5 comments about Live Phish Vol. 16: 10/31/98, Thomas & Mack Center, Las Vegas, Nevada.

1. so many people seem to write with such expert conviction on what is a good phish show and what isn't, the bottom line is that it's all what you like. the long history of the band and their willingness to follow creative impulse inherently spans so many different musical approaches it's nearly impossible for everyone to like everything. now i'm not one of those people who went to 50 shows or spent half of my life on tour but i've seen more than a couple, listened to more than my fair share of recordings and just about all of the official live releases to date, and i listen to a hell of a lot more than just phish and other bands they're typically grouped into a genre with. this one is good. the 'loaded' set, in my opinion, is fantastic - not necisarily earth shattering but i'd like to ask the naysayers out there this: what else do you want? it's tight, the band is obviously having fun, and it's pretty rockin'. not every single version of every song is going to blow your mind every single time - that's live music for you. the rest of the show is solid too, and the filler, as one other reviewer says, would not be included if it wasn't great. definitely buy this one if you're a fan of both phish and the velvet underground, and don't hesitate if you're just a phish fan, this is a damn good show and a damn good set. not 5 stars, that distinction is reserved for a select few shows/albums, but definitely recomended.



2. I only just ordered the CDs, this is more a comment on the show...
   
   This was the only Halloween show I attended, but what a GREAT venue... and can I say I'm a HUGE Velvet Underground fan!
   
   The "filler" disk (4th) is a sampling from the first night's show (10/30) - which was their 15 Anniversary show - completely rocked, I'll have to dig out my set list from the night to see how "complete" the set is... too bad it's only one CD! I'm gald they included the opening for "Tweezer" (which they didn't close `til the next night - to close out the show)!
   
   ...then the next night was Halloween... (first 3 CDs) fo-git-aboud-it!
   
   I'll append my comments/give an update after I've listened to it a few times!



3. Don't Listen to the people who say this show is mind-blowing, there's a lot better Phish shows out there. Its just a solid show.
   
   The first set is the best part of Live 16 for me. Just look at the setlist. Punch You in the Eye, Birds of a Feather, Sneakin Sally Through the Alley, Chalkdust Torture, Mike's Song, and Weekapaug Groove were all done well.
   
   I was a little dissapointed with Disc 2, but keep in mind, Im not that big of a velvet underground fan. They just didnt seem on for a lot of their jams. The 14 minute Rock & Roll was a huge letdown. There was still some good ones like Head Held High, and Lonesome Cowboy Bill.
   
   Set 3 wasnt Phish at its finest either. I didnt really like this version of Wolfman's Brother, I dont mind the length of it at all, it just didnt have enough happening. The highlight of this set for me is Piper, everything else was just alright.
   
   I dont really feel like commenting on the filler; its a filler, there not going to put something bad in the filler.
   
   Altogether i guess i would call this an average phish show. Gets 4 stars compared to music in general and 3 stars compared to other phish.



4. i have heard this album and from waht i hear it is not too bad but i am not going to judge it if i have not listened to it thoroughly. anyways, i just wanted to say that if you think 98 is a bad year then you should check out live 17. it is the best live album that i have personally listened to thouroughly.



5. I don't really see why people have a problem with this show. I think it's great. The setlist is pretty flawless, and the velvet underground album is a great addition to the "musical costumes" phish have "worn" over the years. The filler from from the night before makes this a must-own.

5 comments about Live Phish Vol. 5: 7/8/00, Alpine Valley Music Theater, East Troy, Wisconsin.

1. I stayed away from this show for a long time since so many fans seemed lukewarm about it. I finally bought it, and am so glad I did. I think this release is an example of why the band doesn't always see eye to eye with the fans. Rumor had it that Trey was really happy with this show, and thus it ended up in the first 6 live releases. Hearing it, you can understand why. It is a solid/tight show! There are few mistakes, and the set-list just flows very smoothly. There are also some great versions of some of their big numbers:
   
   Tweezer-one of my favorite versions. Interesting unique features, such as Trey putting an interesting variation on the key riff in the beginning, and the mellow follow-up to Uncle Ebeneezer (in contrast to the typically cacophony).
   
