day. He sounds like he has known the piece his entire life.

   The sound, stereo except the Debussy pieces, is fine.

5 comments about On the Twentieth Century.

1. This is a good cd. The blend of the horn and the piano is heavily weighted on the horn. I would have preferred a more equal blend



2. For reasons that I do not understand, Wynton is considered a player of the highest caliber. While his technique would have to seem impressive to most of his fans, in comparison to players such as Phil Smith, Charlie Schleuter, Matthias Hofs, and many other top symphony players, Wynton is completely out of his league. Wynton's interpretations of some of these pieces are laughable in their complete lacking of any sense of direction. Compare his recordings of the Enesco and Hindemith with ones put out by Phil Smith and Charlie Schleuter,amd it is like listening to a student play a piece for his teacher, and then the teacher playing it the way it ought to go. The only valid reason to buy this recording is the great programming. It's just a shame that it is not another trumpet player playing the same pieces.



3. Wynton's playing on this album is, unquestionably, very accomplished and there are some really shining moments -- especially in the Halsey Stevens' Sonata and the Honegger.

   As a classically trained trumpet player I must disagree with the other reviewers and point out a number of weaknesses in the playing in this disc. The Poulenc and the Bernstein, the easiest pieces are also the sloppiest. Througout the entire album, save the Chorale at the end of the Hindemith, Wynton uses, in my opinion, excessive and unmusical vibrato -- I feel it especially breaks the mood of the end of the Enesco.

   The playing throughout doesn't do much musically interesting and there are better recordings of all the works here. I feel the Hindemith was just rushed through, first and last movements especially. See Charlie Schlueter's "Trumpet Works" on Kleos Classics for a much more musical Hindemith and Philip Smith's self-titled album on Cala Records for better renditions of the Enesco and Tomasi.

   Overall, I really liked the program choice and some of the really good moments, but I think you won't find much here that isn't done better elsewhere.




4. Another recording of Wynton's in which he displays desirable command over his trumpet. Although I wouldn't consider it perfection, he is truly a master of his instrument, and attaining perfection is no mean feat. He starts off with the Ravel, Piece en forme de Habanera, which is an exquisite work, originally written for solo piano, but Mr. Marsalis captures the expression and lyricism of Ravel's composition beatifully.

   There is some very difficult music on this album, and Wynton makes it sound natural. The Honegger Intrada is definitely within this category. Mr. Marsalis made it sound so easy that I didn't realize the endurance it takes to play the opening lines until I looked at the music myself. Henri Tomasi is better known to trumpet players for his spectacular trumpet concerto, and he is represented in this list of works with his short and fun Tryptique. The Halsey-Stevens Sonata has become one of my favorite pieces of music with its wonderful thematic material, strong melodies and interesting rhythms. Marsalis is so good that he gets right out of the way and lets the strength of the composition shine, a task well done. Wynton displays strong performances of the Bozza and the Enesco as well, using the Bernstein and the Poulenc as short, fun pieces to provide comic relief from the heavier works found on this disc.

   He ends it off with the famous Hindemith Sonata for Trumpet and Piano, a spectacular composition, which Mr. Marsalis plays with command. Wynton displays the intensity involved in this piece more than adequately. Although I somewhat disagree with some of his interpretation of the first movement, the second and third movements are wonderful. The album ends with the segment, Alle Menschen mussen sterben, or, "all men must die". An incredibly slow, incredibly difficult section to play, especially at the end of the entire piece. He pulls it off with control, not so much as even a waver in tone, and his is brilliant. Well done Mr. Marsalis! Aside from picky stylistic disagreements, an excellent collection, definitely recommended.




5. Overall, this CD was excellent. Marsalis displays the art of contemporary music on a good note, playing such works as the Hindemith Sonata for trumpet. Also, from this cd, i learned of the Halsey Stevens Sonata for trumpet, now my favorite piece. Lastly, Wynton plays the Honneger Intrada, which had a section so fast i couldn't roll my toung and keep up...

1 comments about Music for Two Guitars.

1. Very Good. The receiver could not have picked a better selection
   
   Thank You

2 comments about Chopin: Complete Music for Piano & Orchestra; Piano Sonatas Nos. 2 & 3.

1. I completely agree with the Schryer remarks about Weissenberg. I have been a fan of his since his debut as the prodigy "Siggi" Weissenberg --there is an old recording of him on Mercury. He lived a long time in South America and for unknown reasons, quit concerts for many years. He re-emerged in the 1960s, giving concerts and recording for Angel. He never became a superstar and his recordings were long out of print until EMI and DGG reissued them (hence my large collection of his lps). After decades of listening to Chopin pianists, I believe Weissenberg's performances of the 2 concerti, the Andante and Polonaise to be superb and preferred. The experience is like listening to the soon to die Besancon recital recording of Dinu Lipatti playing the Chopin Waltzes. the playing is often airborne and intimately beautiful. Weissenberg's ability to "float like a butterfly and sting like a bee," in playing Chopin opens up all the moods and nuances--especially in the two slow movements of the concerti. His rubatto technique is consistently amazing in its rightness. DON'T PASS THIS SET UP!



2. Although not as famous as some celebrity pianists, Alexis Weissenberg was one of the greatest pianists of the 20th century, unsurpassed by anyone in both technique and artistry. And Weissenberg was especially outstanding in his performances of Chopin. This 3 CD set contains both Chopin piano concertos, two piano sonatas, and several outstanding pieces for piano and orchestra including the great Andante Spianato and Grande Polanaise -- all played superbly -- at an incredibly low price for 3 CDs. If you love Chopin, please acquire this outstanding set as quickly as possible.