5 comments about The Only Classical CD You'll Ever Need!.

1. As an 18 year old univeristy student i would have to rate "The Only Classical Cd You'll Ever Need" as excellent. I dont know much about classical music but i was able to recognize almost every song and able to appreciate the music. Classical music is excellent to study to when i am up late for an exam and amazing to calm down to will i am simply resting. For anyone who has never been interested in classical music i would recomend this CD as a great start to an appreciation for an amazing genre of music.



2. If you're totally and completely new to the genre, this is a fairly good cd, strictly for the purpose of getting to know the popular and familiar classics that everyone knows, but can't place. However.
   I found the recording of some of the tracks to be of pretty poor quality, especially the Swan Lake waltz. It sounds as though it were recorded during dinner - lots of talking, clatterinig dishes, and overall movement in the background that's very distracting. I also found the Air on the G string, track two, to be what I would call an okay performance. You can definitely find better recordings of these and a few other tracks.
   Also, if you really want to delve wholly into classical music, not just listen to the popular few, try a cd that also encompasses opera, and more "modern" classical music, such as Gershwin.
   So, as I've said, for the absolute beginner it's alright, but try to find these same tracks and a few additions on another cd with better quality, and it would be your money better spent.



3. When you assert a title like the above you should deliver. Another almost identically titled album does much better. I offer details about that recording below, revised from my review on the Amazon.uk web site of "The Only Classical Album You'll Ever Need", by Slatkin and others, on the Classics label.

   "I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint 'The Only Classical Album . . .' demonstrates first-rate creative showmanship and sophistication on the part of its producers. The album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff's primal rhythms in Carmina Burana as an opener probably breaks stereotypes people may have about classical. Luscious, delicate ballet music by Delibes creates an abrupt but artful change of pace. Then follow all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio, but embraces diverse styles and less common classics such as the Spartacus Suite by Khatchaturian, and Bizet's the Pearl Fishers (opera). Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in resonant living-tradition style, led by James Galway). This is a superb present for musically-inclined newcomers to classical. More experienced listeners can relax and enjoy masterly programming and fine performances of great classics."




4. This CD is excellent for introducing classical music to those unfamiliar with the genre. This is a collection of the most popular classical tunes that you have heard everwhere but don't recognize by name. Use this CD for what it is...a stepping stone.



5. It has some very decent stuff, though mainly just the most popluar things. Get it if your starting out listening to classical. Otherwise, youll own all the songs anyway most likely.

5 comments about Bach for Breakfast: The Leisurely Way to Start Your Day.

1. This recording is a delightful morning brew of Bach's most beautiful and atmospheric instrumental music, even making use of an instrument that most music scholars forget he even wrote music for - the harp, as in the SLonatas for Flute, Harp and Cello, which on this recording, sound positively radiant coming from the likes of Sir Neville Marriner's Academy of St Martin In The Fields or the English Chamber Orchestra. The opening track is the ever popular Jesu, Joy of Man's Desiring, mostly a featured piece in Wedding Ceremonies. The Orchestral Suite No. 3 in D, which I believe is marked "Overture" is regal and elegant. The English Suite No. 3 in G Minor is a lovely piece, as is the intimately slow andane of the Brandenbur Concerto No. 2. The Concerto for Violin and Panpies in D is a fresh new rendition. All in all, this is a very intimate CD, full of Baroque charm and romance. It is a fine way to start your day.



2. In general, the Philips series "Set Your Life to Music" is one of the better, high-quality compilation series of classical music. This CD is a collection of Bach's Baroque-era music that is ideal for those unfamiliar to the often-intimidating world of classical music who mainly are looking for some pleasant and inspiring background music while learning a little about classical music. This Bach collection contains music that is rich in the soothing sounds of flute, harp, guitar and oboe along with a sampling of Bach's mild-mannered, songful orchestral music. Overall, the selections are all gentle and lyrical with a good sound quality. The concerto, oboe and orchestral works are some of Bach's finest compositions of sheer beauty and elegance and are performed by some of classical music's finest musicians. Some selections most everyone who has been ever been to a few weddings will recognize (Jesu, Joy of Man's Desire). And no piece is as haughtingly lovely as the flute sonata slow movement (Siciliano) on track 5 - a highlight of the disc.
   