   Antelope-a very gradual build up until Trey puts himself stuck into an interesting robotic sounding loop that repeats and then KICKS into the final jam (with nice coordination from Fishman).
   
   Piper-one of the best versions I've heard
   
   First Tube-Smoking version of this relatively rare song. When I saw the setlist I wondered how this would ever fit into the middle of a set (seems like a good opener or closer), but the positioning before Llama is perfect-the songs seem to fit together somehow.
   
   And the rest of the show is just solid around these highpoints. I bought the Island tour discs around the same time I got this show. The fans love the Island tour, because of the many highpoints and great jams. In general, those shows are much sloppier than this show, though (since the guys barely rehearsed and hadn't been on tour). This is a nice contrast to those-a very tight live performance with a nice setlist. I can totally understand why the band considered this one of their favorite shows of 2000.



2. Hello
   OK, i own a ton of live phish releases, and in all honesty, Live 05 is the weakest i've heard. Thats not to say its terrible, cuz there are some highlights. The first set comes out firing with pyite and NICU, my soul and poor heart. First Tube is real trippy with trey looping a bunch of stuff. ill placed Llama. so first set is cool, good antelope closer. The second set is kinda weak in my opinion. heavy things is not done well to start off the set. Piper is decent. Tweezer is decent at best. and walk away is really not that good. Twist is decent, silent in the morning is what you expect. I've heard Possum too many times. Suzy is only ok, and tweprise is always fun to hear. so all in all its a decent show. but the thing is this, when compared to every other live phish release, this is really low grade stuff. its not phish at their best. if you buy 04 or 11, there is some epic stuff. 05 is ok, but not that great.



3. ... I can't imagine why of all the thousands of shows Phish has played, the band chose to release this one as one of the FIRST SIX of their live series.

   The first set is sloppy with lots of miscues. Disc two has a setlist to drool over but doesn't live up to its promise. It also features the worse Walk Away ever. Disc three finds Trey tired and uninspired.

   But the thing that's really missing here is that elusive "X factor": An energy and vibe that soaks through the music. It's not something you hear, but feel, either at a live Phish show or while listening to one. It's the reason why we love them as much as we do. Try finding the X factor at a Blink 182 show.

   This is just a regular, run-of-the-mill Phish release. Which of course is better than 99.9% of the CDs on the market. But it only gets two stars from this die-hard phan.

   Look to either side of this release for examples of the X factor. Both Live Phish Vol. 4 and Live Phish Vol. 6 are must-haves and are superb, high energy shows with unique setlists.

   I have always said any Phish show with a Walk Away (like 2/20/93, 5/7/94, and 10/28/98) is a great show. This show is an exception to that rule.




4. I personally have never seen a phish show till alpine 2000. I have been listening to phish since I was in 8th grade. When you hear them on a CD it sounds good, but when your there you feel a different kind of energy and you have to let it out, by dancing any way the music takes you. So maybe just being there was the reason I loved that show so much, but I do think that show was defintly better than other recorded CD's they've come out with. I mean come on PYITE>NICU>My Soul then finishing off the first set with Guyute>Run Like An Antelope. It's just so hard to dis that set!!



5. I have all of the other CDs in this collection and I have to say that this is the weakest of the six volumes. None of the jams really go as far as they should. When each song/jam is over you feel that they should have taken it a little further and much harder. There is nothing about this show that makes me want to listen to it over the other five. Even the Piper>Rock & Roll, which I was looking forward to hearing, was disapointing. Granted, it's still a Phish show, so it's not that bad. Songs like PYITE, Tweezer, Walk Away, Twist, Suzy Greenburg, Heavy Things, NICU, The Horse>Silent in the Morning, and Antelope are on the other live albums and are much, much better. If your thinking about getting this show and you don't own the others yet, re-think your purchase. I recommend vol. 6 the most, but vols. 1, 2, 3 & 4 are great too. I don't like to bad mouth Phish, but I just think that you'll be happier with any of the other shows more that this one.

