5 comments about Horowitz in Moscow.

1. Horowitz wouldn't know musical phrasing if you put a gun to his head. If you just like to hear shapeless pounding on the keyboard, however, this disc is for you. If not, there are tons of worthwhile alternatives.



2. 
   The powerful fingering of Vladimir Horowitz was his greatest personal landmark, well apart of other lavish gifts and skills. The artistic closeness with Arturo Toscanini, Fritz Reiner, Anal Dorati or Dmitri Mitropulos (or Paul van Kempen and De Sabata on the other side of the ocean), for instance based on a sharp way to conceive, feel and interpret the music, literally shocked and even molded an approach featured by grasping expansiveness of sound, a rough timber, rediscovering the sonorous possibilities supported by a basic instinct around the music gained them nay praised comments around the world.
   Somehow this was not only a robust reply to a decaying Impressionism, but somhow it was the reverse of the romantic side of the coin.
   
   This musical mainstream permeated the musical thought of many performers (from William Kapell to Leon Fleisher) and it was a perfect match respect the composers by then (Bartok, Nielsen, Hindemith, Busoni) where the music meant too a symbol of epic resistance.
   
   This attitude maintained until the early seventies, when the elegance of the sound and the absence of fortissimos in the most Symphonies of Beethoven, were substituted by sonorous ellipsis and tonal brightness, leaving side a mercurial energy so essential in Beethoven, Bruckner or bartok, but extremely important in Mahler, Henze or Stravinsky.
   
   However Vlada knew to maintain that kindred closeness with Scriabin and Chopin, making of him a true revelation in what the resonance of every bar, giving a feverous state of spiritual effervescence and renowned lyricism.
   
   With the arrival of the new musical generations from diverse latitudes, behind the iron curtain the musical tradition literally had held in a sort of transition state due the isolation, the existential anguish and uncertainness respect the future.
   
   That's why the Horowitz sound has deserved a place in the history of music, beloved by many, and hated for others, but keeping a faithful attitude of honesty and conviction about the material they were playing.
   
   With these performances in the winter of his life, Horowitz was said goodbye to the century of fear and the horror when motivated by the call of his birthland, he decided to return to Moscow, to be known by a new generation, who knew about him and his circumstance. But that never were exception witnesses.



3. This profoundly beautiful recording was made in 1986, when Horowitz was 82. This was his first visit since he had left his homeland at the age of 22. The recording itself will make you cry, and when you read the CD insert, written masterfully by Charles Kuralt, of CBS News, you will cry some more. Mr. Kuralt speaks of Horowitz's life away from his homeland and his return. Many touching pictures of Horowitz with his wife, family, and music students enhance Mr. Kuralt's write up.
   This recording of the live performance of Horowitz is superb. You will sit with your body rigid, with your hands cold and clenched, and with a smile of anticipation glued on your face, and will wait for the great maestro to play. Here you are, imagining that you are in Moscow, right there and then, and you are moved to tears by the music. What is it about the great performers that they make you breathless with the anticipation of the next note, although you know all these timeless favorites so well? In the search for an answer, I have gone so far even to read the books and articles about the biological foundation of music. I did find information about the neuronal connections and developments of various areas in the brains of the musicians. However, I did not find an explanation as to why is it that the average listener gets uplifted and enriched so much by the music when it is played by the great performers, but may be completely uninvolved when the lesser musicians play the same music. Do we have some sort of music receptors that can be triggered only by the selected few? In the absence of a scientific explanation, I have temporarily accepted that there is some sort of magic, which flows through the performer, and every soul in the concert hall. The great performers know how to make this magical connection with the average listeners. Somehow, I believe, the performer and the audience feed on each other.
   I remember reading somewhere how Horowitz loved to perform. He said that he could make people in the audience hold their breath while his hand is up, in the great anticipation of his hand coming down to the keyboard. Yes, it is true; I was literally dying in the anticipation of the next note in many passages. Mr. Horowitz is a great master of passion. Just when you think that you cannot take any more passion, he tones it down, but he never lets the momentum of passion be lost.
   You will love to death Horowitz's selection, each a real gem: Sonatas by Scarlatti and Mozart, Preludes by Rachmaninov, Etudes by Scriabin, Chopin Mazurkas, and much more.
   You will love this recording!



