3 comments about America the Beautiful.

1. I would have given 5 stars to this compilation, had it not been for the cacophonous sounds of the opening number, DIXIE. The rest, taken from two beautiful LP's of the 60's, is simply reverent and inspiring. The orchestra plays with vivacity, the arrangements are breathtakingly elegant... close your eyes and see the fields of grain unfolding in your mind. Perhaps the most beautidul number is HOME ON THE RANGE. It is music-making at its best. The recorded sound is remarkable.



2. The first two LP albums that I purchased as a boy were "Americana" and "Bless This House", by Carmen Dragon and the Capitol Symphony Orchestra. Many of the songs on this album are from those two albums. His arrangements of the songs on this album are more than tremendous, they are a pleasure to listen to. This is music that will live down through the ages. Thanks to Angel Records for the remaster of these albums. I highly recommend this album to anyone with the ear for great music.



3. First of all, since Amazon didn't bother listing the 16 tracks on this recording, here they are: 1.)Dixie; 2.)The Stars & Stripes Forever; 3.)My Old Kentucky Home; 4.)Home On The Range; 5.)Battle Hymn Of The Republic; 6.)The Wide Missouri; 7.)Nearer, My God, To Thee; 8.)Toyland; 9.)Aura Lee; 10.)Old Folks At Home; 11.)Turkey In The Straw; 12.)Hoe Down; 13.)Bless This House; 14.)Beautiful Dreamer; 15.)Praise God From Whom All Blessings Flow; 16.)America The Beautiful. These orchestral arrangements by Carmen Dragon conducting the Capital Symphony Orchestra are very lush and beautiful. The recordings were made between 1957 and 1962, and sound astonishingly fresh and vibrant considering their age. The program is a nice mix of Americana which is hard to resist. A real sleeper that I highly recommend!

3 comments about Virtuoso Music for Horn & Piano.

1. I played beside Eric when I was out of college and he was in high school. The phenomenal player that I knew then has matured into a horn player with a gift that has to be heard to be believed. By the time the CD was over, I was shaking my head in disbelief.



2. Eric Ruske's virtuosity is phenomenal! By the time "Carnival in Venice" was over I was speechless. I didn't think that french horn playing that I heard was possible. Yet Eric's talent is obvious in that he made the most difficult techniques seem easy to perform.

   I recommend this CD VERY HIGHLY!!!




3. "Virtuoso Music for Horn and Piano" is a light-hearted romp through hornist Eric Ruske's arrangements of mostly familiar pieces. The selections are designed to exploit Ruske's virtuosity and he takes full advantage of the opportunity. At least three of the selections are arrangements of trumpet showcases, Arban's well-known "Carneval of Venice" and Mendez's "Valse Suriano" and "Jota." Czerney composed his "Erste Fantasie" for violin. Liner notes indicate that only the Rossini and Saint-Saens pieces were originally written for horn.
   Eric Ruske has established himself as a major horn soloist, and this album reinforces my opinion that he is one of the best hornists currently active. Pianist Pedja Muzuevic provides excellent accompaniment.
   Why record an album of light classics for horn? To quote Mr. Ruske, because "[i]t felt so good when it was over."

2 comments about Euphonic Sounds: The Scott Joplin Album.

1. This is a one of a kind! I have owned this for about ten years, and still enjoy it as much as when I found it! Mr. Bolcom does indeed convey that special touch and rhythm that we Joplin lovers think sounds just as he would have played. Note: I did not know I was a fan of Joplin until discussing "The Sting" (movie) with a professionl pianist. Even if you think you don't like ragtime, this is one to own!



2. William Bolcom is the best ragtime pianist alive. You'll play this CD over and over. It's not just that he's so good technically--he interprets the rags beautifully. My favorites are "The Ragtime Dance" (the introduction is almost majestic) and the "Magnetic Rag." And then there's the "Maple Leaf Rag," so familiar yet so special....If you're going to buy one ragtime album, this is the one to get.

