5 comments about Haydn: Symphonies Nos. 93-104, The London Symphonies.

1. Some say Haydn's ingenuity is even greater than that of Mozart's or Beethoven's. When listening to this brilliantly played set, I find myself becoming a convert of the belief. Haydn experimented with a variety of musical tools in these works. Surprising twists and turns are abundant. You will hear chamber serenade, harpsichord run, or violin solo in the most unexpected spots. Instruments are sometimes played in very unconventional ways resulting in exotic sounds - similar to what Berlioz and Mahler did later. Structure is toyed with in many symphonies, especially in the early ones.
   
   In Austro-Hungrarian Orchestra, Adam Fischer finds an all-in chef's toolkit needed to cook these delightful ingredients. The woodwinds not only sing but also coo and meow. Strings melt your heart to a puddle with their exquisite pianissimo. Horns are expressive yet stylish. The whole orchestra knows how to knock themselves out when the music calls for it. The overall timbre is unlike any other orchestra I've ever heard, period or conventional. It's bright, edgy and folksy at the same time. It sounds like a virtuosic chamber ensemble rather than an orchestra except in the big symphonies. I believe the closest thing to their sound is Vienna Philharmonic playing Johann Strauss waltzes. Throw in a hint of gypsy flavor then it would be even closer.
   
   Because this is a massive 33-CD set, there are inevitably a few imperfections. In a handful of spots the strings are not perfectly together. Adding to this, some of the violins have very distinctive tones which don't blend well with others when the music gets energetic. As to the engineering, some of the symphonies recorded early in the cycle are captured with too much reverberation, especially some London symphonies which sound soft-edged. But let me assure you the vast majority of the 100 plus symphonies have been recorded with crystal-clear brilliance.
   
   One may find more sophisticated and smooth playing in some conventional performances (Colin Davis and Jochum) or crisper articulations in some period recordings (Bruggen and Pinnock). But Fischer and his hand-picked orchestra deliver more character and expressiveness than in any Haydn performances I've ever heard. Harnoncourt comes close but Fischer's set has more smiles. And his orchestra has the devilish ability to accommodate any mood Haydn's score throws at them - whether it's charm, wit, panache, or pathos. Their playing in slow movements is simply inimitable.
   
   This set will be the source of joy for many Haydn lovers whether they are beginners just opening up the treasure chest or seasoned collectors with many other Haydn CDs. According to others' opinions, it compares favorably to Dorati's box, the only other complete set which I have not heard.
   
   One final point - I wrote the review without the consideration of the price. In other words, this set is worth acquiring at any price.



2. I have enjoyed these discs quite a bit. The playing is fabulous, and the conducting is fine. Sometimes the engineering is a little muddy, but not near enough to destroy my pleasure.

   For the ultimate London symphonies, I highly recommend Beecham on EMI. No one has matched his charm and wit with the drama. Fischer's recordings are great; Beecham is awesome!




3. Overmiked, overmixed recordings that sound very unnatural, wasting their authentic recording venue. Bass is boomy and muddy on some of them. The performances themselves are OK, but generally too slow and relaxed for my tastes. I would recommend the Colin Davis set on Philips instead. It contains warmly-recorded performances, none of which falls short of excellent, and it comes on only 4 discs, which comes out to about the same price as this Fischer set, and you only have to buy 2 at once.



4. I suppose it's a tad bit ethnocentric to assume that because Fischer and the Haydn Orchestra are Hungarian they'd be able to play Haydn better than anyone else, but in this case I feel it's true. Aside from having a high level of technical skill, the orchestra puts real verve and life into their performances. (You will never listen to another recording of the "Military" symphony again.) This is coupled with Fischer's flair for the dramatic; endings are rallentandoed appropriately, and each piece shines with the sense that it is being thoroughly interpreted, not just perfunctorily played through. A rather muffled-sounding recording of the "Clock" symphony and some blurriness in the first movement of the "Military" does not detract from the overall greatness of these interpretations. Ethnocentric or not, these players know what they're doing.



5. This is an excellent collection of Haydn symphonies. It is the highest numbered volume in an 8 volume set although it is not the last to be produced. Volumes 5 and 2 are forthcoming and will be available in October of 2000 and 2001 respectively. (I contacted the record label to find out...that's how much I enjoy this set) It is a full digital recording and has no discernable technical flaws. The performances are beautifully done. If you are looking for a complete collection of Haydn symphonies - this is one piece of the set I would recommend.