4. I have a couple of hundred classical CDs, and like most of them. But this is the one I play the most. It mixes familiar piano works with others that were entirely new to me.
   
   The concert was held during Horowitz's first return to Moscow, and the emotion of both artist and audience seem audible. Anyhow, the playing is inspired.



5. Upon hearing this record for the first time, I had to pinch myself to make sure I was actually listening to such an amazing, if not perfect display of talent and beauty. After having listened to it over and over again along the years, maybe more than 1000 times, I still find it hard to believe that the guy was even a human being. The only fair review for such a record would be a wordless one: nothing I can write or say would do justice to the rich, almost infinte world of emotions, thoughts and colors he's able to convey through his playing. 20 stars. ;-)

3 comments about André Rieu: Masterpieces.

1. This Audio CD did not have tracks I expected. Most of the tracks are lousy
   style none of the nice tracks from the Tuscany shaw.



2. Andre Rieu and his JSO are a class act. The music is wonderful, can make you smile and can keep you spellbound all at the same time. He loves his audiances and they love him and his orchestra. YOu can't go wrong with any of his musical CD's.



3. I love any and all CDS and DVDS of this artist. He is the master of his musical pieces. I love also his orchestra. He is really a great musician, violinist, entertainer. I have attended 2 of his concerts, and they are magical,superb and the best entertainment ever.

1 comments about The Ultimate Most Relaxing Classics for Kids in the Universe.

1. My five year old son loves this CD!!!!! I think its great,I listen to it too.

3 comments about More Of The Most Relaxing Classical Music In The Universe.

1. i got the cd timely and in excellent condition, but i didn't like the way the music was arranged that much. i was a little disappointed.



2. This is a good mixture of elevator music, and some soft relaxing melodies.



3. Wonderful music for your listening pleasure. Very relaxing and soothing. Nothing beats classical music.

5 comments about Strauss: Also Sprach Zarathustra, Don Juan / Karajan.

1. This is another example of 'big' music, major works by Strauss by THE major post WW II German conductor of the Berlin Philharmonic. I probably would have never bothered to spend much time listening to Richard Strauss if it were not for the fact that the first few bars of 'Also Sprach Zarathustra' was the opening music for Stanley Kubrick's '2001'. And, I believe it was this version (or one sounding extremely similar to this one) which was used by Kubrick. As a fan of liturgical music, I have to say that Strauss' 'Zarathustra' may be thought of as 'anti-liturgical' music, since it takes its title and temper from the philosopher Friedrich Nietsche's most famous work, a distinctly anti-Christian, existential source document. The other works on this recording are also 'high' Strauss, especially 'Till Eulenspiegels lustige Streiche', a celebration of classic German folklore.
   
   There must be hundreds of 'Zarathustra' recordings, but if you must have at least one, this one is a winner, especially at the price.



2. Herbert von Karajan recorded the great Strauss tone-poem Also Sprach Zarathustra three times, each time it was exceptional and each record ranks at the top of the mountain, so to speak. The first record was in 1959 with the Vienna Philharmornic. That was the version used by Stanley Kubrick in 2001: A Space Odyssey. This version that I'm reviewing here is from 1974 with the Berlin Philharmonic and there is a final version from 1983, also with Berlin. This 1974 account is probably the best ever from Karajan and possibly anybody. Perhaps the later 1983 has deeper, richer digital sound but this 1974 account is more passionate and breaths fire. The only reason I give it four and not five stars is the recording itself. The remastering has really brightened up the aural image and it sounds quite fierce at times. The later version, coupled with the tone-poem Don Juan is on the Karajan Gold disc, catalog number 439 016-2. Make sure you get that Gold disc to compare and contrast. If you're a fan of this work, you might want to get them both as there are a few, albeit, slight differences in the 2 recordings.
   
