2 comments about Percy Grainger: The Complete Piano Music.

1. These are fabulous recordings of Percy Grainger's works for piano and I would recommend this to anyone interested in Grainger. The 5 cds are offered at an excellent value and well worth the money spent.



2. A super budget 5 CD collection of all of Grainger's Piano music.
   Every last note!
   The shipping alone would be $17.00+ for the 5 individual Cds.
   Englishman Martin Jones plays these as if he wrote them. He is thoroughly inside this music.
   I think his best work to date.
   He is joined on CD #5 by Richard Mcmahon and Phillip Martin. Where they rollick in various combos and trios on 1, 2 and 3 pianos. This is exhilerating. Especially on an truly uplifting version of Green Bushes.
   The entire set is strongly idiomatic and given a clear, crisp, warm and spacious recording. FIRST CLASS sound.
   There are too many highlights to single out, but the In A Nutshell Suite and Green Bushes are especially GOOD!
   There is not a bad note or "vibe" on any of these CDs.
   Highly recommended for Granger fans and fans of English Piano Music.

5 comments about CD Single Box Set.

1. despite the fact that this collection could've fit on 2 cds, which would've surely given this great music a wider audience [likely only the hardcore would shell out $50+], this is easily as essential as any of the cocteau's "proper" albums like Treasure, Heaven or Las Vegas, Head Over Heels, etc. I notice there is a new set coming out called "Lullabies to Violaine" which includes the post-'90 singles tracks. Some things I noticed in that track list, it does not have 'peppermint pig (12" version)' which i prefer, and only has one version of 'pearly-dewdrops' drops' which it lists as "(alternate version)". I hope they mean it's the 12" version because it has the soft little intro which sets up the song perfectly. May seem like a little thing to some, but being one of my favorite CT songs, it's a must. Also that set does not have the tracks from this set's bonus disc (Dials, Crushed, The High Monkey-Monk, Oomingmak (instrumental), all good songs). I can't comment on the post-'90 tracks that account for 29 of that set's 61 tracks (haven't heard them, apart from the ones that are on "four-calendar cafe" and "milk and kisses"). It does say that the set contains 2 discs which would make it preferable if not for the omitted tracks, but it has to be 3 discs, obviously too many songs to fit on 2! It also says it will be released in 2010 (lol, okay). Probably not. Maybe you can download all this stuff for less. Something to consider, since you'll probably be making your own burnt cd's from this anyway. Though however you acquire this music, do acquire it.
   
   Many tracks rank among their best material, in my opinion, such as "pearly-dewdrops' drops" "mizake the mizan" "melonella" "pale clouded white" "sigh's smell of farewell" "feathers-oar-blades" "pink orange red" and "peppermint pig" [though it seems quite a few disagree on that one], but I love all of it, and listen to it as much or more than any of their (amazing) "proper" albums. :)



2. This box set is a critical piece of any Cocteau Twins fan's collection and encompasses almost all of their early EP releases, which are now almost impossible to find anywhere in any format. Many of these tunes were college radio standards in their day. Also includes some unreleased material which can't be had elsewhere. If you like the Cocteaus in particular, or simply have fond memories of the wonderful ambient, guitar-based new-wave music of the 1980s, BUY this set!
   
   Fans of Bauhaus, My Bloody Valentine, Legendary Pink Dots, Joy Division, The Wonder Stuff, Buzzcocks, The Cure, etc... will definitely enjoy this.
   
   Hard to find these days, you'll probably have to buy this limited-edition release used. Decent used copies can be had for little more than the $65 price of the new set when it was in print. Don't pay $300 for a still-wrapped, mint-condition set. Just find one with all the disks in decent condition. You're going to end up ripping and burning them onto two long 19-song CDs anyway - each disk only has 4 songs on it (preserving the 12'' EP format of the originals), so you'll get sick of changing them pretty fast.
   
   I wish the Cocteau Twins would consider re-issuing this, perhaps as a two-disk set for less money.



3. The Cocteau Twins have often been unfairly derided for always sounding the same. Anybody that jumps to this conclusion either needs a new set of ears or has only listened to the releases of their final years. While it's fairly easy to track their development through their numerous studio albums, there is a significant amount of outside material that is just as important in their musical career. Few bands are familiar with the idea of an EP these days, but back in the 80s the Cocteau Twins were masters of the format. A couple of the releases included in here are a little flimsy (most notably the Peppermint Pig EP), but the gems among them really shine.

