No comments about Pablo Garibay, Guitar.

3 comments about Purcell: Fantazias.

1. This is a superb (and cheap!) recording of some of Purcell's most beautiful, expressive and intimate music. Whilst France was watching big operas with big orchestras, Italians were writing operas and concertos and the Germans and Australians were making very exciting music with strings, brass and woodwind, the English were still composing viol consorts! It is as if the "Renaissance" didn't end in England until sometime late in the 17th century!
   
   However, rather than remaining stuck in the past, music in England continued to develop in its own unique way. Purcell's viol consorts are not inferior to the concerti grossi of his Italian contemporary, Arcangelo Corelli, in any way, even though they are ostensively composed in a style which was already obsolete in Italy even in Monteverdi's time 80 years earlier!
   
   These works are beautiful, strange, lyrical and sublime and quite unlike any other music from this period in history. Yes, Henry Purcell was a musical genius.
   
   There is nothing cheap about this recording. It would still be amongst the best interpretations of these works, and a potential first choice, even if this recording was at a normal full price.



2. Purcell's lean and clean musical language is already recognizable in these wonderful works that date from 1680. The 12 fantazias, each about two pages long, are not played in numerical order here, and there are three other similar pieces for consort of viols shuffled in amongst them, providing a CD of 53 minutes duration. The sound of a consort of viols can sometimes be grating and strident. Everything here falls easily on the year. The famed English group, the Rose Consort of Viols, plays with searching intensity, finding the special character in each of these works, and the group's leader, John Bryan, provides the annotations.



3. Purcell's lean and clean musical language is already recognizable in these wonderful works that date from 1680. The 12 fantazias, each about two pages long, are not played in numerical order here, and there are three other similar pieces for consort of viols shuffled in amongst them, providing a CD of 53 minutes duration. The sound of a consort of viols can sometimes be grating and strident. Everything here falls easily on the ear. The famed English group, the Rose Consort of Viols, plays with searching intensity, finding the special character in each of these works, and the group's leader, John Bryan, provides the annotations.

No comments about Bach Piano Transcriptsions, Vol. 6: Walter Rummel.

3 comments about Sergei Prokofiev: Works for Violin and Piano.

1. I used to have other recordings of Prokofiev's Violin works, but gave them away as I could not stand the way the music was played too aggressively and nerve-racking way, Kremer and Oistrakh notablly.
   
   I find Gil Shaham's playing very lyrical and sensitive, his tone always focussed yet warmly expressive. His sister provides delicate and brilliant accompaniment. Piano and violin are nicely balanced (piano is not mere background music as often found in some of Oistrakh recordings). Sound quality is very realistic and present.



2. Prokofiev seems to have been rather shy of composing for the violin. Of the six works presented here only one, the F minor sonata, was intended for the violin in the first place, and it needed persuasion from David Oistrakh to make the composer rescue it from his `postponed' file. The other sonata was originally for flute and piano, the Five Pieces op 35 started life as wordless vocalises, and the other three short numbers are arrangements by Heifetz. However the refitting jobs have been done well, and the pieces all sound natural as we have them here, but I am tantalised by the revelation in the liner-note that the F minor sonata was inspired by Handel. Its 4-movement scheme suggests the slow-quick-slow-quick layout of Handel's duo sonatas whereas the 4 movements of the other sonata are to the later pattern standardised by Haydn in his quartets and symphonies, but I'm still groping for what the precise influence of Handel might have been on the work's content.
   
   This set of performances ought to be a safe bet for anyone who likes Prokofiev at all, but particularly for those who find the accounts by Kremer and Argerich over-characterised. I am not myself of their number. I still prefer the dramatic handling that Kremer and Argerich give to the two sonatas, especially to the first, and I'm also pleased with the more resonant and roomy acoustic on the DG disc. Nevertheless I find more or less nothing to criticise here, so when I also take into account the three small bonus extras here I can think of no good reason for withholding a fifth star. Gil and Orli Shaham take each movement of the eight that make up the sonatas just a tad slower than Kremer and Argerich do, but as if by way of counterbalance they play the last four of the Five Pieces a little faster. The playing is accomplished and idiomatic, and brother and sister make a smooth and sympathetic partnership. The famous ghostly 'freddo' effect for the violin in the first movement of the first sonata is very effectively done indeed, the lyricism of the second sonata is most attractively put over, there is plenty of verve in the `Heifetz' numbers, the Five Melodies are properly appealing - as I've said once already, everything is as it should be. This is a textbook set of model performances, and the recording is a model of tact and discretion to match.
   
