5 comments about Dvorak: Symphony No9; Carnival Overture Op92.

1. This performance of the classic "New World" symphony, in my opinion, is the best available. First of all, the remastering is outstanding, the performance is absolutely complete (following all the composer's 'repeat' indications in the score (something rarely heard or adhered to). The only thing I find to be somewhat disappointing (although really not a complaint) is Bernstein's breakneck tempi; this is a pet-peeve of mine applicable to almost every present-day or recent conductor. Slow it down man! This recording is so far the only one I'd recommend to new listeners. BRAVO



2. This record is so particularly than any other records of Dvorak Symphony No.9, especially its cello and double bass part. WOW! It's so clear and powerful.



3. Bernstein has been one of my favorite conductor of all times, but as for many famed conductors, some performances, genre to genre, composer to composer, are quite outstanding, and others not so impressive. In the CBS/Sony Mahler's Symphony No. 1, Stravinsky's Rite of Spring, and much of Copland's pieces and his own are among his highlights. I was quite disgusted, on the other hand by the poor somewhat empty performance (and some really 50's cinematic sound quality... quite shoddy), such as Respighi's Pines of Rome.
   
   As for this album, I would categorize this performance of Dvorak's "New World Symphony" somewhere in between. There are some parts quite off the edge; many of Bernstein's recordings have somewhat unique interpretations, but I personally don't like some exposed in this piece. In the fourth movement especially, the instant change of tempo from fast to slow, and visa versa was a bit distracting. Other than than it's okay.
   
   My ups, on the other hand, would be the ever-nailbiting first movement, the high tempo really prompts us for a eleven minute trek through the ocean... that was what I was imagining. The scherzo was quite fast too.
   
   As for the "Going Home" theme, it is well-played, even though I still prefer Solti's and Karajan's which seems to touch me more, and Lenny's bit-slug-paced DG recording with the Isreal Phil, 18 minutes of a musical meditation.
   
   Thumbs way up for the Carnival Overture! Packs quite a punch... my favorite performance of the piece, along with Zubie's (Zubin Mehta) collaboration with the same orchestra.
   
   The selected Slovanic Dances are good, but Szell's complete set would be the one to look for.
   
   Some ups and few downs, but that's only my taste. Listen to find out what you think.



4. This is a very good recording of Dvorak 9. It is not the best that I have heard (I can recall a late Karajan and especially the late 50s Szell/Cleavland SO) but Berntsein, the quintessential American conductor, very aptly caputres the spirit of this, a quintessential American symphony. I simply don't feel that Bernstein dedicated his whole self into making this the perfect recording. I can say this honestly because I've heard him come as close to perfection as is possible in several other recordings however I simply do not feel that energy here.

   This is a very good recording, top 10 percentile, but it is neither the best example of Dvorak's work nor the best example of Bernstein's work.




5. Dvorak's 9th is easily one of the most famous pieces of classical music, and certainly I share in the love that many have for this piece. I know it very well, and thus it's been hard to find a recording that truly agrees with me.
   
   I hate to give such a difference of opinion here, but I really do not have the same opinion as most people seem to with this recording of Dvorak's 9th. The reason for this is mainly the second movement; for whatever reason, many conductors take this piece at a tempo that to my ears just seems very slow and pondering. Yes, it is an adagio, but it is also a very song-like melody that needs to flow, and Bernstein here simply does not put forth the forward movement that to me is needed here. In the 4th movement, also, he seems to slow and speed a bit too eclecticly that grates on me, though the music is marvelously played with wonderful brass.
   
   On the flip side, there are the first and third movements. Simply put, this is the finest rendition of the first movement I've ever heard. It contains all the enegery needed, and what is possibly my favorite musical moment ever -- the spot where there is a low flute solo at the end of the exposition -- is so beautiful I want to melt. So to the third movement is great, though perhaps a bit TOO fast (better too fast than too slow in this case, though), and if it weren't for the second movement's problems I'd say that these two movements make this a must buy.

   
   As for the rest of the CD, it too has ups and downs. On the up is the Carnival Overture, given a fine performance full of excitement and vigor. On the down, however, are the Slavonic Dances, which lack excitement and vigor, and like other parts of the CD are just too slow. Of course, I also think that the dances need to be heard in at least the set of 8 if not all 16.
   