   The Lullabies EP has the same bite and grit of the Garlands album, and showcases a darker side of the Twins that never really shows up again. Still, it's a great example of where it all began. The true beauty begins with the 3rd disc, however - the stunning Sunburst and Snowblind. While Head Over Heels, the album that preceded it (and also produced the first track, Sugar Hiccup), still had a certain edginess about it, Sunburst and Snowblind has more in common with Treasure, and shows a switch to the softer, textural depth of the band. The Spangle Maker EP is hardly a step down either, pushing the band even further into the thickness of their lush melodies; both the title track and Pearly Dewdrops' Drops are hauntingly gorgeous. Aikea Guinea marks a focus on the so-called "landscape music" period of the band, with melodies that paint pictures of specific locales - a style that is further explored on the Tiny Dynamine and Echoes in a Shallow Bay EPs (as well as the Moon & Melodies collaboration and Victorialand album). The final two EPs (Love's Easy Tears and Iceblink Luck) show a general cohesion into their later, more familiar musical style, as found on works like Blue Bell Knoll and Heaven or Las Vegas. A bonus, tenth CD is included with four tracks that either were released on separate 4ad compilations or just had not yet seen the light of day.

   Overall, this is a collection that should not be overlooked by any Cocteau Twins fan. While the CDs are certainly short in comparison to the full-length releases, they each represent a vital piece in the beautiful jigsaw of their musical repertoire. An absolute must have.




4. If you are a fan, this is a must have collectable. Every song in beautiful and haunting.



5. I was first introduced to Cocteau Twins through this set. To this day, it remains my favorite collection of CT songs, which I enjoy even more than the regular LPs. It is a beautiful overview of the band's many styles and takes you from their harder earlier sound to their later lush compostions. The actual box itself is a lovely collecters item that will blend in nicely with your music collection. A charming, simple set that leaves you breathless and yearning for more. (And I did yearn for more...eventually I collected their entire catalogue.)

2 comments about The Engine Room: A History of Jazz Drumming from Storyville to 52nd Street.

1. This is a great CD that show a complete panorama about the
   history of drums and drummers. They are 4 CD's selected by themes like:
   1.New Orleans Style/ 2.Swing is Here/ 3.Big Band's / 4. Modernism.
   Have an excellent book with a short history of each drummer, with
   good pictures from the greatest drummers.
   It has great's drums solos from Ray Bauduc, Baby Dodd's, Zutty Singleton, Sony Greer(very rare), Chick Webb, Sid Cattlet, Buddy Rich, Louis Bellson and some others not so famous, but very important to the history of the drums. And good executions from Tony Sbarbaro (his name are incorrect on cd: "Sharbaro"), Cozy Cole, Krupa, Manzey Johnson, Art Blakey playing on a big band, and more...
   I miss more drums solos. That's the reason i gave "4" and not "5" stars. Unfortunatly dont have any solo from the greatest Dave Tough, Jo Jones and Lionel Hampton (Hampton don even appears on cd).
   But the people who select this collection knows about the drum and drummers history!
   Every drummer or lover need's to have this collection!!!
   Is an excellent and well done jazz drumming class!!!
   
   
   
   
   



2. Like the companion set, Hittin' on All Six (jazz guitar), this collection brings together a wide range of excellent records that date from the earliest jazz recordings going up though early modern. Some of the selections are predictable, some are obscure, but they all are interesting. Lots of Sid Catlett, for example, and excellent choices on the big band side in particular (Cozy Cole, Jimmy Crawford and Jo Jones, to name three). No Lionel Hampton, but the fabulous cymbal beat of Alvin Burroughs with a Hampton small group. And of course, Chick Webb's Liza, which features wonderful drumming but also a really fine trumpet solo by Bobby Stark (the 2nd solo).

5 comments about Paris and London: 1937-1948, Vol. 2.

1. Django is my man, and I've always found these to be some of his most fetching recordings. The sound is a bit bland for my tastes, though. JSP puts out an inconsistent product at times.



2. In my opinion, "Paris & London 1937-48" is slightly better than "Classic Early Recordings in Chronogical Order". Considering the source material, JSP did an excellent job remastering this collection.