5 comments about Messiaen par lui-même.

1. The recording lacks some of the modern-day brilliance, stereo separation, over-processed dubbing and blah blah blah - but come on, this is the master himself playing!
   
   If you are a fan of Messaien's organ music, then you MUST begin your collection with this. Brilliant, beautiful, heartfelt performances from a composer who was mystically entwined with the God he wrote music for.
   
   I love - absolutely love - Messaien's music. It is, to me, some of the most mystical music ever composed, wrapping God's presence around me like a robe of finest silk, reducing the universe to a singularity, just me, the music, and God.
   
   I've heard many a great and incredible organist play Messaien's music, but nothing beats hearing the music brought to life by the man who first brought it to life.
   
   Exceptional.



2. I stumbled across a short biography of Messiaen in a literary journal. A devout Catholic, Messiaen was purportedly commited to preservation of medieval sacred music -- which led me to pick up this album -- and yet all I find is that composed some of the most minimalistic modern 'music' that I've ever heard. According to musical theorists, there is a beauty in the mathematical algorithms that he exercises on his keyboard, but in no way does that beauty extend into a melodic piece. This is not sacred gregorianesque music, this is not heavenly plainsong, this is not glorious baroque. If Messiaen truly did intend this to be sacred music, all I can say is that he and I genuflect in different ways.



3. When I approached this set I too was worried about the mono recording and the quality of the sound, but then I realized it's Messiaen himself playing his works. The Deutche-Grammaphone box set looks wonderful but to hear the compser play his music as he intended is worth more than stereo.
   
   The music itself is some of the best 20th century classical/experimental. Messiaen's organ works are special. He used a church organ in the way his contemporaries were using tape machines, sine generators, filters and early modular synthesizers. The result is highly luminous and cerebral. The music drifts in and out structure and dissonance. One of the great characteristics about these works is that they all flow from one sound source(the organ), which gives off a feeling of sonic autonomy as if the music were a completely self-perpetuating entity, always existing. Who knew an organ could facilitate so many tones and resonances? "Soixante-quatre durées" is the pinnacle of his experimental endevours.



4. This is a monumental masterful monolithic monstrosity of a set of cd's (pardon the alliteration). Messiaen was truly an organist at heart, and his organ works are truly organ works. He never wrote as some did, with no knowledge of the instrument. He had been organist at Saint-Trinité for twenty-plus years before this recording, and he has inspired me to learn some of these pieces myself. There is so much to say about these amazing discs, but I will limit myself to saying that no matter what people say about mono recordings or unadvanced compositions, from Le banquet céleste to the Livre pour orgue, Messiaen's genius shines through. My personal favorite is the opener, Le banquet céleste. It touches a certain place in your soul left for whatever deity you worship. Buy this recording, because it is such a bargain for a master of his art in the 20th century.



5. One of the peculiarities of the twentieth century is the presence of recordings. If Mendelssohn had wished to hear Bach perform, it was too late; the secrets that Bach held playing his music were forever lost to him. Not many recognized Messiaen during his lifetime as the genius performer and composer that he was, and so now that the chance to hear him in person has passed, those interested must turn to recordings. How fortunate we are to have the recordings, though! It is good that we have records of titans like Bartok, Ives and Messiaen in our vaults! This is a must for any musician and a worthwhile listen for any `layman.' Messiaen was one of the most influential teachers of music in the Twentieth century and has left us some of the most important ovure from the epoch. Listening to a modernist perform his modern works, there is none of the coldness that comes from performers playing the music without understanding it, none of the feeling of listening to a trained bird. Messiaen plays expressing complex and powerful emotions; faith, awe, terror, mystery, majesty. The drawback is, of course, the poor recording that blunts the powerful timbres of the organ. But comparing Messiaen's performance with any that I have heard, I would take this recording before any of the other recordings of Messiaen's music. It is very powerful. Listen especially to the `Pentacost Mass.'One of the best recordings I own. One of the few profound performances recorded.