   So I really can't recommend this CD, though I see that many people seem to enjoy it. My advice is that if you are like me and like the 2nd movement of the New World on the faster side, then stay far away.

5 comments about Best Loved Hymns.

1. cant be bothered searchng for the cd i bought
   it was ok just anoying i only wanted 1 song had to pay $30 to get it



2. This is one more example of hymns in the Anglican Tradition, sung by the always excellent choir of King's College, Cambridge. It is a splendid example of the sonorous sound of men and boys, accompanied by a classic English organ and, for the quieter hymns, the gentle sound of harp. All the familiar hymns and hymn tunes are here. You will not regret adding this CD to your collection.



3. I always enjoy listening to this Cd and particularly because of the orchestra and mellifluous choir. I especially enjoy: A Mighty Fortress, Come Down, O Love Divine, Praise to the Lord, the Almighty, and Thine Be The Glory. Some of the selections are soft such as "The Lord's My Shepherd" and "Drop, Drop, Slow Tears." Still, it is a fabulous selection and one of my favorites.



4. This was one of my Christmas gifts and I really looked forward to listening to it. I had just visited King's College, Cambridge back in August and really liked it--you should try to make it out there if possible.
   
   Anyway, this CD was great to listen to. Some hymns are scored for orchestral accompaniment, choir and organ, while the majority of tracks are just for choir and organ.
   
   Recorded in the King's College Chapel (the front cover has a great shot of the ceiling's trademark "fan" stone carving), the hymns are pure English sound--boys' treble voices along with men's changed voices singing with a pure, clean, straight tone. It's very sweet-sounding.
   
   The hymns chosen are also great; "Be Thou My Vision," an Irish classic, appears along with "When I Survey the Wondrous Cross," "All People That on Earth Do Dwell," and "Morning Has Broken" (later recorded by Cat Stevens).
   
   The singing isn't especially elaborate--they're just simple hymns. They're orchestrated very well, however, and they sound great.
   
   Religious people may prefer these recordings more in general--these are Christian hymns after all--but I think it's a great recording and is worth listening too, especially if you enjoy that English sound!



5. Having heard Kings College Choir twice, in the flesh, at Kings, this CD is a wonderful example of what you might hear. If you can't make it to Cambridge, buy this CD. It contains many of the old favorites and also some hymns that are not found on other English hymn CD's.

5 comments about The Art Of The Theremin.

1. I love theramin music but there are very few CDs featuring this amazing but hard to play instrument. This CD does not dissappoint. The theremin sounds much like a human voice, but with a slightly creepy edge. I will be playing this CD for many years to come.



2. The theramin is, without question, the most difficult instrument in the world to play. Consider: since its invention in 1928 and commercial release in the early 1930s, only one musician - Clara Rockmore - has been able to produce any real music on it. Her performances are spellbinding and, if one sometimes years for, say, a whole sonata or something more substantial than encore pieces, think of how difficult it is to play ANYTHING on this instrument and be glad that we at least have this much.
   
   A one-of-a-kind disc of a one-of-a-kind performer. If you like the samples you can hear on this site. by all means buy it.



3. I recently went through a theremin phase after seeing the documetary "Theremin: An Electronic Oddysey" which featured Clara Rockmore prominently. That led me to buy this recording, which seems to be the traditional standard of classical theremin artistry. The story around the instrument is even more bizzare than the music it makes: spooky Cold-War intrigue, sudden disappearances in New York and the USSR, spy gadgets, dead men found alive, old friends reuniting after decades of separation and obscurity... it all fits the eerie ethos of the music. So to really "get" the instrument, you need to know the story behind it. That's the maudlin part.
   
   While the rest of my family violently disagrees, this is indeed lovely music. A careful listening to Mrs. Rockmore's technique reveals, I think, that she's fascinatingly far beyond waving her hands up and down in front of antennas. She makes glissandos and runs happen with discrete pitches in a way that is hard for me to picture on an instrument that can generate any pitch, and every pitch in between. She developed a way to "finger" an instrument you don't touch. That's why it's magical.
   