   On this 1974 record I'm reviewing, track 2, Of the Backworldsmen is tremendously powerful, such sweeping string sound unlike in any Zarathustra you've ever heard and let's not forget to mention the riveting timpani at the famous opening. Unbelievable! However the later version packs quite a punch too in places on account of the digital sound, but it's not as driven or intense as this earlier Karajan version.
   
   As for the music itself, Zarathustra is one of the most evocative and fascinating of the orchestral works of Strauss, from the famous opening to the transcendent fury to come to the hushed, meditative polytonal ending, contrasting the two keys representing man and nature. I want to pay particular attention to a couple of passages that display Strauss' strengths and weaknesses in this work. Listen to track 6, subtitled Of Science and Learning. Strauss composes a fugue based on all 12 tones of the chromatic scale, years before Schoenberg's shenanigans. The fugue is great, a dark sound rumbling from the bowels of the orchestra and then it grows and grows and wham, you get this ultra sweet sound on high violins! What's up with that? Strauss schmaltzing it up! Well, you can't have everything. Later in the work, Strauss uses the Viennesse waltz to convey the dance of Nietzsche's Superman. This is Strauss being at his ironic and humorous best and worst! Later the orchestra expands and explodes with unrelenting force in the part just before the Midnight Bell and then the music closes beautifully in the Song of the Grave. All in all, the tone-poem is a stunning display of orchestral wizardry and power and no composer in history could utilize the modern orchestra to the farthest range of it's capabilities like Richard Strauss. ( Gustav Mahler, Nicolai Rimsky-Korsakov, Maurice Ravel and Ottorino Respighi are four of his contemporary challengers. Before them, Hector Berlioz was one of the true orchestral innovators and Richard Wagner revolutionized orchestral sound and what the orchestra could do. He stands apart from the others. Without Richard Wagner, there would be no Strauss or Mahler. )
   
   The other works on this CD are quite a success as well, Karajan loved the tone-poem Don Juan and played it many times, Till Eulenspiegel is played well too, I might prefer Haitink's version here. The dance of the seven veils from Salome is highly sensual, but I prefer the power and sexual excitement of Solti's recording for this Salome excerpt.
   
   I've heard many Zarathustras, two versions by Solti, the 1954 and 1960 Reiner versions as well as Kempe, Sawallisch, Boulez, Previn, Haitink and others, but it's Karajan I return to. This 1974 is top of the line but make sure to add the digital 1983 recording to your collection as well for comparison's sake, turn it up loud and be swept into ecstasy while sending all your neighbors into a fury!



3. Herbert Von Karajan and the Berlin Philharmonic did a splendid job on one of my personal favorite classic pieces, Til Eulenspiegel's Merry Pranks. It's 15 minutes worth of wonderful music put together in this C.D. along with Also Sprach Zarathustra! Enjoyable listening with this c.d.!!



4. Karajan and his beloved Berlin Philharmonic have been accused of "over indulgency" (for example, in the complete recordings of the Beethoven Symphonies, also available on Deutsche Gramaphon). However, the same cannot be said for this recording. Lustrous strings, powerful brass and clear and concise woodwinds, all combined under the virtuosity of probably, at the time, the world's greatest conductor with the world's greatest orchestra !
   
   The opening of Zarathustra (made famous to the point of boring repetition from the movie 2001, a space odyssey), is easily susceptible to over emotional interpretation from the conductor; not so here.It is delivered with subtlety and combined with the awe inspiring power one would expect from the combination of the reputation of such a conductor and such an orchestra.
   
   This almost "hands-off" interpretation of the work extends to the other Richard Strauss works also on the CD; Til Eulenspiegel, Don Juan and Salome, Dance of the Seven veils. For ANYONE interested in the works of this German composer, this CD is an absolute MUST!!! In over 35 years of listening to classical music, I would say this superbly re engineered recording from the original of 1974 represents the geatest interpretation ever made on vinyl (or in this case, digital)media of Strauss' best music.
   