   While 'classical purists' may raise their brow because of the many flute/harp selections (citing that Bach never composed any music for the harp), the person buying this CD for inspiring and relaxing mood music should be be delighted just fine with these "transcriptions" from piano to harp. The harp has a special niche for creating the most serene of atmospheres which it does not fail to do here. The solo Suite in E-flat was originally composed for solo violin but sounds much more smooth and dreamy on the harp - a piece very well done. However, some pieces are so serene that you might fall asleep at the breakfast table - hence, the sub-title "A leisurely way to start your day." Actually, it could easily be titled, "Bach for Bedtime" as the selections are all pretty relaxed and on the quiet side. So, if the hyper-energy of Mozart symphonies is too much for your mornings or if the sharp surges of Beethoven's music unsettle you, then these calmer Bach selections should be a better way to ease into the day.
   
   If you like the flavor of Baroque music, "Bach for Book Lovers" in the same series is a good choice and has more solo piano selections for the piano lover. "Bach for Bedtime" is also a wonderful (non-duplicating) collection of some of Bach's most serene music and is also recommended. Perhaps the most calming and sedating music in this Philip's series is "Baroque for Bathtime" which can easily put you to sleep - in a good way - with or without the bath. All are high quality with well-selected pieces from the treasures of classical music's most influential composer of the Baroque era - Johann Sebastian Bach.



3. You will love this CD! Like many of the CD's from this series, the music was carefully chosen for home listening. I just love playing this CD at home.

   The "songs" on this CD and from the series were chosen from the vast and excellent Phillips classical music catalog. The sound, performances, and song selections are world-class.

   A lot of great classical music is great for an evening at the concert hall but not very good for listening at home. The crescendos can be loud and the themes too intense. I would rather listen to a breathtaking Mozart piano sonata (solo piano) at home than a grand Mozart symphony (large orchestra) at home. The music on this CD was chosen for home listening, such as when reading a book.

   This music appeals to everyone. Classic musicians may snub this music because it's not grand like a full-blown opera. They ignore the fact that the great composers, like Bach recognized different musical genres such as chamber music for at home or the kings court, and grand symphonies for an evening at the concert hall.

   The music on this CD is EXCELLENT for listening at home. It's both brilliant and mellow. When I listen to this music I marvel at the brilliance of Bach. I am very grateful for this music and other CD's in this series.

   A fantastic CD!




4. By far, one of the best "collection" CDs of Bach's music. On a couple of tracks, some liberties are taken, but overall, this is a must-have. It includes 6 tracks from the Flute Sonatas, and features a soloist with whom I was not familiar - Irena Grafenauer gives THE MOST EXQUISITE performances I have ever heard - Galway and Rampal, step aside!



5. Worth every penny! A must have in the car if you commute on busy highway daily to and from work -- help to ease road rage! It's great for relaxing after a long day of programming too!

4 comments about Tchaikovsky: Serenade for Strings.

1. Philippe Entremont may be better known as a world-class pianist than a conductor. As a pianist, he collaborated with prominent figures including Leonard Bernstein and Eugene Ormandy, but he himself turns out to be a very good conductor.
   
   This album, with Maestro Entremont leading the Vienna Chamber Orchestra, features Tchaikovsky's two best-known and most beautiful chamber works: Serenade for Strings and Souvenir de Florence. Although not as painstakingly emotional as Bernstein and the New York Philharmonic, nor as sensual and passionate as Ormandy as his "Philadelphia Sound", Entremont and his ensemble offers an highly respectable performance, with great control without any flamboyance, and above all the lush, moving strings comprised of members representing the music capital of the world.
   
   Naxos is known for offering recordings done by less-than-prolific artists at a budget price, but this is an absolute winner. A stunning performance with only little money out of one's wallet. Simply put, an excellent bargain!



2. I was listening to a biography of Tchaikovsky on cassette and
   the instructor mentioned the 2 pieces on this CD as relatively
   unknown masterpieces of chamber music. I was very happy to see that
   I could get both of them on one CD. I am not qualified to give any sort of analysis
   of the performances (by the Vienna Chamber Orchestra, 1990) because I
   just listen to music, but the 5-star rating I give the CD says enough,
   and the instructor who praised these pieces so highly was absolutely
   correct! The liner notes are sparse yet complete.



3. The previous reviewer talked about Souvenir de Florence on the CD, which is indeed very good. However, I am less familiar with Souvenir than the Serenade, so I'll comment on that instead. At the risk of sounding trite, the performance here is among the best available. Vienna Chamber Orchestra does a wonderful job trying to maintain the clarity of the work, allowing the listener to hear the individual parts of the work. For example, I've never really noticed some of the beautiful countermelodies in the Waltz until I listened to this recording. The interpretation is also first-rate. Entremont brings out the warmth of the music well, plus the tempo never drags. The result is a finely performed work that will captures the listener's attention throughout the piece. Oh, did I mention that the recorded sound is VERY good?