   A note on the recording: the timbre of the theremin seems to land in a resonant frequency range on most systems/speakers on which I have listened to this recording, leading to the solo instrument badly overbalancing the piano accompaniment.
   
   PS: I have given on someday owning a theremin. Phase over.



4. Classical music, and specifically Theremin music, is not normally my favored listening. But I took a chance on this disc and am very glad I did. Clara Rockmore's mastery of her instrument is astonishing. The music is tastefully chosen and very beautiful. She often mimics violin or human voice in her phrasing, but subtly gives the theremin its own voice and proves its suitability for classical.
   
   I knocked a star off for the lack of arrangement-diversity, but I have to admit that I usually listen to this disc from start to end. Its lyrical qualities are very transfixing and hypnotic. A welcome diversification to my music collection!



5. I HAVE HAD THIS CD FOR YEARS AND HAVE NEVER GOTTEN TIRED OF HEARING IT, ALTHOUGH YOU HAVE TO BE IN THE RIGHT MOOD TO REALLY APPRECIATE WHAT YOU ARE HEARING. THIS IS THE PREEMINENT THERMEIN RECORDING, BY THE PREEMINENT THEREMIN PERFORMER, CLARA ROCKMORE. HAUNTING, STRANGE, HYPNOTIC, YET MELODICAL, THE THERMEIN IS A VERY DIFFICULT INSTRUMENT TO PLAY, AND CLARA ROCKMORE WAS THE ONLY PERSON TO EVER REALLY "MASTER" IT. IF YOU WANT TO HEAR THEREMIN MUSIC, I GUESS THIS IS THE ONE CD YOU NEED TO GET.

5 comments about Beethoven: Complete Overtures.

1. I had great hopes for this set of Beethoven's Overtures, but found it to be quite disappointing. These "new interpretations" are more distortions than new interpretations. Fast tempi and misplaced accents in several of the overtures spoil this set along with too reverberant sound and booming, rather than warm, bass. Karajan's set with the Berlin Philharmonic is superior in every way.



2. David Zinman and his Tonhalle Orchestra of Zurich deliver what is, hands down, the best overture to the Ruins of Athens on disc. Zinman opens the work with great energy at a quick tempo - those of us familiar with Masur's slow and stately introduction will certainly feel as if they are hearing this familiar music for the first time. The oboe cadenza is delightfully zippy as Zinman plunges headlong into the allegro proper with such authoritative vitality that one almost feels foolish for not liking this work more, slight though it is on musical argument. Horns wail, strings dig, and winds bite in this marvelous traversal. This performance gave me several impressions. First, how nice it is to hear Beethoven (here and in his traversal of the symphonies) with smaller forces married to historically informed performance practices - hard mallets for the timpani, violins divided stereophonically, winds forwardly balanced. It has a tremendous amount of textual clarity which enhances the musical argument in no small part. Secondly, how impressive that even two hundred years after some of these pieces were composed they can still be played to the hilt with fresh energy and conviction. Even with the reduced string section, I would be curious if anyone could find other versions of these overtures with this much vigor. And finally, as always, its wonderful to hear a music director and his orchestra bring something new to familiar music, all the while maintaining the highest performance and musical standard. And the love both Zinman and the Tonhalle have for this music is immediately palpable.
   
   The same level of energy Zinman brings to The Ruins of Athens runs throughout the entirety of this two-disc release. Prometheus certainly benefits from the scaled-down proportions of the orchestra, finding the perfect balance between classical grace and Beethoven's rougher energy. Coriolan is just as bit as convincing, free from the overly-romanticized patina that this work has amassed over the years. The Overture in C receives a particularly convincing interpretation. Listen to how Zinman maintains tension throughout the overly-repetitive music and certainly makes the most sense out of the often odd-sounding scales at near the end of the piece. It just goes to show that even less convincing works can sound convincing when played with this level of conviction. Fidelio is another winner, a performance of lively grace but imbued with appropriate power.
   