3. For someone like me who loves every note Django Reinhardt ever played this 4-CD collection and another 5-CD set also available on Amazon, "Django Reinhardt: The Classic Early Recordings in Chronological Order," are the Holy Grail. Between the two sets I can load up the CD player with 9 discs and listen to this most unbelievable of all guitar players show off for hours at a time.

   There is more swing, more fun, and more incredible guitar playing on these discs than you'll ever hear anywhere else.

   Even though they contain no lengthy linear notes, 'free booklets,' posters, etc., these are, without a doubt, the greatest multi-disc box sets I have ever heard.




4. I got "Paris and London" and JSP's other great box set, "The Classic Early Recordings in Chronological Order," at roughly the same time, and for a while I listened constantly to the "Early Recordings" and pretty much neglected this set. One reason is that the "Early Recordings" are so great that I couldn't tear myself away, but another reason is that the "Paris and London" set includes more large-ensemble recordings that have taken me a little longer to appreciate. By my taste, at least, Django is at his best in small acoustic settings (e.g., in the famous Quintet of the Hot Club of France, or even soloing or just accompanied by piano). "Paris and London" does contain a number of songs by the original Hot Club (including Stephane Grappelli), and most of those rank with the very best on the "Early Recordings" set --- but there are also a number of wartime recordings (made while Grappelli was stranded in London) that have a more standard jazz ensemble sound (featuring Hubert Rostaing on clarinet in place of Grappelli's violin), as well as a few performed with large orchestras, and at first I found those a little less appealing. My view changed a little, though, when I read in Django's biography (by his contemporary, the French music critic Charles Delaunay) that by this stage of his career Django was becoming more interested in composing and arranging than in simply playing guitar, and that he felt there were more musical possibilities in larger groups than within the limitations of the string quintet (three guitars, bass and violin). So I've been going back and listening to these large-ensemble recordings with a new ear, and I guess I can say that it's expanded my musical horizons a little. As a guitarist myself, I'm naturally partial to Django's remarkable lead guitar playing, but with the larger groups his role is more like Duke Ellington's on the piano (that is, using his guitar more as the cohesion behind the arrangements than as a lead instrument). So on these recordings you get a fuller sense of Django's overall musical vision, beyond just his virtuoso guitar playing. In any case, even if you're mainly just interested in hearing Django's guitar, you won't be disappointed, because these recordings include some of his best. Also, I see that one reviewer criticized the sound quality of this set as compared to the "Early Recordings," but I'm not sure I'd agree. That reviewer may have better equipment and a more highly-trained ear than I do, but on my equipment these recordings sound just fine --- and in some cases even more sharp and clear than the "Early Recordings." In any case, don't let that consideration deter you from purchasing this great 4-CD set. If you don't already own the "Classic Early Recordings in Chronological Order," then by all means start with that. Then, if you like that set (and who wouldn't?), don't hesitate to get this one too. They both show Django at his best, and this one in particular shows his versatility and broad musical vision.



5. I certainly agree with the other reviewers about the music here being terrific. I also favor the small ensemble work rather than the larger aggregations. After all, there's more Django in the small arrangements.

   But I do have to comment on the sound quality. One of the remarkable things about the first installment of this set (the 5 CD box) is its sound. Engineer Ted Kendall did a sterling job of collecting the best quality sources and then cutting as little as possible from the output to give us the music. By contrast, this set is far less impressive. There is much less depth to the bass and the high end has been truncated a bit too in the interest of getting rid of surface noise.

   It is because of the sound that I give this set three stars (and really would give it three and one-half if there was that option).

2 comments about Songs of Ireland.

1. I like this collection. In particular, I like the 1st CD. I think that Peggy Gordon is sung by Shane MacGowan, formerly of the Pogues. Anybody confirm or deny that?



2. I came across versions of a couple of these songs by accident and spent some time looking for the CD, or CDs, they might be on. Now that I've got this it's kind of a personal treasure.
   
   I've listened to Discs 2 and 3 of this set once each: overproduced stuffy old...stuff.
   
   The payoff is Disc 1.
   
   It's "kinda-live", with simulated Pub noises and "live-like" shout-outs from band members. We hear clinking glasses a little too regularly. Are they drunk or are they sober? Is there an audience? Who can say?
   
   But this is far from cheesy.
   
   The band rocks. They're tight and the textures are amazing. To my ear they catch bits of magic and mystery in just about every turn of phrase and melody. They exhibit an unusual knack for making every moment memorable.
   