   At this price, this is a deal not to miss. If you are looking for one recording of the Serenade, this is it. Even if you already own the Serenade, chances are that you don't yet have a recording of the rarely recorded Souvenir. Definitely give this CD a try.




4. Performances of the orchestral arrangement of Souvenir de Florence are rare, as it seems are recordings. The work however is quite lovely and evocative and suits a string orchestra capable of playing as both an entity and a collection of fine soloists. Look no further therefore than this recording for an excellent interpretation.

   The more familiar serenade is also a fine example of the work of one of Europe's leading Chamber Orchestras.

   I play this disc frequently, most especially the Souvenir and have only a minor quibble and that is with a rather fast take up of the opening of the work. Otherwise this has to be one of the best quality recordings I have heard from Naxos but then they used an interesting recording venue, Casino Baumgartner in Vienna, and presumeably Austrian engineers.

   Take it to your desert island!

5 comments about Prokofiev: 7 Symphonies; Lieutenant Kijé.

1. Karajan's recording of Prokofiev's 1st and 5th symphonies has long been one of my favorite discs so I decided to take the plunge and get the complete set. Unfortunately Karajan never recorded them all so I got the Ozawa who does a pretty good job although his 5th is nowhere near as good as Karajan's but then again whose is?
   As for the other symphonies I enjoyed them all except the 2nd. The 3rd symphony which is based on music derived from Prokofiev's opera The Fiery Angel (which was never staged during his lifetime) is much better than the opera itself which I thought to be a little static. The 4th symphony was derived from Prokofiev's ballet The Prodigal Son. It's nice but I thought it inferior to the ballet which is one of my all-time favorites. The 6th symphony seems to have a lot of admirers and it's good but I don't see what all the hoopla is about. The real undiscovered gem on these discs is Prokofiev's 7th. I was expecting it to be dull since it was composed towards the end of Prokofiev's life when the Soviet government was forcing it's composers to work in a more conservative style but Prokofiev rose above all that and created a real work of art. It's a shame it's not better known.



2. I hope Seiji Ozawa is happy that there's one place in the world, [...] where his Prokofiev symphony cycle fills people with joy. Most critics were quite disappointed in his approach, which veers erratically between the genteel, the bland, and the explosive. You can hear all three styles in the opening movement of Sym. #1, which jolts from one mode to the next. Ozawa seems at a loss to find eihter the wit or the classical elegance of this beloved student work.
   
   The companion symphony on CD 1 is Sym. #6, which typifies the strength of the whole set--outstanding playing from the Berlin Phil.--as well as Ozawa's besetting weakness: he can't find a consistent style for the work. As a result, he tends to fall back on generalized music-making. You can't tell which sections are meant to be elegaic, mysterious, witty, satiric, or romantic.
   
   Ozawa does well when the music is lyrical, brisk, or lightweight. He softens the brutality of the machine-driven idiom of Sym. #2 and #3, which spares our nerves; I am grateful for that, and for the Berliners' fearless execution. The Third emerges as a sonic blockbuster with great impact--I was genuinely thrilled by Ozawa's reading.
   
   
   By general consensus the masterpiece among Prokofiev's symphonies is the Fifth, which has had some great performances over the years, including Karajan's famous 1968 account with the Berliners. Ozawa's agreeable, suave conducting isn't in the same league, but his performance is better recorded, and for sheer impact it can stand with the best. If only he could have found more bite and elan in the music.
   
   In sum, I can see why critics were decidedly mixed about this set and why the new one from Gergiev is likely to eclipse Ozawa totally.



3. This really is an untterly fantastic box set. I am just learning Prokofiev's symphonic cycle with these, and I would certainly enjoy hearing something better than this!
   
   The sound is exquisite, the orchestra is utterly tops, the music (other than the 1st and 5th of course) is a bit inaccessible for the neophyte (although I did love my mother's old LP of the 4th as a kid) but is glistening here so brightly it's undeniable.
   
   Recommended.



4. Ozawa conducts Prokofiev complete symphonies in Berlin. You can't get any better than that! In true Ozawa fashion, you can hear just about every line, every staff, every note. He is such a perfectionist that if you haven't seen him conduct live, you don't know what orchestral perfectionisim is. Get the scores and follow along and you will see what I mean.