   The Consecration of the House is a delight. Zinman shapes a cogent and appropriately Baroque sounding opening to the piece and, although the trumpets are a bit reticent in their fanfares, the textual clarity of it all is quite refreshing. The allegro certainly benefits from the antiphonal violin placement, a reading of uncanny transparency, culminating in a roaring conclusion. I still have the slightest preference for Masur's performance and no one can match Charles Munch's Boston Symphony reference interpretation in this work, but all in all it is simply a matter of taste and certainly Zinman offers steep competition. Zinman's reading of King Stephen is one of balanced, proportional energy befitting its classical nature but, when all is said and done, I still prefer Szell's all-or-nothing Cleveland traversal, which possesses unbelievable physicality. As for the three Lenore Overtures, Zinman's approaches are period appropriate, but it is slightly difficult to listen to Lenore No. 3 in this leaner state. I still prefer Gunter Wand's performance, one of almost excessive weight and physicality, but the excitement is unquestionable. Egmont again is wonderful, but seems slightly undernourished when compared to the competition. But preferences aside, Zinman's interpretations are as convincing as ever and offer tremendous musical nourishment.
   
   Recorded sound is excellent throughout but the microphone placement seems to differ from work to work. In the performances where the orchestra is most distant, the horns can often sound recessed and slightly pinched (such as in Prometheus and Fidelio) or the timpani overly reverberant (Overture in C). Still, the playing is uniformly spectacular and these are small quips that in no way detract from the listening experience and become less noticeable after repeated outings.
   
   This set is certainly a welcome addition to a field that, until now, had virtually no competition. That Masur's performances were uniformly splendid made the dearth of great Beethoven Overture compilations less frustrating, but this set, in modern sound with period performance techniques, is almost self-recommending. Comparing Masur to Zinman seems unfair as both offer so much and say such individual things that I could not imagine having one over the other. This is a welcome addition to the catalog, one that no Beethoven fan should be without.



3. Wonderful recordings. Great musicianship and superb sound. A real joy! Highly recommended.



4. Beethoven's great overtures need no special pleading, and yet David Zinman gets down so effectively to where this music lives that in some cases, it is like hearing a thrice-familiar work for the first time. Even the Zur Namensfeier Overture, easily the least distinguished of the pieces collected here, has both sparkle and bite in Zinman's reading. The similar but much finer King Stephen Overture is always a smile-inducing surprise among Beethoven's dramatically charged overtures, given its simple joviality. Here it smiles with a youthful freshness that you don't hear in every interpretation.
   
   The most revelatory performance for me, though, is of the Coriolan Overture, a darkly brooding piece that usually seems a bit dour despite its obvious craftsmanship and the undying memorability of its poignant second melody. Zinman succeeds in bringing out the fiery drama in this piece, which seems more often to smolder than to burn outright. Zinman's is a truly captivating performance and will be the way I choose to hear this wonderful work from now on.
   
   Another piece that can seem pedantic and overwrought, The Consecration of the House Overture, is in Zinman's hands perfectly proportioned. Here as elsewhere, Zinman is faster than a lot of conductors but without sacrificing any of the grandiosity of this very grand piece. The one place where I'd say he rushes things too much is in the slow introduction to Egmont: the "quasi allegro" at which he takes the opening fails to provide contrast to the true allegro that is to follow. A small misstep given the many, many felicities of this set. Overall, in fact, it should let you hear these tried-and-true masterworks with a new set of ears.
   
   In writing of Zinman's Beethoven Symphonies series, some critics have complained that the Tonhalle Orchestra produces an anemic sound. I don't hear evidence of that on these discs. There is real heft in the lower strings at the start of the Zur Namensfeier and Egmont Overtures, and the consciously "big" pieces such as the Leonore 2 and 3 and The Consecration of the House Overtures have a proper Beethovenian robustness. Sometimes, I'd say, the horns sound overtaxed, but just as often they produce a blaze of glory for Zinman. So I can't find any great objection to the playing of this mostly very fine orchestra.
   
   I also like the sound the engineers have captured in the lively Tonhalle. It provides depth as well as detail: there is sheen to the high strings; punch and heft to the brass, timpani, lower strings.
   
   In fact, I like just about everything these discs have to offer, including their super bargain price.