   An absolutely wonderful CD demonstrating the technical AND musical skills of an orchestra that during the 1970's and 80's was regarded as the world's best, being conducted by a conductor who, for over 30 years, was regarded as the world's best!



5. Excellent items! Fast delivery. Thanks.

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.

1 comments about Baby Einstein: Baby Santa.

1. I gave it as a gift to a relative who has a 8 month old and it is a big hit...

4 comments about Johann Strauss: Waltzes.

1. Excellent product for the price. Can't comment on the performance per se, having no real background in classical music, but the Strass Waltzes are very pleasing to me, and I would buy this CD again.



2. This CD of lovely Strauss waltzes, marches and polkas is conducted with true Viennese flair by the incomparable Willi Boskovsky. It is not only top of the line in fine sound, but also, a true bargain. Any lover of this type of melodious fare should purchase this without qualms or reservation. More colloquially put, they should 'snap it up'!



3. The spirit of Waltz acquires - in the supreme baton of this talented conductor - a very special label of aristocratic refinement, that panache and nuance that we possibly will not listen any more, because beneath the score, one may feel a sort of pulse and a nestled majesty immersed in the performance.
   
   Many other directors previously and in the future will have the chance to play these Waltzes but nobody will fit the sublime éclat of him.



4. No orchestra in the world has ever known how to play the waltzes of Johann Strauss Jr. as well as the Wiener Philharmoniker . . . and no conductor has ever led the Philharmoniker in this repertoire in as perfect a Strauss style as Willi Boskovsky (the orchestra's long-time concertmaster). The sine qua non of Strauss playing, the famous Viennese lilting afterbeats (where the second of the three beats of the waltz tempo comes infinitesimally early, rather than in strict time) is here. Tempos perfectly "in the groove" are here. Accept no substitutes: in this repertoire, this combination of performers is the absolute gold standard.

5 comments about Amazing Grace.

1. An excellent product. My memory of the old vinyl disk from which it derived ("Farewell to the Greys") is that it was better, but this one is excellent all the same. Probably the bands have become so famous since the first vinyl record they have gotten a little 'stale' with thousands of performances.



2. i love "amazing Grace" and i love the pipes and the drums. this cd was a wonderful combination of all...



3. Is this really how the pipes are supposed to sound? I do like track 4 which means this recording is a little better than "Highland Cathedral". Once again though, the whole recording is badly out of tune on way too may levels. I guess it's the carinets/flutes that really rattle the fillings worst on this one though. Track three really makes one wish they had never invented woodwinds. Sadly, they are not alone. Cornet Carillon is an absolute embarassment. Is that a clarinet or is someone strangling a cat? Really hard to believe that this disaster has been in print since 1972. The only really good thing about this recording is that it is mercifully short at 34 minutes total.



4. This is a great album of bagpipe and drum music. 'Amazing Grace' is so beautiful and heart stirring.



5. The pipes, like a few other things, are something you either love or hate. If you are not a Scot, they may sound like someone is scalding cats. If you are Scot, or even partly so, they will make your blood boil. This album certanily does that. It has a mix of traditional and more upbeat music. The traditional "Amazing Grace" is fantastic and the last selection is an upbeat Caribbean rendition that is great.

5 comments about Dvorak: Slavonic Dances.

1. The music is lively and great, but I could not play this CD in my car. I tried two other CD's, one burned and one other regular CD, and they both played! This CD did however play on my home boombox. Sad! The Borders store does give refunds on opened CD's either. They will only exchange it for the same CD, with a receipt! The manager told me to burn the CD and try to play the burned version. You would think the original is better than a burned version. Anyways, if you have a CD burner, you should be very happy with the CD in your car.