   I found the lengthy liner-note by Harlow Robinson very interesting and informative, but perhaps I ought to say that it is by way of being something of an essay going beyond basic comment on the works comprised in the set.



3. 
   
   Gil Shaham has always held a youthful appeal, not to the extent of Nigel Kennedy's punk-rock pose (which has earned him million-seller CDs), but enough to support unusual ventures. His Paganini duets with guitar sold well, and he took it on tour. Now he has an independent label to promote his music-making with his talented sister, pianist Orli. I've enoucntered a CD devoted to Faure as well as this one devoted to Prokofiev's two violin sonatas.
   
   Many listeners may lie the side attractions more--we get transcriptions of the March form the Love for Three Oranges as well as lyrical Songs Without Words. As to the sonatas themselves, brother and sister make a very good team. Orli is expressive and secure. She's not the world-class player that gil is, however. His execution of both sonatas is first-rate, the equal of Perlman in the more lyrical, tuneful Sonata No 2, where Shaham's trademark sweetness of tone is very enticing. The aggresive Sonata No. 1 calls for the bite of Oistrakh-Richter or the toughness of Kremer-Argerich, so it's not as effective. but the Shahams cretainly give a very good reading. Overall, this is a highly successful disc on all counts.

1 comments about Wanda Landowska Plays Handel, Haydn, Mozart.

1. These famous 1937 Landowska recordings come up splendidly when rendered by the alchemy of Michael Dutton's processing. Not that there is any base metal here, but the sparks fly more freely, what was dim is now bright, what was boxy and awkward is now spacious and comfortable.
   
   Of special interest is the Mozart "Coronation" concerto, receiving its first recording and timed to coincide with the coronation of the English king George VI in 1937. Landowska's way of decorating the simple piano line Mozart notated in the second movement smacks of authenticity but was a radical departure from the performing norm in 1937.
   
   Famed for resuscitating the harpsichord in the early C20th, Landowska was also a great pianist. She somehow perfected varieties of touch - something that would count for nothing when she played her harpsichord. Many years ago, listening to Landowska's recording of the Mozart fantasia that concludes this CD, my wife commented, "She makes a piano sound as though it has manuals".

2 comments about Johann David Heinichen: Dresden Concerti.

1. This is one of my favorite recordings of Baroque orchestral music. Heinichen was fairly obscure until recently, but these concertos are real gems. It's too bad we don't have more of his music available.



2. This cd seemed very good - but it isn't my particular cup of tea. But I haven't decided to sell it yet either. Four stars for now

4 comments about Swingle Singers.

1. I was so happy to find CDs of the Swingle Singers! Thanks so much!



2. This CD is kind of a sampler for the famous a cappella singers, so it has a little jazz, gospel, folk and Christmas mixed in with the classical tracks. On some they sing the words, although the group became famous more than 40 years ago for singing only the notes. Either way, there is a lot of talent displayed. I was a fan early on, buying several of their Phillips LP's, but my favorite was always their Christmas record. For unknown reasons, that one, singing the notes to a couple of dozen carols in medleys, has never been fully and faithfully transferred to compact disc. Some of my friends find the Swingles style irritating, but I think more of their selections are just full-out lovely. Buy this as an introduction, because their work on CD usually is a bit pricey.



3. I remember this music when I was growing up,it was great to get the chance to hear it all again. It is good to play it in the car when driving on a long journey



4. As might be expected with a compilation, this is a little inconsistent. It also lacks the more swinging tracks they recorded with a jazz rhythym section, but it's still a great and very inexpensive introduction to this great a cappella group, who were a staple of movie soundtracks in the 60's.

1 comments about Martinu: Music for Violin & Orchestra Vol.1.

1. Whether you are already committed or are new to the powerful works of Bohuslav Martinu, this CD will provide thrilling insights into this marvelous composer of the twentieth century. His compositions, at least in U.S. concert halls, are regrettably under-represented.
   
   I recommend that you listen first to the rarely-performed Concerto for Two Violins in D major (H329), a work inspired by Bach's great masterwork of the same name, in D minor (BWV 1043). From the first orchestral chords of the Poco Allegro movement, you will be captured by a work of strength and vitality. By the last of the three movements, I think that you will be fully drawn into Martinu's musical world.
   
   Next, explore the Concerto for flute and violin (H252). This is an uncommon instrumental pairing in the concerto form, but it works well under Martinu's pen. The hymn-like theme introduced a minute and a half into the first (Allegro moderato) movement emerges sweetly and without pretension, and is evocative of Ravel. It becomes the subject of variation between flute and violin through the work. A beacon of hope in a troubled world.
   