5. Surprisingly, there are relatively few choices currently available when it comes to complete collections of the Beethoven overtures, long part of the standard repetoire of any respectable orchestra. The Masur/Leipzig collection has been around for about 30 years, but until Zinman's collection was released this year, it has been pretty slim pickings.
   
   At first, I did not know quite what to think, because Zinman offers a much leaner, fast-paced interpretation of nearly every overture. On average, his tempi are over a minute faster than the more traditional tempi of Masur's, which means that the Tonhalle Orchestra is really on a brisk clip. The orchestra's sound is also considerably lighter than one might expect (unless you are dealing with Gardiner & his period instruments, who have not yet recorded the overtures as far as I know). Whether this a result of reduced personnel or careful mike placement, I don't know, but the result is a much less heavy sound than what normally hears.
   
   Initially, I did not care for what I found to be unfamiliar, but the more I listened, the more Zinman's tempi made sense and the more accessible these overtures became. Also (unlike Masur's edition), the three Leonore overtures do not run consecutively which is to the overall benefit of the collection. There are occasional moments of weakness in the horns & the violins, but they are brief and do not particularly detract from the performances. The recording appears to be a little bass-heavy at times, but not oppressively so; most of the time the sound has a light freshness to it that is most pleasing to the ear.
   
   It also doesn't hurt that Arte Nova has made these CDs dirt-cheap. A mediocre performance for this little money could be easily forgiven; it is made all the better that these performances are top-notch. Anyone who loves Beethoven overtures (and who doesn't?) would be mad to overlook this collection.

5 comments about Joy to the World - Eugene Ormandy, Philadelphia Orchestra.

1. This music represents what Christmas joy is all about,the thrill of old favorites presented in top quality form. MERRY CHRISTMAS!!!



2. I have always preferred classical Christmas music as opposed to something like Mariah Carey's "All I Want For Christmas is You" and the 10,000 versions of "Silver Bells" so this album really fit the bill. Great pick if you prefer classical music to pop Xmas songs.



3. Since I am a musician and director of music also, I really get into the listening of music. Christmas music is my favorite next to religious choral pieces we do in my church. This particular CD ranks quite high on my list because of the fullness of the music and the selection of pieces. The use of dynamics is quite effective as well. It really puts me into the spirit of Christmas and in particular, the reason for Christmas, the birth of Christ. Enjoy!!



4. This wonderful CD has everything to celebrate the great joy of the Christmas season. Recorded in the early 1970's it still sounds as fresh and timeless as it did way back then.
   The orchestrations are majestic and imaginative without being mushy or too symphonic in structure.The addition of the chorus in most of the carols is an added bonus. The singers and orchestra blend wonderfully without either dominating the other too much. The programme of selected songs is excellent and with some lovely orchestra only tracks the CD is not tiring to listen to creating a well balanced programme.
   Maestro Eugene Ormandy conducts the Philadelphia Orchestra with great zeal and a passion for the music that is felt by the listener.The chorus master is the very talented Robert Page and the carols are arranged and orchestrated by the great Arthur Harris.
   The sound quality is excellent and the CD has been beautifully remastered without any loss of crispness or dynamics.The stereo balance and instrument placement sound superb with the singers centre stage.
   This is a remarkably good CD from the RCA Gold Seal range and is a must for lovers of really good seasonal music played with love and passion for the joys of the Christmas season.
   Thank you for taking the trouble to read my review and I wish one and all much enjoyment from this lovely CD.
   
   Happy listening!



5. A truly great collection of classical Christmas music. Highly recommended.

5 comments about Pieces in a Modern Style.

1. Being a fan of classic music as well of a fan of electronic music, this album blew me away, I often play this CD when I want to create a relaxed atmosphere and I know for a fact that 4 friends of mine have bought the CD after listening to it here with me.
   Xerxes and Cavalleria rusticana are sublime achievements of production.
   
   Mr. Orbit, "Hello waveforms" is great but you should take time to produce a second CD of pieces in a modern style.
   
   PS: It's the perfect gift for classic music lovers, you can't expect them to have it and they'll love it for sure



2. I have been working in electronic music for almost 20 years years. I have a massive library of music for almost any reason, mood and itch. Tonight, I am taking the five minutes to stop and write how unique, amazing and consistently refreshing this album is everytime I go back to it since the day it was released.
   