2 comments about Suk, Dvorák: Serenades for Strings.

1. This find Naxos recording is one of my favorite CDs - a lyrical, peaceful, joyful recording of two of the most beautiful string works there are (along with Tchaikovsky's Serenade for Strings, which Naxos has also recorded very well).
   
   Jaroslav Krcek and the Capella Istropolitana prove conclusively that they ought to be more well known than they are. The Capella is a very good band, as their Mozart symphonic half-cycle (also on Naxos) proved beyond a doubt, and Krcek is just as good (I'm pleasantly surprised, because his name is the most obscure one could imagine).
   
   The performance of Suk's Serenade is the real highlight (apologies to the other reviewer). The Josef Suk work is a masterpiece, and it comes shining through. All of it is lovely, parts emotional and even melancholy, but the overall character one of joy. The recording is all one could ask for, as beautiful as music can possibly get, and there is no point in buying a pricier version with a household name when this one is so stellar. I cannot stop listening to it.
   
   I've never liked the Dvorak Serenade as much as the Suk, as it seems to be less of an achievement than Suk's lovely piece, but it is played very well here as well.
   
   Fabulous performances of fabulous music! Heart-meltingly beautiful. Kudos to Naxos. My second Naxos CD, and my second very pleasant surprise from same. Keep up the stellar work!



2. Naxos is bargain label, but sometimes, its recordings must be counted to the top category, according to musical performance quality (and in the sound quality too).
   This is just the case - especially in Dvorak's Serenade. Compared to many others (including Sir Marriner / ASMF), this performace is one of the top ever recorded. For both compositions, I would recommend you to choose from any Czech (or former Czechoslovakian) orchsetra and conductor, and from those, Capella Istropolitana is excellent choice. More skillfully than others, they deliver the joy and happiness - which is engine of Dvorak's Serenede, and they are very capable of catching Suk's melancholic moods, painted in his serenade. Strongly recommended - and stay far from Marriner's, Kempe's, or simillar performances of these piece(s).

2 comments about Carlos Montoya, Guitarist.

1. I was actually very lucky to have found this CD on ebay for 5.00 dollars. I cannot give it enough praise! It is spectacular, and truly Flamenco at its best!



2. Classical Montoya recording. I still have a hard time believing it is just one person playing. If you have any interest in Flamenco guitar, at it's best, then you'll be delighted with this recording.

5 comments about Bax: Quintet for Harp & Strings / Sonata Flute & Harp.

1. What a disappointment is this disc. The harp playing is quite nice, though the handling of the viola is hardly what one would expect from the English school. The tone is weak and tinny, sounding rather like a violin fitted with viola strings. Tertis would have been sorely deceived.



2. The four works here vary from well known to little known. The widely played Elegiac Trio is gently and elegantly presented. It's an understated piece, in my mind showing Bax at his most "impressionistic". Mobius have the feeling , pace and musical sense correct, but there is room for at bit more passion here and there. The less well known sonatas for flute and harp and viola and harp are also well played, with a good sense of communication between the players. Bax's writing for harp is a revelation. It's lyrical and constructive, displaying none of the potential for show off arpeggios that might be suggested by his writing for piano in the sonatas. The quintet is convincing. High marks for content, above average for interpretation.



3. This recording contains chamber works featuring a harp. All of the pieces are pleasant to listen to and have stimulating content. The recording is very good. This CD was my first experience with Bax and has certainly inspired me to look for more.



4. At the centre of all the pieces on this disc is the harp.

   Bax writes wonderfully for the instrument - his inspiration possibly lying in the supposed `Irishness' of it, possibly in the luck he had of having some very good harpists to write for - the fantasy sonata (the combination of viola and harp really works well, and Bax manages to avoid an over lush sound) and the sonata for flute and harp having been written for the Russian harpist, Maria Korchinska.

   I must admit, as I listened to the CD I found it very hard to think of Ireland - and very easy to think of France and Europe in the early 20th century. Maybe this is why I mobius have been attracted to the music.