   I enjoy what comes off as a sort of authenticity too. For all the fine musicianship, one suspects that these gentlemen do this on the weekends; that they have day jobs in the village. For people who get a kick out of accents, the brogues on these guys are a riot.
   
   I haven't counted, but vocals are taken up by three? five? members of the same group.
   
   With classic wit, one fella, singing "Bog Down In the Valley", who has come off like a wasted yokel, overcomes amazing feats of articulation, like Horowitz at the piano.
   
   "Peggy Gordon" and "Spanish Lady", ballads sung by the same guy, are just lovely. It takes subtle chemistry to bring a tear to my eye with a line like: "I wish I was in some lonesome valley where woman's kind cannot be found/And the pretty small birds, they change their voices, and every moment a different sound."
   
   Listen to "Jug of Punch"--that`s a characterful voice and attitude. Listen to any sound sample: "Paddy on the Railway". They might be out of "Juno and the Paycock".
   
   That's why I want to party with these guys.
   
   This strikes me as the sort of work that Ezra Pound refers to as being "plucked from a living tradition".
   
   I started off liking a couple of the songs and never having cared for the versions I'd heard of some others. Now I play the whole thing through and I love it all. If you have an appreciation for Ireland and its history, the arts of Irish men and women, a sense of sociology, or just good folk music, you'll appreciate this.
   
   It's a shame that you have to buy a 3-CD set for one great CD. The packaging sucks too. It's criminal that this band--and the bands on the other CDs--go un-credited. No documentation at all aside from the titles of the tracks!--thus my 4.5 STAR rating (rounded up).
   
   
   P.S.!
   
   I just discovered that this group is called "The Jolly Beggarmen". Of all things! Well! The Jolly Beggarmen rock!
   
   I found their "Whiskey In the Jar", which, though short, is my favorite.

5 comments about Hell on Stage Live.

1. Romulo Dominguez pretty much summed it up for me



2. Ah,another live 2-CD release by yet another veteran metal band.'Hell On...' is a sixteen track assault that was recorded during their spring 1998 invasion tour of France,Spain,Germany,etc.I've heard that bands like Metallica and Pantera won't even consider touring w/Manowar,fearing that the TRUE metal ensemble just might upstage them.My choice cuts are "Metal Daze","Dark Avenger",the underground metal classic "Gates Of Valhalla(Cult Of The Damned)",the earth shaking "Blood Of The Kings","Heart Of Steel" and "The Power".Only downside is that "Blow Your Speakers" isn't on here.All original line-up except guitarist Karl Logan.State of the art metal cover.



3. Every time I hear the wailling of Manowar's vaocalist, it makes my heart melt with envy. During this record you can feel the intensity that is put into Manowar's live preformances. This record almost didn't make it to the shelves due to record executives and accountants, but Manowar held strong for their fans. This record will have you raising your fists into the air and screaming at the top of your lungs for battle. Manowar is what every true metal grage band hopes to become, and so much more.



4. No le habia prestado mucha atencion a esta agrupación hasta que se me ocurrió adquirir este disco. Heavy Metal puro!! y en vivo mucho mejor. "Metal Daze" tomada del Mounsters of Rock en Brasil, que manera de comenzar el disco!!. El segundo Cd comienza de igual forma, despues de escuchar "The Warrior's Prayer" (no es una canción, más bien es una historia contada sin musica), una introducción estupenda para "Blood of Kings". También posee solos de guitarras que te hipnotizan con "Sting of the Bumblebee", no se como alguien puede tocar guitarra con tanta velocidad!!. Estos son solamente ejemplos de lo que tiene el disco, para que perder más tiempo hablando del disco. Simplemente como lo dice la tapa interna del disco: debes escucharlo a alto volumen!!!).



5. This live offering is Manowar's second live double-album release in a row, coming on the heels of 1998's _Hell on Wheels_. Not having a lot of familiarity with the band meant hearing most of these songs for the first time in the live setting. This really wasn't much of a concern though, as the production and mix is so good that in most places it doesn't even sound like a live album. The vocals were pretty decent throughout, and there were a couple of outstanding solos, nothing mind-blowing, but solid all around. Favorite tracks include "March for Revenge", "Guyana", "Heart of Steel", and what has always been an all-time favorite of mine "Master of the Wind", just to name a few. The crowd interaction in reciting all of "The Warrior's Prayer" in unison was also a highpoint. As live albums go, this highly energetic one is quite good and is definitely a must have for all the Manowarriors out there.