   Highly Melodic, very electronic and overall lacking the percussive elements most have come to know when listening to Orbit.
   
   Much more sophisticated than the average listener might appreciate.Consider it a staple for anyone serious about electronic music.
   
   I believe anyone rating this poorly is looking for a pop appeal that you just won't find here, thankfully.



3. I don't know who Maxine Kubabi is. She's certainly untitled to her opinion. An "ungainly meeting of the sublime and the absurd?" What a sublimely empty and inadequate statement.
   
   You have to know something about a genre before you can be an effective critic inside it. You should be able to specify why you don't like something in some detail, rather than resort to crabby nebulousities ... that's greasy kid stuff.
   
   What Orbit has done is to realize some old, familiar works in an electronic medium, using smooth and musical strokes. He's taken many big chances. Some of them worked out well, others not as well as one might hope. But he deserves kudos for taking a risk and for making some of it work.
   
   Why would anyone who *likes* electronic music complain that it doesn't have live instrumentation? That's like complaining that jazz has no rock and roll in it. "Reverence"? "Second rate Vangelis"? so: you were disappointed that Orbit didn't create more of the kind of schmaltz you personally like. Yanni, anyone?
   
   For those who actually like electronic music, and like Beethoven's Opus 132, please, give that track a listen. I don't think you'll be disappointed.



4. I have been a fan William Orbit since Water from a vine leaf and I have to admit while this ins't exactly a electronica per se it is still amazing to see what he has done with our classics. The listening experience depends solely on the listener. More ambient than anything else I have heard though.
   
   Recommended for William orbit and curious georges



5. If you're looking for something to pop in late at night to dance to...this is not the album. This album is eery and some of it is painful. It's not full of upbeat electronics like originally thought it would be. But, I love it. It's great to listen to while just thinking...relaxing...reading...it's beautiful.

5 comments about Masters of Classical Music (Box Set).

1. I think that this is really one of the best values you're going to find anywhere in the world of classical music, especially for beginners. You're getting 10 CDs, each filled almost to capacity, with the most famous works from the most famous composers in the history of classical music. The sound quality is excellent on every disc.
   
   While I would have made some replacements on the list of who was included, I feel that this collection is a must-buy for anyone interested in exploring classical music in depth. Quality is high, quantity is high, you really can't go wrong.



2. I have heard only 3 out of the 10 CDs yet - Mozart, Beethoven and Tchaikovsy - and I think I like it. I give full marks for the selection of music. It has the pace and type of classical music that I was looking for. (I like and appreciate classical music but can't stand, nor understand, a lonesome violin screeching away for 55 minutes).
   I think this set is a great gift and/or as an introduction to classical music especially to younger audiences.
   As for the sound quality - it sounds like...well..a regular "Digital Audio" CD. Nothing to write home about. Its not the audiophool quality recording you might be looking for. Some tracks are recorded better than others. But if you think MP3 sounds freakin' awesome, don't worry about what I said about sound quality.



3. I am a college student who was looking for some classical music to study to, and wanted a decent amount of it so I would not end up listening to the same concertos or overtures time after time.
   
   The reason I gave it only 4 stars and not 5 is for one simple reason that doesn't pertain to anyone that will just listen to the cd's on a cd player. My grievance with this set is that only a few of the cd's are listed on iTunes, so if you want them on your iPod or on your computer for playlists, you have to manually enter the information (album name, track names, artists).
   
   For the price, it is absolutely worth it for this box set. Only one of the discs is under an hour, while most of them almost hit the 70 minute mark, so there is no deprivation in the collection at all. And the audio quality is superb. A fantastic set for the money and quality that you get out of it.



4. I ordered The Masters of Classical Music Box set as a Christmas present for someone who was just getting into the classical repertoire, and wanted to expand their library of music. What a great way to start! As soon as I received the set from Amazon, I thought it was the perfect primer to build upon with some wonderful selections included in the 10-disc set. There were the "tried and true" pieces associated with each respective composer, and there were some additional musical gems that made me wish I ordered a few extra sets to give to the classical music lovers in my life. Sometimes people get put off by the classics because the music is too "highbrow". Not in this case...the pieces are wonderful and very "classical friendly." It's one of the finer building blocks in putting together a comprehensive classical music library.