   Finally, lend your ear to the Duo Concertante for two violins (H264). This is a spiky, neoclassical work in a Stravinskian vein. Unlike related works for violin by Stravinsky which strike me as rather sterile or cold, this remains good-natured and has joy and warmth characteristic of Martinu.
   
   The performances rendered by the soloists under the baton of Christopher Hogwood, are excellent. A special kudo goes to the lead violinist, Bohuslav Matousek, whose playing is incandescent at times.
   
   Overall, an outstanding disc. There is a cheaper alternative for H329 and H264 on Arte Nova by the Vienna Symphony under Marcello Viotti. The former work is also included with Szymanowski's Second Violin Concerto on a Koch Discover CD with Rudolf Barshai conducting the Brussels RTBF Orchestra. I have not listened to these alternative CDs however, and can't comment on the performances. If you want to explore Martinu further, check out the incredible Chandos CD containing the Sinfonietta La Jolla and the Toccata and Two Canzoni by the Bournemouth Sinfonietta under Tamas Vasary.

4 comments about Vieuxtemps: Violin Concertos Nos. 5, 6 & 7.

1. Mischa Keylin is, I believe, the first violinist to record all of the Vieuxtemps concerti - and for that reason alone, he deserves substantial recognition. Vieuxtemps is unknown outside of the violin world, which is a shame, as he was one of the greatest composers of his time; even Berlioz said at one point that if Vieuxtemps had not been a violinist, he would have been more renowned as a composer. That said, Mischa Keylin does splendidly with Vieuxtemps last two concerti - playing them in a very romantic style with large tone, perfect technique, and usually fine phrasing. His interpretations are not overly individual, but they are very competent. Where he nearly falls down is with the Concerto #5.
   He gives it a very cautious reading and does some odd things with the tempi (most of it, including the cadenza, is simply played too slowly.)
   Most of us who are violinists learn more popular 4th and/or 5th Concertos, so hearing the #6 and 7 is quite welcoming,
   as they are seldom if ever performed. I recommend this disc, but only for the Concerto #6 and 7. Alexander Markov and Sarah Chang (and yes, I won't forget you, Mr. Heifetz) are the best exponents of the #5.



2. Misha Keylin is a superb player. There are a few ensemble problems, and the conductor, especially in Concerto No. 5, could have treated the phrasing and balance in the tutti a bit more carefully. If you compare this recording with the 1980's recording of Kyung-Wa Chung, the LSO under Lawrence Foster (released on Decca), this piece comes accross as a much more successful one in the LSO recording--also, tempi are faster in general.



3. Down through the years, I've heard these violin concertos (#5, 6, and 7) by Henri Vieuxtemps on recordings used as "filler" in recordings of the "biggies" (i.e., the Tchaikovsky, Mendelssohn, etc., concertos). In this recording of the last three violin concertos by Henri Vieuxtemps', they stand on their own as the featured works, They DO really stand alone as some very marvelous extreme romantic compositions. The concertos are filled with lush harmonies and soaring melodies. (I love the concerto #5 in A minor--its gorgeous!)
   
   Misha Keylin, the violinist is "new" to me; however, he plays with very beautiful tones through out this recording and he certainly is "up to" the extreme demands of these works delivering the virtuosity of the works wonderfully. What impressed me very much is that no matter how demanding a part was he still managed to produce beautiful tones. To me, Misha Keylin is a most impressive violinist; I look forward to hearing him often.
   
   The sound on this recording is great; it remains lovely through out its entirety never turning harsh. Naxos has done a great job of recording these lush works.
   
   For some reason, I started this series at its end; however, I do intend to purchase the first two discs in this series. I was very impressed with this recording!



4. One of the main things that I have enjoyed from the Naxos label is all of the concertos that have been recorded that has been next to impossible to find elsewhere. Case in point, Henri Vieuxtemps. These final three Violin Concertos round out a truly wonderful excursion into this oft neglected composer. Having the opportunity to hear all seven concertos recorded within only a few years of each other as well as having the same soloist makes a huge difference. Hearing the continuity of all seven concertos from the same interpreter (Misha Keylin) gives a wonderful overview of Vieuxtemps composition. If you love Romantic era Violin Concertos, you won't be disappointed with *any* of Henri Vieuxtemps works.

5 comments about Fauré - Mélodies / Souzay · Ameling · Baldwin.