3 comments about Jazz Moods: An Intimate Evening.

1. Nice quiet, well done jazz CD. Great for relaxing or otherwise....



2. This is one of the best mixes of Jazz I have ever found. It is fantastic to have playing as background music for ANY occassion. I take it to social gatherings with friends and family and EVERYONE loves it. It sets a really soft and casual atmosphere for partys. All 3 disc are relaxing and ejoyable. They really help to take the edge off after a stressful day of work. It's always in our cd player at home. Once you buy it, you'll wish you would have long ago.



3. WITH THESE THREE DISCS YOU HAVE A CHOICE OF MUSIC THAT WILL PLEASE THE LISTENER WHO WANTS TO RELAX, {NOW JUST DON'T LEAN BACK AND THINK SONOROUS}...WHEN YOU KNOW YOU ARE GOING TO LISTEN TO THE LIKES OF SCOTT HAMILTON, KENNY BURRELL, CAL TJADER, GENE HARRIS, ,MEL TORME, RAY BROWN AND MANY MORE INTELLIGENT MUSICIANS......YOU CAN LISTEN TO THE DIVERSITY OF TALENT, ENJOY...BACKGROUND MUSIC TO DINNER, OR SET IT UP FOR TRYSTING.....THIS IS THE PURPOSE OF THE SET, AT 75 I JUST PREFER TO SIT BACK AND LISTEN,{WELL MAYBE REMINICE A BIT} BUY IT YOU WILL LIKE IT peter a. dattilo

5 comments about The Complete Works of Scott Joplin, Vol. 1-5.

1. Don't listen to all those elitists who gave Zimmerman a negative review- his playing is so unique and full of emotion. Contrary to what others have said, Zimmerman's tempo is much slower and better than many other artists' tempos. Though he doesn't play everything true to the sheet music, I feel that he wonderfully captures the spirit of ragtime. If you listen to some of Joplin's own recordings (via player piano), you will find that he himself added some jazzy improvisations. Although Zimmerman makes some mistakes, it somehow seems to add authenticity to his interpretation. The bad sound quality also adds this unique feeling of authenticity. Everything--his style, the piano, the sound quality--works together to create a truly wonderful recording. If you want a comprehensive, beautifully played, rendition of Joplin's works, then I highly recommend this box set!



2. I enjoy the chronologically arrangement of tracks. It's interesting to see the evolution of Joplin's style.
   
   I've always been a fan of ragtime, but not particularly an expert. This artist is either playing a completely faithful rendition of the music, or he stutters sometimes. This does not detract from the music at all, it's probably just the artist's playing style.
   
   The set is jam-packed with pieces I've never heard before, so it was quite an experience. The last disc in particular features an opera-style suite!



3. Adds welcome diversity to my Classic Rock collection. Understand that this isn't the last word on Joplin - it's more like a really good first. It's not a complete work-up, with quartet accompaniment, like Marvin Hamlisch's "The Sting" soundtrack. It's just Zimmerman on piano, and sometimes he doesn't play so great. I mean, if you compare "The Entertainer" between the two - you'll think you fell off a cliff.
   
   However, it is a complete Joplin - 66 songs, including every major Rag and other stuff, such as waltzes, marches, and pieces of "Treemonisha", his failed opera. What I wanted was a player piano, with a complete set of paper scrolls, you know what I'm talking about? Even if I could find one, I can't afford it. Maybe this is the next best thing?
   
   So I definitely recommend it for the Joplin novice - it's something to strongly encourage. But is this the last Joplin you'll ever buy? I doubt it - it's merely adequate, not great. Joplin for 40 cents a pop, you won't find a better value.



4. Well done, with the only drawback that Joshua Rifkind is not at the piano. Sometimes the pace is too frenetic.



5. This is a wonderful collection of Scott Joplin's music. Delightful to own, to play over and over and over.

5 comments about Steppin' Out with the Grateful Dead - England '72.