5. This is an extraordinary collection by the most influential composers and they're very well-performed. My only disappointment is with the recording quality of quite a few of the selections. They sound as if they were converted to CDs from badly scratched records with lots of annoying popping. However, for variety, this set is a great value.

2 comments about Lully: Grand Motets Vol. 3 / Niquet, Le Concert Spirituel.

1. Great vocal and instrumental music I never get tired of listening to them! Long Live Lully



2. In contradiction to what the title of this CD indicates, not only Grands Motets but also two Petits Motets are recorded. They form a moment of rest between the three festive large-scale 'coronation' Motets written for the Chapelle Royal. While the Petits Motets confirm the reputation of French baroque music being tender and sweet, the Grands Motets demonstrate that French baroque is baroque in any sense: full of contrast, brilliance, colour, drama and complexity. The motets recorded here date from the 1680's, showing Lully's talent at the peak of his creativity. Le Concert Spirituel's performance of this music is in my opinion a reference, which allows to forget any other performance: the warm and full sound of the continuo, the extreme precision in orchestra and chorus allowing to hear the polyphonic aspects of the works, the dancing and elegance make this recording incomparable. In combination with an excellent set of singers (including the remarkable J.P. Fouchécourt!), Niquet transforms each motet into a unique whole, demonstrating that the 'Gesammtkunstwerk' aspect of Lully's operas is also valid for his religious music.

5 comments about Igor Stravinsky: The Rite of Spring / Alexander Scriabin: The Poem of Ecstasy - Valery Gergiev / Kirov Orchestra.

1. I agree with R.V. There is no reason to allow sloppy playing in a professional orchestra recording. You do it over until you get it right. No excuse. I have always had a soft spot for the Russian orchestras, but let's face it, they are not on the A-list equal to Boston, Cleveland, Chicago, etc. Also, for a modern day digital recording the mixing should be first rate and almost perfect.
   There are just too many mistakes made in creating this recording to make it stand up with the others out there. Chicago/Ozawa, now that's a nice recording. Boulez/Cleveland, awesome. I don't like listening to my favorite pieces and hearing orchestra clams. They should be caught by a conductor who is paying attention even if the mood is wonderful, mistakes should not be recorded. People who know the score may be listening.



2. I can't believe the rave reviews for this "Rite." In just auditioning the 30 second tracks I heard more errors, goofs, and a Tam-Tam in "Dance To The Earth that's everywhere but where it SHOULD be than I have ever heard before. I'll take Dorati on Mercury, Boulez/Cleveland on CBS, or Tillson-Thomas/SFO any day, no contest. As to Scriabin, the champ is still the out-of-print Abbaddo/BSO on DGG. Find it if you can and pay the price... it's WELL worth it.



3. I have been visiting the review page for this CD for some time waiting to see if someone noticed the same mistake I did. Gowdie's review has got it right. The error immediately ruined the experience of the entire Poem Of Ecstacy for me. The lilting strings (E to D#)which cry amongst the harp is to me one of those magic moments in all of classical music. What an awesome following to the build up and it also sets up the big finale.
   
   Sorry, the Stavinsky may be great but, a mistake such as this warrants a three star deduction.



4. This is it -- if you are looking for a "perfect" 'The Rite of Spring', you owe it to yourself to buy this cd -- especially if you have a reference audio system. It will blow your socks off.
   
   Deserves a "10" star rating.



5. Gergiev clearly aims to bring back the visceral impact of Le Sacre, and he is aided by extremely clear, detailed sonics that pull us directly into the texture of the orchestration. Sheerly in terms of the noises coming out of one's loudspeakers, this performance rivets the listener's attention. The impact of the bass drum, tam tam, and tuba, for example, is unprecedented. Gergiev has other cards up his sleeve. He re-invents Stravinsky's cross-rhtyhms, ever so slightly throwing off one's expectations. Sometimes this happens through minute pauses and underlinings, sometimes by raising and lowering the temperature unexpectedly. The softer passages sound nuanced and sophisticated, the barbaric ones deafeningly loud and assaultive.
   