1. This 4-CD set receives five stars from me in spite of some flaws. I'll outline those flaws first.
   
   Firstly (a flaw to me, perhaps not to others), I'm not very fond of Gérard Souzay's voice and vocal approach. He frequently sounds blustery and the timbre does not really appeal to me. Yet his commitment to these beautiful songs is impeccable, and he has a wealth of experience, beautifully authentic French (of course!) and occasionally the singing is very effective indeed. I agree that the "La bonne chanson" set is sensitive and moving - it's Souzay at his best. But in general... Souzay is not one of my favourite baritones.
   
   Secondly, as other reviews have mentioned, no translations are included. However, the full text of each song is contained in the accompanying booklet, and for those who don't read French well enough to translate, there are translations on-line of all of the poems set by Fauré. I agree this is not an ideal solution, and that the boxed set would have been improved by translations.
   
   Thirdly, one is sometimes overwhelmed by the balance of the voice compared to that of the piano - this is particularly noticeable in Souzay's singing. However, the piano is still audible. The solution is mostly to turn down the volume for one or two tracks.
   
   Let me now explain why, in spite of the above faults, I still consider this a superb set.
   
   Firstly, the truly lovely singing of Elly Ameling. What a gloriously pretty sound - and I mean "pretty" without any denigration whatsoever. It's not JUST pretty - it's beautiful as well. This is a lovely gleaming sound, perfectly placed, and with a wealth of intrinsic and elegant interpretation that is native to Elly Ameling's singing. She's a miracle - no matter what she sings, it sounds "sung in" and perfectly understood, perfectly interpreted. (I admit Ms Ameling's French is slightly accented at times, but it's completely understandable and very good. It doesn't impair the performance of these songs at all.)
   
   Secondly, Dalton Baldwin's playing is sensitive and impassioned in turns - always lyrical, always attuned to the requirements of each song. What a huge amount of work must have gone into this mammoth 4-CD task!
   
   Thirdly, these vocal compositions are exquisite. Several of them are justly famous as works of genius, and fall so delightfully upon the ear that it seems they have always existed, perfect and full of wonder... that Fauré plucked them out of semi-existence to give them reality.
   
   Fourthly... it's 4CDs of Fauré's vocal works. For those who love French vocal music, it's an extravagant delight to have such a thorough and wide-ranging collection. For singing students, how marvellous to have such a collection to hand to help when choosing songs. For fellow singers, what joy to have all of these songs in such a fine collection in order to note details and particularly admirable points.
   
   In short - this is a set I wouldn't be without. While it's not flawless, it's full of delights. Ameling's singing of "La rose" is one of the highlights, and Fauré's three exquisite duets are all represented here. Highly recommended.



2. This EMI Classics package of four CD's for the price of two (plus) is really the way I like to buy classic recordings, where the complete set covers all of a single especially interesting grouping of works. This set, like the comparable one on Debussy, is simply grand, especially, as noted by other reviewers, with the contribution of Ameling, a soprano from whom not much is heard of today, but who, in her prime, was on top of her game.
   
   My only objection to the package is that while the notes five the French text of the songs and the author of the text, there is no translation. Otherwise, this is a super buy.



3. The music on this compilation is beautiful. It is also beautifully sung. Amelling is amazing, as always!!!



4. Faure was a genius and his songs are some of the most beautiful ever written, being animated by the spirit of beauty itself (Ms Venus:-).)
   
   The performers did an outstanding job singing this repertoire, and especially Elly Ameling's performance is pure *delight*
   - honestly-.
   
   I hope others will enjoy it as much as I have.
   
   Highly recommended.



5. This famous set provides on 4 CDs the complete songs (mélodies, he preferred to call them) by Faure. They are entrusted to the native French baritone, the Dutch soprano, and their accompanist Dalton Baldwin, and were recorded in the early 1970s. The set is not inexpensive, so I shall try to outline its merits. The music itself is enthralling. Faure set, over a period of sixty years, texts by French poets. Limpid, refined, elegant music, it repays repetition and close listening. One reviewer has suggested that no listener will want to listen to umpteen of these mélodies in one sitting, but I have never had too much of them. If slow tempi and arpeggio accompaniments begin to pall, listen to "Nell" (CD 2, Track 4). The performers satisfy on all counts. Souzay's contribution reflect a life time's association with the music, and a tradition that goes back through his teachers to the time of Faure himself. His definitive version of "La bonne Chanson" is especially fine. If his style is more suited to the impassioned, ardent items, it balances well with the cooler, more detached singing of Elly Ameling. So that you will not be disappointed, I should also mention that translations of the texts are not provided. I also wish that the balance had been better engineered. Sometimes Souzay seems to have the microphone in his mouth, and always the piano seems too distant. These are but minor flaws, however, in a long necklace of priceless pearls.