1. High Tech copy guard on a Dead album?
   Jerry is rolling over in his grave as I type this



2. 
   Whereas I recommend Europe '72 as a first purchase for newcomers, those who already appreciate the Dead and are disappointed by Europe '72's lack of extended improv. will no doubt find this set superior. It covers a much broader selection of tunes, all cherry-picked from the same tour, and in sad contrast to so much of the official live material released by the band, the performances consistently marry inspiration (emotion) and tight, in-tune musicianship. I have nothing personal against Dick Latvala, but can't help but wonder sometimes what might have been had someone else-- someone who was not so deeply invested in the "ragged-but-right" (read: "sloppy-and-out-of-tune-is-right") ethic-- had been in charge of choosing shows for release. IMO, when the 60's/70's Dead were playing at their best, few could touch them, and yet, to these ears, much of the live material that's been released so far is sub-par. Oh well. In any event, this delightful exception to the rule is to be cherished.



3. The album exemplifies the Grateful Dead at one of the high points in their time together. This is a great collection of their best known concert songs (China Cat > I Know you Rider, Playing in the Band, Jack Straw...) and what is undoubtable the BEST quality recording outside of their originally released live albums (Europe 72, Skull & Roses...).
   
   The venue that they are playing in is a smaller club and it is fun listening to the band (ok - Bobby) interact with the crowd. Also, this was recorded during the brief interlude where Micky Hart had left the band leaving the Dead with only Bill as drummer. I have to tell you how impressed I am with his performance during the entire show. This recording highlights just how great a drummer Bill really is - outstanding.
   
   Take note... if you are a new listener to the Dead, this album will get you hooked into being a fan of their live albums. If you are a long time listener, this is an album that needs to be in your collection. It is far superior to many of the newly released live recordings (example: "Dick's Picks"). It is right up there with "Europe 72" and in fact (IMHO) is even better because it is the entire concert. On average, there are about 75 minutes on each disc (4 in all) - WOW!
   
   Positives:
   Crystal clear recording.
   Great collection of songs.
   Entire concert on recording.
   Flawless performance.
   A few "rare" songs on it (ie: "Hey, Bo Didley").
   
   Negatives:
   Only one... why did they take soooooooo long to release this!??!



4. 4 DISCS!!! 4 discs of purely awesome Grateful Dead, the greatest band ever and the greatest there ever will be. There's a whole lotta Pigpen, the most talanted vocalist of the group, Jerry Garcia, my hero and idol, and the crew. This is the best intro to the Dead and if it dissappoints than you must be deaf.



5. As a typical deadhead, I can well appreciate the concept of attending a concert or listening to one on disc where everything culminates in a single pure moment. For me, that moment occurs on this disc during the seque from Dark Star into Sugar Magnolia. That 60 second interval of music alone makes this disc a must have for anyone who really appreciates what the Dead where all about.

2 comments about Beatles: Music Of.

1. I was interested in this album because as a violinist, the richness of a full orchestra playing music is almost always preferable to a handful of musicians. Being a fan of the Beatles, I was intrigued by the concept of hearing some of their music orchestrated. After browsing the available options at Amazon, I decided to opt for this collection as it seemed the most comprehensive, and the price wasn't too bad either.
   
   What I got wasn't all that I had expected or hoped it would be, but it would be misleading to say that this album is a waste. The orchestra isn't the best, and some of the arrangements are--well, lackluster. The most disappointing aspect to me is that the majority of the songs are still accompanied by an electric bass line. This screams to me of laziness and lends many of the tracks this flaw is found in a certain level of cheesiness that gets on one's nerves. That said, many of the versions of their earlier compositions--pre-Rubber Soul--give the songs an added weight and texture that they did not possess originally; these are the most pleasing to my ear.
   
   As much as you get out of the 3 discs, there are a few tracks that, to my disappointment, were not included in this album, "Norwegian Wood" being one of them. Luckily, I found the album "Beatles for Strings" on Amazon by the same orchestra. Unluckily, being by the same group, the songs are of no higher quality than those found on this set.
   