No comments about Habanera.

2 comments about Vaughan Williams: On Wenlock Edge; Serenade to Music; Song of Thanksgiving; Old King Cole.

1. As will be the case with most people, I suspect, I bought this CD for "On Wenlock Edge" and I will limit my comments to that item.
   
   What makes this rendition, then, after 53 years and numerous other recordings (at least three new ones, this year, alone, including a very good one by James Gilchrist) such that it is still the one I would take to a desert island with me? Most of the credit, inevitably, has to go to George Maran, the American soloist in the work. It seems to me that he achieved, when he made this recording, an instinctive identification with A E Houseman's protagonist which is unlike anything I have heard in any other. With his soft-edged, slightly husky tenor voice, he gives expression to the melancholy introspection of the poems and of VW's incomparable music for them, which makes for an uniquely haunting, benchmark performance.
   
   Much gratitude to ALTO for preparing and issuing this excellent CD transfer. Do not hesitate to buy it - cheap at thrice the price!



2. This CD with the original soloists who debuted Vaughan William's Serenade to Music alongside conductor Sir Henry Wood has better sonics than one might suppose with a span of almost 70 years. Many archived recordings from the old LP days are now transferred so well that most, if not all, of the surface noise that LPs had are absent. But sometimes a grainy quality remains, so it was surprising to hear the excellent sound on this new release. I have several recordings of the Serenade, and a few different versions, including the purely orchestral one that Wood requested from the composer, and a choral one with no soloists. If one were to introduce someone to Vaughan William's music, the quintessential Tallis Fantasia, Five Variants of Dives & Lazarus, the first three symphonies (the 5th is my favorite), Lark Ascending and any of his beautiful songs or choral works might be choices you'd pick out for them (maybe the sweet Tuba Concerto). I would think every short-list would have to include this little jewel set to verses of THE MERCHANT OF VENICE, its so typical of the VW sound. For those who aren't fond of "refurbished" recordings from the '30s-'60s, however, there are plenty of recent recordings for you to choose from for both the Serenade and the song-cycle Wenlock Edge, another piece that has several different versions, besides many recordings. This Wenlock is also an original recording. Like another VW song-cycle (House of Life), this is gorgeous music that stays with you the rest of your life.
   
   The Song of Thanksgiving pops up on a couple Vaughan Williams CDs in the last several years, and the Old King Cole ballet suite rounds out this welcome disc. The budget price just adds to the sweetness of this moonlit, luscious music.

3 comments about Prokofiev: Cinderella.

1. I have never been convinced that the pianist-turned-conductor Mikhail Pletnev was first rate. He belongs with Barenboim, Ashkenazy, and Rostropovich among great musicians who aren't to the manner born on the podium. Everything in this Cinderella is well executed, but the passion, wit, and sardonic point of the music is mostly missed. If only it didn't sound so glib. Ashkenzy is better on Decca, but we are still waiting for a cincerella performed as well as the best versions of Prokofiev's Romeo and Juliet, his masterpiece in ballet form.



2. The Penguin Guide to Classical CD's gives this its highest rating. This is fully justified



3. Recordings of the complete Cinderella ballet are few, so this recording filled a big gap in the record catalog. I was familiar with the ballet from an excellent old LP recording put out by Angel/Melyodia. This recording by the Russian National Symphony became my replacement, and it is a very worthy successor. The ballet was written during 1941 but was not completed until after World War II. The orchestration is not as opulent as Romeo and Juliet, closer in spirit to Tchaikovsky's ballets. The most famous music is the Cinderella waltz, which is often included on Prokofiev recordings as filler. But make no mistakes; this ballet is filled with wonderful and unforgettable melodies. Cinderella was performed on November 21, 1945 to great acclaim. However, the popularity of the ballets follows in the wake of Romeo.
   