4 comments about Beethoven: Piano Sonatas, Vol. 1.

1. Glenn Gould's rendition of these great works are, to say the least, unconventional. He never liked Mozart and I don't think he was really interested in Beethoven either. His rediculously fast tempos in the "Pathetique" and the "Moonlight" sonatas, for example, makes me feel like he wanted to get this recording over with quick because he had a hot date or something and his humming in some of these pieces gives me the feeling that he was bored. If you want a good recording of the beethoven piano sonatas this one isn't it. Try Alfred Brendel, Wilhelm Kempff, Daniel Barenboim, or get Jeno Jando's recording with Naxos for a great deal. I must give Glenn Gould some credit, though. his recording of Beethoven's 5th Symphony, transcribed for piano by Franz Liszt, is actually really good.



2. This may be the only recording by anyone of the Moolight Sonata near the tempo that Beethoven wrote it at! Yes, Gould is quirky, and noisy and pretty wild with his interpretations, but at least he got this one right. And it was no mistake - I am sure he heard the triplet as a triplet rather than as a dirge. Listen to the theme in the bass and you will hear this famous piece as completely new. You have to give Gould credit for musical insight and recognize that, whether you are comfortable with what he did, it was done with thought and passion. This recording is valuable if only for the first movement of the 14th sonata. I think there is a lot more here to be thankful for and recommend it highly.



3. Ok, I'm no classical music expert, but this guy's HUMMING during his playing drives me crazy! When I heard Thelonius Monk humming while playing, I thought it added an interesting edge to the music. But while it may work for jazz, it doesn't work at all for classical. The music is great, but I recommend that you don't listen to it with headphones, because that makes it easier to hear Gould's voice!



4. Gould is a magnificent pianist and when he nails a work, he brings life and meaning to it in ways other pianists could only dream about. On this CD however, the approach taken on many of these pieces seems to defy the spirit of the youthful Beethoven. Beethoven was a virtuoso in his early days and it is hard to imagine the young fiery pianist taking the pieces of Opus 2 at the extremely slow tempo's Gould selects here. Any other performer (Brendel, Goode, A. Fischer) will give you a better representative performance of these pieces. Too make matters worse, when playing the Moonlight sonata Movement one, Gould decides to rush things! I must state again, I love Gould overall but he does not do these pieces justice here in regards to the composers intentions. Also, there are no liner notes.

5 comments about Mozart: The Piano Concertos.

1. On these recordings we have a "copy" of a primitive fortepiano recorded at a considerable distance. It sounds like someone backstage is plucking rubber bands.
   
   Can this be how Mozart expected to make his name and fame, playing a toy piano way off in the background somewhere? "Authentic", my ---.
   
   Later fortepianos (e.g. the Grafs from the 1820's) developed some tone and volume, but even these cannot hold their own against a full orchestra.
   
   If you are looking for a recording of the complete concerti, the recordings Geza Anda made with the Salzburg Mozarteum are still available and are very fine indeed.



2. Mozart was a Mason. A child of the Enlightenment. A believer in humanity's perfectability, who had the philosophical luck to die before the disappointments of the French revolution. He wrote music of tragedy and despair, but he never wrote a note of Gothic horror, of 'Romantic' reaction against rationality, a task he left untouched, shall we say, for the next generation. If you want your Mozart to sound like the art of someone who's been reading Schopenhauer, you won't like this set of piano concertos played by Malcolm Bilsen, with John Eliot Gardiner conducting.
   
   Bilsen plays a period keyboard fortepiano, an instrument of much lighter construction than the modern pianoforte, on which the 'decay' of note reverberation is naturally quicker, making a softer and more transparent sound. The orchestra of period instruments that Gardiner conducts is also smaller by far and more carefully tuned than the modern symphony orchestra, and emphasizes the polyphonic/heterophonic interplay of all the voices of the composition. The tempi chosen by Gardiner are often faster, more nimble, more witty than most post-Wagnerian conductors choose. The result is a Mozart who sounds as if he's passed Sarastro's "initiation" into wisdom as portrayed in the Magic Flute, rather than settling into the syphilitic gloom of 19th C Romantic pianism.
   