   I have some reservations about recommending this item. It does have several well-done tracks. However, there is a level of "cheese" found on much of this set that the Beatles' originals never had, and that is a definite negative. Furthermore, the omission of several of the pieces that would seem to be best suited to such an orchestral treatment from this set--while they can be found elsewhere--is another flaw, requiring you to pay more.
   
   This is the most comprehensive of the orchestrated compilations, but it has a few major issues.



2. this is the music of the beatles played by some symphony no-one's ever heard of, pretty ho hum, not bad but not good. if you have a desire to hear the songs of the beatles symphonically you might as well pick this up, its not a bad price for a 3 cd set

1 comments about Jazz Weekend.

1. Concord Jazz delivers a 3-CD collection that will make any weekend into a "Jazz Weekend Celebration", from beginning to end...Disc One: "Jazz At Week's End", selections that put a spring in your step, but not over-doing it...Disc Two: "Saturday Afternoon Jazz", relaxing yet playful, with a sunny-breezy attitude that makes this day special...Disc Three: "Jazz & The Sunday Times", the nice n' easy mellow with blue skies shining through the kitchen windows kind of day, actually relax and catch up by taking a sip of your favorite morning cup of coffee.

   As usual the stand outs: "HAVEN'T GOT A WORRY", with Rosemary Clooney, girl singer always terrific..."SOFT WINDS" what a talent Gene Harris is, never be another like him..."BLUE SKIES" another legend no longer with us, only in his music Stan Getz..."EMBRACEABLE YOU", Gershwin composed it, but Scott Hamilton shows us why it's so special..."ON THE SUNNY SIDE OF THE STREET", Ernestine Anderson and legend icon George Shearing, make up the perfect ingredients for this time-less tune and great standard.

   Concord gives us thirty-three outstanding selections to soak-up on a daily basis or weekend...This collection has it all, Concord is only getting better with each "Jazz Moods" release, for you...music makes the moment!

   (Total Time...Disc One: 58:37 on 11 Tracks & Disc Two: 62:37 on 12 Tracks & Disc Three: 58:58 on 10 Tracks)...Concord Jazz-CCD3 5217...(2000)

2 comments about Haydn: Symphonies 55-69 Volume Four.

1. Adam Fischer and the Austrio-Hungarian Haydn Orchestra have accomplished the daunting task of recording the complete Haydn symphonies. They share this accomplishment with Antal Dorati and the Philharmonica Hungarica and with a less familiar earlier cycle with Ernst Mazendorfer conducting the Vienna State Opera (for the Musical Heritage Society.) The Fisher recordings were made at Esterhaza using modern instruments but historic performance practices. The harpsichord continuo is not used. Fischer's Haydn cycle is available on eight multi-CD sets on Nimbus.
   
   This 5-CD collection includes 15 Haydn symphonies, nos. 55 -- 69 which generally date from 1772 -- 1781. A small number of these symphonies may date from Haydn's so-called "sturm und drang" period, but most are later. During the time Haydn composed these works, he was preoccupied with composing opera. Thus, much of the material in these works is in the style of operatic overture, or of comic opera. In addition Haydn borrowed freely from other compositions or projects in composing these symphonies as his main compositional activity at the time was elsewhere. But these works still reflect the knowledge and skills Haydn had gained in writing for the orchestra. He was a composer who learned and grew continuously.
   
   This set includes some relatively familiar works, beautifully played. As usual these works tend to have nicknames, such as the "Schoolmaster" symphony no. 55, or the "Fire" symphony, no. 59, or " La Roxelane" no. 63. But I want to concentrate in this review on three symphonies, two of which are rarities, for reasons which I will explain at the conclusion.
   