   The performances are excellent (as is the recording) bringing a dignity to the music which forces one to reassess, in a way, the nationalistic trivialisms that are all too often attached to Bax's music.

   As the notes point out - some of this sounds very like Debussy - but it was written before. Some of it sounds like Britten too. If you like either of those two composers - you'll love this.




5. What better music to opine about than the latest Naxos endeavor comprising some mighty fine chamber music for harp by Arnold Bax (1883-1953). Purchased a mere week ago, I've been listening to it ceaselessly--- as it fits my rather lachrimose state of mind perfectly.
   
   Among these four outstandingly evocative, elegiac and beautiful compositions, there's nary a dud to be found.
   
   The Elegiac Trio for Harp, Viola and Flute--- first performed in 1917--- runs a mere 8:47, but it is a real gem... and easily worth the price of the CD, alone. Heartfelt, atmospheric, luminous, the Trio ranks very close to perfection in every way. The combination of instruments, each bringing to the work its own voice and color and warmth, is simply magical.
   
   Ditto for the gorgeous Fantasy Sonata for Harp and Viola, first performed in 1927, whose third movement "Lento" is one of the most gentle of Bax inspirations I've ever heard. There is a distinct Anglo/Irish impressionism here--- and throughout the other works, as well--- so tender and romantic, yet so sad... it's impossible to resist.
   
   The Sonata for Flute and Harp, performed in 1928, is yet another gem, unfolding as it does with the ambience of an Irish countryside. At its heart is the particularly wistful slow movement. Kudos to flautist Lorna McGhee for her tender, poetic playing.
   
   Lastly, the Quintet for Harp and Strings (written in 1919) is a co-joined, three movement work. Generally more "dramatic" than its sisters, the Quintet still retains an obvious Bax melancholy, its overall tone introspective. Harpist Alison Nicholls is to be commended for her delicacy of touch and sense of mystery.
   
   What an outstanding bargain this CD is! A real find. Moody, appealing, accessible. Compliments to the members of Mobius, who play splendidly, and to the engineers who have captured their warmth and immediacy so well.
   
   [Running time: 65:11]

1 comments about Chopin Favourites.

1. Vladimir Ashkenazy, once a great Soviet pianist and at present one of the world's great orchestra conductors, shows his great piano skill in the 1980s in this CD. What is good about this CD is not only Ashkenazy's skill, but also its ways of arrangement of Ashkenaz's Chopin piano plays. Beginning from Grand Valse brillante(op.18), the CD peaks at Scherzo(op.31) and Ballade(op.23), both serious and dramatic "piano stories". Then, it ends with upbeating Polonaise(op.53). In between these relatively long piano works, the CD places Nocturnes, Waltz and Mazurkas, easy-to-listen, short pieces that relax listners.
   In addition, this CD contains "Fantaisie impromptu"(op.66), the legendary Chopin's work that probably most people heard at least once in their lives.
   If you want to know the great "tandem" of Chopin and Ashkenazy, I would recommend this CD to you at the very first!! Thanks.

2 comments about Godowsky: Piano Music, Vol. 2.

1. These are good performances, but I prefer those of Carlo Grante on Music & Arts. Recording sound also leaves something to be desired.



2. Purists, avaunt! Godowsky's transcribed violin sonatas are remarkably free and imaginative with Bach's originals -- they add chunks of new material, revise tempos, etc etc. They go much further than even a work like the Busoni transcription of the d minor Chaconne. These works will be of much interest to anyone who likes late romantic piano music, or anyone who likes to hear what the violin sonatas might sound like in a whole new medium. If you would prefer something a bit more restrained you could sample volume IV of the Fioretino edition -- he has his own version of the g minor, which is closer to the original. Buy them both. Scherbakov has the technique to play these works. He breasts their formidable challenges with ease, although he's perhaps not quite convincing enough to make you think that you never want to hear these works in any other form. My favourite work on the disk is the a minor sonata. The "Aria" third movement is gorgeous -- it's one instance where the originals take a distant second place. The anaologous movement in the g minor work is also lovely, as is the sarabande from the b minor largo. As between Scherbakov and Grante on M & A, I don't see very much to choose between the two. Best listen to them first.

5 comments about Grandi Voci: Renata Tebaldi.