   There is no absolutely historically authenticized version of Mozart, and double-absolutely no "definitive" performance of these twenty-seven concertos. I recently made the tongue-in-cheek suggestion that a performance of them on harpsichord might be revealing, since Mozart grew up in a milieu in which harpsichords were far more familiar than pianos of any sort. The touch required to play the fortepiano, Bilsen's instrument, is closer in some ways to a harpsichord touch than that developed by Liszt and Chopin. It's the touch, as much as the specific instrument, that matters for performing Mozart. Bilsen has the touch. I like his sound, a judgement by ear alone, better than that of Derek Han or Melvyn Tan, two other historical keyboard specialists. And I admire Gardiner's spunk - his musical intuition - even when occasionally his interpretations are rash.
   
   But don't take my word for anything! Use the sample function; compare the same snippets from the same concertos on as many recordings as you have patience for. I'd suggest Concerto #20.



3. John Eliot Gardner and Malcolm Bilson are to be thanked for giving us such a superb release of all of Mozart's original piano concerti on original instruments of Mozart's time. These are brisk and bracing as well as dramatic and even dancing versions of these timeless classics. Bilson is an excellent fortepianist and Gardner and his band provide great performances of their parts, making this an essential set. There are other good and great performances of these works, either seperately or complete (such as those by Brendel, Uchida, Perahia, et al.), but these are special. Excellent sound and good packaging and notes.



4. Currently, I own 3 sets of the Mozart Piano Concertos (two modern instrument ones - Anda & Schiff; and the Gardiner-Bilson set). I must agree w/ the reviewers who rated this HIP set 5* - my main reason for posting is to help 'counteract' the ridiculous rating of 2* given, primarily because the CDs did not sound good on the highway in a car! I play a lot of CDs in my car, but rarely classical music because the dynamic range needed to appreciate these performances just will not work on a highway; if I wanted to hear a lot of classical music in the car, I'd probably 'burn' my CDs to CD-Rs using software in which I could compress the dynamic range, so 'lows' & 'highs' can be heard comfortably.



5. In what must be considered a triumph of performance and recording, the Bilson/Gardiner/English Baroque Soloists collaboration on the Mozart Piano Concertos cycle makes us understand anew what Mozart should really sound like. These are period instruments? We can't make ourselves believe that, and yet that is the case here, as remarkable as that may be. The sound that pours forth from these discs is rich, vibrant, full, and, powerful. Bilson doesn't miss a beat, and Gardiner and the English Baroque Soloists play throughout with their usual silky perfection. The recording quality is simply superb, and the balance between piano and orchestra is just right. And although the piano is the focus of this set of works, the English Baroque Soloists play with such great precision and rich sound that we appreciate all over again the important role in orchestral accompaniment in successfully pulling off compositions like these. This is certainly a set that most, if not all, classical musical enthusiasts should consider acquiring.
   
   These discs, as virtually all of the Archiv/DG discs from the 1980's and 90's, were originally released as individual pieces. At that time, these discs were being sold at a much greater price, and collecting the entire set was a more difficult task. With DG's more recent "Collector's Edition" box sets, which consist of entire sets of re-issued recordings in a more economical packaging, acquiring these sets is now simultaneously much easier and less expensive. (In fact, building a comprehensive classical collection today using such box sets is now much more a feasible undertaking, and although we lose out on all the lovely artwork that once graced the individual Archiv discs, it is a small price to pay for making these recordings much more affordable and pre-organized into comprehensive collections.)
   
   Mozart's Piano Concertos, a form he essentially created, are some of the most delightful, cheery, and upbeat pieces in the repertoire, and even non-classical enthusiasts have difficulty avoiding their obvious delights. Nevertheless, even Mozart said that there were gems hidden among them that only the most musically talented individuals would be able to discern, and so these pieces hold something for everyone. Among the numerous recordings available, this set is certainly one of the very best, making it a prime choice for the collector. Take advantage of DG's "Collector's Edition" set to make it an even better deal.

5 comments about Beethoven: Variations & Vignettes.

1. I really don't know why, but the Variations and sonatas in this set are often neglected and underrated by pianists. They are wonderful music! I've been playing some of them since I was a piano student.....and I still enjoy as much as in the old days! Of course the well known 32 sonatas are worth having...but if you miss the works in this set.....well, you are REALLY missing something beautiful. Brendel plays flawlessly, giving us not only his masterful technique, but his passion.
   This is a set to be discovered, like a hidden treasure.
   