   Symphony no. 64 in A major bears the nickname "Tempora mutantur" which may be Haydn's. The opening "allegro con spirito" has some piquant, sharp harmonies, unsusual for Haydn's time. The work opens with a quiet opening phrase, followed by a theatrical, lively main theme. The highlight of this work, as in much of Haydn, lies in the slow movement which bears the unusual, for him, marking of Largo. This is a broad, slow and detailed movement with much interplay between horn and strings. There is a stormy outburst in mid-movement which recalls the sturm und drang character of Haydn's earlier minor key symphonies. The minuet is short in light, in contrast to the two earlier movements with passages for horn and solo violin in the trio. The concluding presto alternates a quiet opening passage with a loud dramatic theme and, as does the Largo, features a lengthy and highly dramatic episode in the minor key.
   
   Symphonies 62 and 65 are rarities, seldom recorded or performed. Yet they contain much fresh and worthwhile music. Symphony no. 62 in D major borrows material in its opening movement from the finale of its predecessor, the Symphony no. 53 in D major, L'Imperial. It opens with a lound flashy series of chords followed by a lyrical theme. The symphony also features a quirky allegretto which is based upon what appears to be a three-note accompaniment figure bounced back and forth among the instruments. Only in the brief coda does a melodic figure appear to join the accompaniment. The bright and lively theme of the minuet is taken by the strings with a wind choir in the trio. The final allegro again alternates a quiet opening passage with a lively theme. It includes a minor-key interlude and a big fanfare at the close.
   
   Symphony no. 65 in A major is also rarely heard. The first movement is in the style of an opera overture, with a dramatic, bright opening theme contrasting with a lovely lyrical second theme. Unusually, the opening chords return in the recapitulation only in a much subdued form. The slow movement is one of Haydn's most unusual. It involves a waving, sinuous theme in the violins punctuated by the horns. It is an odd, wayward movement which Haydn scholar H.Robbins Landon has described as of "almost lunatic irrationality." The minuet features the use of an odd grace note in some measures, making the rhythm seem to shift from 3/4 to 4/4. The final presto is in the form of a call and response movement as passages for the horn alternate repeatedly with answers in the strings.
   
   With the reviews of symphonies 62,64, and 65, I have completed a survey of Haydn's 104 numbered symphonies on this site using various conductors, orchestras, and labels. I have enjoyed getting to know this great body of music in some detail. I hope these reviews will encourage their readers to explore the symphonies of Haydn.
   
   Robin Friedman



2. Conductor Adam Fischer has accomplished what few other of his peers can claim: he has recorded all of Joseph Haydn's 104 Symphonies, which are available in a series of volumes (albiet not together in a massive set, which would be enjoyable). Not only has Fischer done this, but his renditions of Haydn's works are utterly superb! My own favorite Haydn symphony has long been the 48th, his "Maria Theresia." The energy and passion of the work, I submit, exceeds anything else the composer ever accomplished in his symphonic endeavors. And Fischer captures the 48th symphony with staggering accuracy and dynamic range. This point perhaps best summarizes ALL of the conductor's versions of Haydn's symphonies. Working with the polished and richly-textured Austro-Hungarian Haydn Orchestra (a name perfectly suited for a group attempting these works) Fischer manages to capture the essential excitement, warmth, emotional surge, soothing undertones, and most importantly, the sheer musical vision of each of Haydn's symphonies.

   While these works come as a set, one should not make the tragic mistake of interpreting these symphonies as a long, entertwined linkage of Haydnian thought; each of Haydn's 104 symphonic visions are unique, vastly different expressions of musical observation and explorations of musical intellect. He wrote one hundred and four symphonies! That number itself bespeaks the epic breadth of Papa Haydn's musical vision; Mozart had good reason to refer to his close friend as "The Master"!

   The gloriously rich and epic history of recorded classical music will eventually hold Fischer as one of, if not THE, premiere Haydn interpreteur -- and rightfully so. This set comes HIGHLY recommended for any admirer of Joseph Haydn's accomplishments, and indeed any lover of the classical genre as a whole.

No comments about All the Blues You Need: The Indigo 5th Anniversary Box Set.