   The recording also includes a suite from the comic opera Betrothal in a Monastery going under the name Summer Night. It is a charming 5 movement suite that contains all of the best music from the opera. It makes a wonderful addition to the CD set.
   
   This recording could not be better and has been named by Gramophone magazine as among its specially recommended essential recordings. Mikhail Pletnev does a superb job as conductor and the recording is clear and well-balanced. Tempos are excellent throughout the recording and the Russian National responds beautifully to the demands of the music's color and shading. The booklet accompanying the record includes a synopsis of the action and a track by track explanation of the action. This recording is a must have for anyone interested in Prokofiev's music and in ballet music.

1 comments about 16 Most Requested Polkas.

1. My mother, age 86, loved this CD. She got a CD player and wanted polka music to play while using her treadmill. She was very impressed with the number of songs included.

3 comments about Dvorak: Slavonic Dances.

1. By turns wistful and content, playful and serious, melancholy and exuberant, Dvorak's Slavonic Dances encapsulate his best qualities as a composer. And here's some good news: Dohnanyi and the Cleveland Orchestra deliver knockout performances that capture those qualities perfectly. Dohnanyi's detractors complain about his penchant for choosing hyper-fast tempi and interpreting without much inspiration; if he does indeed have those problems, neither is in evidence here. These are energetic, joyous, scarily precise performances of these amazing works. The Cleveland Orchestra combines its usual fastidious attention to detail with the most power and exuberance I've heard from it. The melancholy dances are pensive without being melodramatic, the tender dances are lyrical without being sappy, and the fast dances have a fiery energy that will floor you. What's more, Decca's superb recording techniques ensure crystal-clear sound--much more so than on the Telarc recordings of this same orchestra. In short, these are near-flawless performances of these multifaceted works, and certainly one of the absolute highlights in the already stellar careers of both this conductor and this orchestra. This is the only Slavonic Dances CD you'll ever need to buy.



2. In my mind, Dohnanyi's legacy with the Cleveland Orchestra has been to resurrect and maintain the unmatched precision and virtuosity that became Cleveland's hallmark during the Szell years.

   This delightful recording continues that tradition -- Cleveland's playing is clean and impeccably tasteful. But this disc also has a unique warmth to it, both in the quality of the recording and the performance of the orchestra. While I occasionally find Dohnanyi's interpretive style to be emotionally stunted, that's not the case with this recording. The Slavonic Dances are rendered with gusto. As clean and tight as Cleveland's playing is, their performance remains faithful to the happy, folksy underpinnings of Dvorak's music.

   This is a clear, rich recording of the Cleveland Orchestra at the height of its modern power and prowess. Of the compact discs I own, it's one of my favorites.




3. Dohnanyi's recording of Dvorak's "Slavonic Dances" is a treat for the ear. Both sets are recorded here, and the differences in Dvorak's writing between the two (written years apart) are apparent. Some of the later dances are more serious, a bit more elegant, while the earlier eight are bursting with passion and exuberance. My favorites are iv., v., and viii. in the first set, but they are all enjoyable. You might not want to listen to the whole recording in one sitting, as the Dances are all rather similar in format, but spread out a bit they are a joy. I can't really complain about Dohnanyi's conducting - the orchestra, Cleveland at its best, responds brightly, and the players sound like they're having a lot of fun with the music. The recorded sound is excellent, full and deep, and very warm. Lovers of cymbals will enjoy this recording as the high-end crashes come out loud and clear. Overall a very enjoyable and easily recommendable recording.

2 comments about Liszt: Works for Piano.