1. 
   Yes, if you got Tebaldi in her vocal prime and Callas in her vocal prime to sing together on stage, the Italian would blow away the Greek with her enormous volume.



2. I heard Tebaldi many times at the Metropolitan, and no recording can truly give a full idea of the radiance of her voice at its best. It was an opulent, luscious sound, with a depth all its own. Her stage persona was charming and sympathetic, but ever-so-slightly aloof: she was a true diva in the original, untainted meaning of that Italian word: a "goddess" inhabiting her own special realm.
   
   This selection is drawn, with few exceptions, from her glory days in the 1950s, and includes some-but by no means all-of her finest moments on disc. While no recording can quite recreate her special aura, it CAN reproduce her way with a phrase, the exquisite light-and-shade of her personal style. In this she was a fine musical interpreter, and a real Italian: no heavy-breathing psychotics from Renata! Her heart, like the timbre of her voice, was full of Italy's sun.
   
   In the glorious tradition of Claudia Muzio, Tina Poli-Randaccio, Giannina Arangi-Lombardi, Maria Caniglia and Mafalda Favero.



3. Few singers have performed "Tusca" with the flourish and brilliance of Tebaldi, and her arias, filled with her rich, creamy, full-bodied voice are stunning even to this day. However, never have I seen anything from Tebaldi that even begins to compare with the eye-popping dance moves, bold vocal stylings, and see-through leotards of Cher. The works of Puccini are indeed fine; however I wager that fans of Tebaldi should--indeed MUST--indulge in classics like "Do You Believe In Life After Love" before considering their music collections complete.



4. Living in an era as we do where there are so few great Italian lyric/spinto sopranos,it is a joy to listen to this CD and to hear the "real thing." Tebaldi's voice is so rich and so luxurious that it may come as a surprise to a younger generation that has not heard an Italian soprano with such a large and velvety voice. It reminds me of the many saturday afternoons I would listen to Tebaldi on the Met radio broadcasts. Comparisons can be interesting...Callas's dramatic intensity, Sutherland's coloratura and high notes, the brilliance of Leontyne Price, etc. but Tebaldi truly was the greatest Italian soprano of the 20th century and owned the roles of Mimi, Liu, Minnie, and Tosca. There was a reason that Toscannini selected a young Tebaldi to re-open the opera house at La Scala in Milan after World War II..he knew that a voice like that came but once in a hundred years.



5. Although I prefer the "La Tebaldi" 2-disc set on Decca because it has arias not included here, this colection is great. The aria from Adriana gets my vote as one of the most beautiful things ever recorded, by anyone. If you enjoy beautiful singing, you'll want this disc.

1 comments about O Sole Mio: Italian Arias Songs & Mandolins.

1. Although the quality of the recording is certainly not the best, it is forgiveable, and sometimes gives it a "vintage" feel. The mandolin is what makes this recording so enjoyable. It has an Old World feeling to it.

3 comments about Dvorak - Symphony No.9 / Carnival Overture.

1. I have to say that I do love the Carnival Overture and that it is a great way to begin this CD. The colors are splashy and bold and burst from an infectious rythmic structure that typifies excitement. The Carnival Overture makes a great introduction for the New World Symphony by presenting you with something light and joyful before being plunged into 40 minutes of serious business. I do agree with the previous reviewer in that this recording of Dvorak's 9th Symphony lacks some of the emotional punch that other recordings have. However, Previn's languid direction makes for very atmospheric listening. It is a very warm and relaxing version of the 9th - almost as if Dvorak's rugged turmoil is being passed through the softer prism of Saint-Saens.



2. The highlight of this disc is the Carnival Overture, one of Dvorak's most melodic and happy overtures. There are a number of recordings of this overture on record, but Andre Previn's account is one of the most exciting and satisfying versions I've heard to date. The playing by the orchestra is very clean and crisp (and caught wonderfully by Telarc).

   The reason that I give this disc a 4 star rating instead of 5 is the performance of Dvorak's 9th Symphony. As one of the most recognizable and popular symphonies in the orchestral repetoire, the competition is fierce for making a record that really stands out above the crowd. In my opinion, this performance fails to do so. Although, not a horrible performance by any means, Previn leads a performance that just isn't up to par with my favorites (which include Bernstein's recording from the 60's, Karajan's recording from the 70s, Dohnanyi's recording from the 80's, and Kertesz's recording from the 60's).