   Pablo Martinez
   Montevideo - URUGUAY



2. These VoxBox series of Brendel playing Beethoven are wonderful: beautiful playing and a great price! This set is very impressive, particularly the 32 Variations On An Original Theme In C Minor. Brendel's playing is very expressive, and the sound quality is excellent.



3. This collection of piano variations and smaller pieces by Beethoven shows Alfred Brendel in excellent form as an interpreter of that composer's work. However, four sets of variations are missing! The Variations on a March by Dressler (Beethoven's first extant composition published in 1783) is only mentioned in the liner notes. The Twelve Variations on Haibl's "Minuet a la Vigano" SHOULD have been given the characteristic Brendel stamp. They deserve to be heard more often. Also absent are the now considered spurious set on "Ich Hab Ein Kleines Huttchen Nur" (published 1832). The "Diabelli" Variations have been recorded by Mr. Brendel in a separate recording on the Philips label. Also, some of the piano sonatas and little pieces (excepting the C Minor Allegro and the Op. 89 Polonaise) were better left off.



4. I can't believe no one has reviewed this album. These discs are a complete and continual joy! The sound is brilliant beyond compare, and what Brendel gets out of the piano is amazing--an incredible range of moods and dynamics. I also own the variations in a (much more expensive) set by Buchbinder, and they seem cold and stiff compared to these. The longer I live the more I admire Beethoven, and these discs add immensely to my awe at his genius.



5. I can't believe no one has reviewed this album. These discs are a complete and continual joy! The sound is brilliant beyond compare, and what Brendel gets out of the piano is amazing--an incredible range of moods and dynamics. I also own the variations in a (much more expensive) set by Buchbinder, and they seem cold and stiff compared to these. The longer I live the more I admire Beethoven, and these discs add immensely to my awe at his genius.

5 comments about Othello.

1. Othello by William Shakespeare
   
   "Othello" is a magnificent piece of literary work. The emotion Shakespeare can bring out of you is truly amazing. The plot has many moments of uniqueness and suspense. Kindle edition is my favorite.



2. This Othello is unbelievably beautiful. Disconnecting oneself from The Operative and Obi-Wan Kenobi, and concentrating only on the voices of the fabulous Chiwetel Ejiofor and Ewan MacGregor, one gets a truly immersive experience into the world of jealousy, racism, betrayal, and true love that Shakespeare must originally have intended. I have to not-so-respectfully disagree with the previous reviewer; this recording is layered, clear, and absolutely pulsating with passion and tension.
   
   It's worth every penny, and I say that as a fan of audiobooks in general and Shakespeare in particular. I'll be listening to this for years; Kenneth Branagh and Lawrence Fishburne--eat your hearts out!



3. As an audio experience, this production is largely dull; the only thing worth mentioning (briefly) is Ewan McGregor's Iago. Young, cheerful, well-spoken and winning, McGregor is the most charming Iago I have encountered in any medium. For awhile, that is nearly enough. One understands why people like and trust this man; one also understands why no one takes him seriously as lieutenant material. But as the play progresses and Iago's cruelty deepens, McGregor's unvarying amiability seems incongruous. A strange countertextual interpretation emerges, reminiscent of Auden's trickster theory but with a striking twist of its own. In brief, Iago tries to play a harmless joke on Othello, only to see the results spiral giddily out of control. The poor man is forced to improvise desperately as he struggles to resolve the mess he unwittingly created. Iago as the Boy who Cried Adulteress, a feckless but innocent victim of events: now there's a novel take on the play, and I'm indebted to McGregor for suggesting it.



4. The reading is very monotonous as the reader says the names of each part before the part is read. It drives my students as well as myself crazy. We get through the reading faster by just reading the parts ourselves. I was very disappointed with the purchase.



5. This is a thoroughly edited and explained version of Othello. The introduction and other additional writings are well-researched and well-written, and provide valuable background on the play and the way it has been performed and interpreted over the years. For the scholar, the notes are incredibly thorough, describing the way the poetry is scanned as well as the differing texts in the Quartos and Folios. More information than the casual reader would need, perhaps, but a definitive text for someone who wants research along with their reading.