2. Reading the quibbles about this CD's sonic imperfections shouldn't lead anyone to think this disk features the dismal sound Szell usually got from Columbia. Sony somehow raised the sound quality miles above that. No, it's not quite state of the art, but Sony will do music a huge service if they remaster more of Szell's great recordings to this standard!
   
   Szell opts for wide contrasts in tempo--so once in awhile, fast sections may seem a trifle rushed and slow passages a bit labored. On the whole, though, this just adds to the color of the performance.
   
   Aside from the above, I agree wholeheartedly with the consensus of other reviews.



3. To iron-out Shota's review, this is not an all-American ensemblage: this by definition does not "rival European maestros" as Szell WAS an European maestro, being Hungarian. Importantly, his long-standing collaboration with probably the best US orchestra of that generation/crop, is the most wonderful reading of Dvorak's Complete Slavonic Dances. And importantly, for sensibilities of origins and extractions and nationalities, Szell is quite a mirror of Dvorak, having visited, moved to, sampled life in the US. That combination, European-extraction maestro and US master-orchestra, serves up the finest recording of the dances.
   
   For a Czech reading of Czech Slavonics, to which the Shota's review alludes, one would need Rafael Kubelik's fine complete set on DG. This is available in a DG Trio 3cd box-set at very moderate price, coupling the complete two sets of Slavonic Dances with other important tone poems by Dvorak (although the best recording of the principal tone poems alone is that by Harnoncourt on Teldec). The Penguin Guide rates Kubelik's recording of the Slavonic Dances as 3*, but included in the DG Trio boxset as Key 3*.
   
   However, Kubelik should only be sought after first acquiring this field-leading Szell recording. Note, this recording has been issued on pure (non-hybrid) SACD, but has not been incorporated into any "packages" of Szell (such as the grouping of his Dvorak symphonies 7,8,9) - so one can get this without fear of duplication, if after more Szell Dvorak (which will most likely be the case after hearing these). Further Szell Dvorak is recommended, starting with the 9th and following this with the 8th; the 7th under Szell is more rare on disc, and the weakest of the three last symphonies IMOH.
   
   In conclusion, any collection of Dvorak should not be without this recording. Any collection of the Slavonic Dances should not be without this recording, whatever competitors may offer. And any beginner interested in Dvorak's music beyond the New World Symphony 9, should turn here for an exhilirating ride, with glittering expansive sound, and crisp, accurate execution. I purchased this on a visit to the USA as quickly as I could find it, for it's reputation preceded it, though Szell's excellence is wholly under-valued and under the radar in the UK - I've not stopped playing it since, and all those who have heard it in the UK have been very impressed. Buy without delay, and try sitting still, I defy you!



4. I have been a customer of [...] for years and I've never posted a review. I've purchased books, CDs, DVDs, software, electronics, cameras, and even bakeware. I've never complained and surely don't intend to start now.
   
   I am also not a classical music expert, just a fan. I know there is some debate among Dvorak fans regarding conductors. Some say Kubelik; some say Kertesz. For the symphonies, I settled on Kertesz, (Dvorák: The Symphonies), and I love it.
   
   But when it came to Dvorak's dances, Szell's leadership of the Cleveland Orchestra beats both other conductors, hands down. I just love listening to it.
   
   In my opinion, the dances are much more lively and colorful compared to the more stale and march direction of Kubelik and Kertesz.
   
   For all classsical music buffs, this CD is a must for your collection.



5. You can't really ask for much more.
   
   The life in each dance is incredible. There is a whole world within each small segment, a world that comes alive with every listen. One can simply put this on as background music (for it is beautiful and well played), bounce along to it, or even just sit down and absorb every sound. There is something so satisfying about listening to these well recorded pieces.
   
   In addition to the great music (Dvorak was a master, and these dances are just the tip of the iceberg), there's this incredibly friendly price. You're able to get an excellent recording of incredible repertoire (getting both sets of Slavonic Dances here) for an unbeatable price.
   
   Yes.