   There are two main problems with this recording. One, the tempos in the first, third, and fourth movement seem a little sluggish. While a slower tempo can be effective in some situations, this symphony doesn't fare well from sluggish tempos. As you listen you feel that the symphony is just plodding along. The second thing that I don't like is the lack of accents in the strings. My favorite recordings of the 9th symphony all use the string sections to great effect with strong emphasis on the accents Dvorak wrote. Previn's performance sounds like he has told the string players to disregard any accents, which makes the performance sound less invigorating and too polished.

   Having stated my qualms with this recording, I would like to note that the recording is still a good one. As I said before, by no means is it a bad recording of this incredible work. It's just not at the top of my list. It's been in Telarc's catalogue for almost 15 years which stands as a testament not only to it being a quality recording but also a testament to the popularity of the piece. Also, you won't be displeased with the Carnival Overture. I don't regret buying this CD just because the overture is so good.




3. Several recordings pair the "New World" symphony with the "Carnival Overture," but I've yet to figure out why. Just as the emotional beauty of the "New World" comes to completion, leaving me with the serenity that I sought, the crash of the "Carnival" ruins the mood.
   
   OK, I don't like the "Carnival." But even if you do, you gotta admit that this is a strange pairing. Three stars for a good performance....but i gave my copy away.
   
   UPDATE 12-5-2008:
   
   A commenter has brought it to my attention that the CD has changed. I reviewed it early in 1999 and my review has been appended to a 2002 reissue which has the track order -- my major complaint -- reversed.
   
   I would give it 4 stars instead of 3 now, but amazon's editing process (maybe because the review is so old?) will not let me to change the number of stars, merely lets me add text.
   
   So just let me say that allowing the New World symphony to close this disc is much MUCH better. Some of the older used copies might have the old track order, but with modern technology, track order is less important than it was decade ago anyhow. Another reviewer mentioned that this is a more subdued, dreamy performance of the symphony and I agree, so this is a matter of taste, but it appealed to me. For all these reasons - it would get 4 stars from me now. Good music at a bargain!

3 comments about Gyorgy Sandor Plays Prokofiev.

1. Sandor's performance of Prokofiev's sonatas here pale in comparison with most by Sviatoslav Richter. The best performance in the set is that of sonata #9, where he takes a better tempo in the first movement than anyone else I've heard. Sandor's playing generally lacks clarity.
   
   Sandor is no Michael Ponti. His performances are more accurate and not bombastic. For serious Prokofiev fans, this collection is worth getting, I suppose. For those new to Prokofiev's sonatas, get Richter's "Great Pianists" performances of sonatas 6, 7, and 8. Horowitz's performance of #7 is good, too.



2. Gyorgy Sandor has been associated with Bela Bartok as Schnabel with Beethoven . In this case the approach given for Sandor making sound the seventh sonata (his best achievement in this interesting set)loaded percussiveness and dark shadows creating atmospheres so eloquent that you woll not be able to believe after you listen it . There is lyricism , sense of the mistery and rage and wildness , specially in that last movement .
   The eigth and ninth sonatas are extraordinary .
   From the fourth to the sixth go to Richter . He is a winner in these .
   Sandor plays a second and third with idomatic language.
   These are worthable recordings and considering the ratio prize quality , the reasons for you to acquire this set is almost a duty if you are a fan of Prokoviev.



3. To start with, I am not a professional music critic. I am just a fan of classical music, piano in specific, from Baroque to Modern. Before I bought this CD, I've never heard Sandor's playing. I heard of the name Sandor, and that's it! Honestly, the economy of the CD (At $15, I can own all Prokofiev sonata!) was one of the most important reasons when I decided on it. But as I hear the CD, I was also deeply impressed by his excellent expression of Prokofiev. As many know, Prokofiev sonatas include many parts that sound ugly unless the details of staccatto/legato, forte/piano and temp are precisely represented. Sandor played Prokofiev just as Ashkenazy did Beethoven or Kissin did Chopin. His excellent presentation as well as the economy of the CD easily compensates for somewhat fair-to-poor recording quality inherent to the analog technology. Excellent buy!