   The overall effect is intriguing, so I must agree with every reviewer who praises Gergiev for finding his own way. At the same time, however, there's an air of too much study, of mannered phrasing for its own sake. Every listener will have to decide for themselves, but personally, this sonic spectacular doesn't propel me forward the way Bernstein and Markevitch do in their classic recordings.

5 comments about Chopin - Die Kameliendame (Lady of the Camellias).

1. Die Kameliendame aka The Lady of the Camellias is a breathtaking ballet choreographed by John Neumeier and performed with the amazing talents of Marcia Haydee, Ivan Liska, and the Hamburg Ballet. I purchased the VHS version by KULTUR several years ago. With VCR technology phasing out and my VCR eating my copy of Die Kameliendame, I thought I'd purchase it on DVD. Horrendous decision! DEUTSCHE GRAMMOPHONE, the company responsible for the transfer to DVD, destroyed what was once a beautiful ballet and turned it into CHARLIE CHAPLIN meets cheap Kung-fu. The technology used for the transfer sped up the whole film making it void of any emotion that was present before their tampering.
   
   The video quality is great and the audio quality is vastly superior than the VHS version but it does NOT justify what they did to the ballet! Kudos to the choreographer, dancers, and musicians! Shame on the DEUTSCHE GRAMMOPHONE company for ruining this artistic treasure!



2. Chopin's beautifully performed music was not composed for ballet and one has the sense that it is being drafted against its will into storytelling. Neumeier says he considered using the music Verdi composed for this story (La Traviata), but rejected the idea for some unexplained reason. Balanchine once said that Verdi is "dansant"--dance-able-- from beginning to end. My feeling was that Chopin's music here is too rich and complex to serve the purposes of narration. Why don't these wonderful dancers sit down and listen to the Chopin concert and then perform a ballet? I felt I was attending two separate performances simultaneously.



3. This story is based on an autobiographical novel by Dumas and has been performed under many names: Lady of the Camellias,Armand and Marguerite, and La Traviata, to mention a few. This ballet version was done as a movie back in 1987 by John Neumeier and was previously released on VHS. This DVD transfer by Deutsche Grammophon is fantastic! Both the sound and picture are as good as it gets. The choreography is purely classical and is very complex and ambitious. The dancing is almost nonstop for two solid hours! The pas de deux are some of the most romantic in the repertoire, and many intense solos are included. The quality of the dancing is unbelievable and some of the best the Hamburg Ballet has ever come up with. There are some lighter moments, with delightful comic elements, including some with a cabaret flavor. But the overall feeling is that of 19th century gothic gloom.
   The sound also includes intentional stage noises, like the flowing of fabric and footsteps and other incidental sounds, which adds to the sense of realism. There is also some creative use of lighting.
   The music in this version consists entirely of various pieces by Chopin, both solo piano and piano and full orchestra. The music is also flawlessly performed.
   This is a very moving ballet experience and should appeal to all lovers of classical ballet.



4. Elsewhere, I have praised the Kultur VHS of John Neumeier's beautiful ballet film of the Lady of the Camelias, but was unhappy that the copy used for the tape was a beat-up master of the film. I do hope that the good people at DG have obtained a pristine master, in superb sound and hopefully letterboxed. Nonetheless, the dancing and dramatic interpretation of Marcia Haydee and Ivan Liska is superb, and the music of Chopin provides a perfect score.



5. If you are lighthearted and enjoy happy and joyful productions, you should be aware that this production is a very serious one. If you are new to ballet and want a great single tape I would recommend something from the Kirov ballet such as "Swan Lake" or "Sleeping Beauty". Those are great and traditional productions with a good range of expression from serious to joyful.

   This tape is rather stark in most of the scenes being two or three people with one chair and one color backgroud and one piano accompanyment. There are a couple of scenes of a larger scale with full orchestra, but unfortunately, these are rather short. The audio is quite well preserved, but the vidio is a bit rough in places since it has been duplicated from film.

   For long time ballet fans, this may be a FANTASTIC find, but for me, it is a bit too serious, too much like an unspoken soap opera... but I have to add that I just got the tape and maybe over time I will learn to love it.