1. This is considerably more than simply a reissue of recordings by the magnificent Earl Wild. Most Lisztians will already know at least the stellar reputation of David Wilde, winner of the 1961 Liszt-Bartok International Competition and ever since acclaimed as one of the truly great--however less-known--exponents of Liszt's music. (He is still active, now enjoying an award-winning Indian summer on the audiophile Delphian label). Two of his very best recordings of Liszt are here: the "Norma" paraphrase and the Spanish Rhapsody. Ever since their EMI release in 1969, these recordings have held near-legendary status. They simply must be heard to be believed, and the engineering by no less than Christopher Bishop (then the soon to be the leader of EMI) allows the full range of Wilde's sound to be fully appreciated, from Horowitz-like barnstorming (what a left hand!) to the most delicate right-hand filigree. David Wilde's EMI "Norma" has for decades been acclaimed as one of the greatest Liszt performances ever, and when you hear this you'll know why. Even so, one must not slight the wonders in his performance of the Spanish Rhapsody, a more accomplished work. It has a broader emotional range, and Wilde's playing is marked by an incredible fusion of great chordal riches with stupendous forward propulsion. Both of those recordings are summits of the "Golden Age of Romanticism" style, but make no mistake--in Wilde's hands these works emerge as great works rather than mere showpieces. The shorter pieces, particularly "Isolde's Liebestod" are perfect balances for this marvelous record. They show the lighter, gossamer-like qualities of a super-virtuoso (things many a virtuoso can't do), wonderful to hear next to such overwhelming weight. Having Earl Wild and David Wilde on one set is too good to be true, especially at bargain price. With respect to the other pianist on this compilation, Sylvia Kersenbaum, given her recordings here I'm sorry that I don't know anything else of her playing. Although she doesn't scale the heights or plumb the depths that her disc-mates here do, her performances certainly hold to a high standard, and it is a credit to her that no one could say that she doesn't hold the place of a fine addition to round out a spell-binding set.



2. This is a reissue of Earl Wild that was only available before on cassette under the Quintessence label. His playing is impeccable. The 2nd Ballad is the best ever recorded. His amazing technical and musical gifts are on display, recording quality good. A must have for the Liszt collector.

2 comments about Leningrad - 1986.

1. I concur with the earlier reviewer. This concert shows what Horowitz can do without the stigma of the mass media rigth on top of him, as evident in the Moscow performance (as good as that was). He is absolutely in tip-top shape with the Scarlatti sonatas too. Instead of the Mozart sonata he brings in the Schumann Kreisleriana. He recorded it in the studio the previous year, and this performance is quite a bit different. Yes, there are some technically sticky issues here and there - like the horrendous coda to the 3rd fantasie. But he seems so at ease as he tosses of some risk-taking passages as if it were nothing! Now, this is a pretty 'free' interpretation with tempi and rubatos abundantly everywhere. Again, quite a bit different than either of his studio acounts. The Liszt is quite good but the Chopin is unbeatable. Definitely his best live performance in recent years of the A-flat Polonaise. Even with a minor memory slip in the Rachmaninoff Polka, he is quite technically on top of this piece as I have rarely witnessed him before.
   The only downside is that this concert was recorded using a portable cassette player, so the sound is less than good (though better sounding than the boot Boston 1969 recording). I'm curious if a professional recording was done of this concert or not. It's hard to imagine DG not taping this entire concert. Perhaps it'll surface one day. Until then, please hear this performance! A must-hear for any Horowitz fan!



2. Horowitz was rarely at his best for his most feverishly anticipated concerts and recitals. Beecham may have been to blame for the roller-coaster New York debut, but Horowitz's return to Carnegie Hall more than 30 years later also found him -- understandably -- suffering from nerves, and there are many other examples.
   On the other hand, Horowitz said he often did better in the so-called second-tier cities -- Hamburg, for example, rather than Berlin.
   All of which is to say that -- as we've heard for years -- Horowitz played much more beautifully in Leningrad during the historic return to Russia in 1986 than he had during the commercially recorded Moscow appearance immediately before. He's more relaxed, more probing -- altogether happier. This amateur recording is better than one could have hoped -- much better, for instance, than the one of Horowitz's Boston recital.
   Add to all that the belief I share with many that Horowitz reached his greatest heights of musicianship in the very last years of his life and here you have an incalculable treasure.