5. I concur with the reviewers who saw exceptional merit in the (undeservedly) obscure symphonies (namely, those other than 1 & 5). Each sound-world has its own charms. One can hear antecedent rumblings of the 5th lurking in the 4th -- as if in nascent form, waiting to open the matrix of the womb. The melodic invention seems bottomless, and the penchant for boldly painted colors never flags. The low brass surprised me at many points -- it seems Ozawa (or his engineers) had coaxed something out of them that was hard to come by under Karajan's baton. While one can argue over Ozawa's take on individual symphonies (e.g., I'd take de Burgos over Ozawa on the 1st), a Complete Set has to be evaluated on its own terms. This one is a true five-star find.
   
   The Lieutenant Kije suite will shock anyone expecting to hear excerpts from Woody Allen's "Love and Death." In two movements (the Romance and the popular Troika), a baritone vocalist covers the main themes (following the 1933 original version). When a previous reviewer lamented the coupling of the symphonies with yet another Lt. Kije, I found it to be a premature judgment. I've heard a half dozen other versions, but this is the first I've heard the original version with the baritone singing the Russian text. Frankly, I don't even think I like the original 1933 version -- but I certainly can't complain that this seventh Lt. Kije Suite was a redundant addition to my music library!
   
   THREE YEARS LATER... I reviewed this in 2004, but this month (October 2007) a new set of Prokofiev symphonies won a 2007 Grammy award. I've since ordered that version (Gergiev with the London Symphony Orchestra) and will cross-compare the two box sets to decide whether I need to revise the star rating on this review or not. One professional critic asserted that Gergiev easily put Ozawa in second place. We shall see. Be alert to the new competition from Gergiev when selecting your box set!

5 comments about Haydn: Complete Piano Trios.

1. "Delightful" is a single word to describe this recording of Haydn's Piano Trios. I was fortunate to find one of the apparently few remaining copies of the Beaux Arts Trio's performance of the complete Landon edition trios on Philips (Polygram 454 098-2). (This was before the apparent re-release.) This ten and a half hour treasure was originally very well-recorded in the 1970s on analog tape in Switzerland and the Netherlands, then first released on CD in 1991, then again in 1996.
   
   The Beaux Arts plays wonderfully; not much more could be asked from these performances, other perhaps for a slightly more distant microphone perspective. It's amazing that F.J. Haydn had been considered largely irrelevant by his succeeding romantic generations. His compositions are, for lack of a better description, classically classical and far less "cute" than the precocious and better-known works of upstart Mozart. The Beaux Arts is able to infuse the joyful compositional beauty of Papa Haydn's trios with skillful elegance and charm.
   
   There are some definite surprises, particularly in the later works. As others have noted, Haydn presaged the Romantic period in some of his later trios. The variety of compositions presented here are at times beautifully proportioned and balanced, elegant and refined, humorous and witty, joyous and rollicking. In short they aptly display much of the skill, talent and personality of one of my favorite composers.



2. I have arrived at the view that Haydn is for the musically more mature; this is after some fifty five years of avoiding him - I have come to regret the wasting of so much time!
   
   Like many people, I have considered Haydn principally in terms of his "thousands" of symphonies and felt the title "Papa" probably apposite. However, having spent an increasing amount of time during the last five years in getting to know his chamber works, I have altered my opinions dramatically and have long since thought Schumann's judgment facile and ungrateful.
   
   Haydn shared a few years of the middle of the 18th. century with Bach and given his following so closely upon the heels of the Barok, his music is astonishingly innovative and I think he receives far too little credit for the pioneering work he did. His string quartets truly are of the first order and given that he "invented" the genre, extraordinarily forward and musically developed. Mozart did nothing to advance the form which Haydn left as a wonderful foundation upon which Beethoven and Schubert could build.
   
   Whilst many of the quartets have a certain cerebral aspect to them, the piano trios do not. Not because of any lack of inventiveness on the part of the composer but due to their being intended for a larger and different audience to whom Haydn's publishers might sell a lot of sheet music; it should be remembered that Haydn was widely known and popular from Italy to Sweden. There is no hint of "commercialism" in these works however.
   
   This complete set of piano trios has a strong homogeneity; they all fit together well and balance nicely. A quirky exception here is the very individual E major Allegretto (Hob.XV:28) heralding a chorale prelude and later suggesting that we are in for a three part fugue. No chorale, no fugue. Another of Haydn's witticisms perhaps?
   
   The Beaux Arts' readings are "safe" and I have no quibble with this. Another reviewer has found them "bland" but with this I do not agree. Frankly, I think it difficult to make a proper judgment because, as has been pointed out elsewhere, the strings are not at all well recorded and for much of the time the pieces sound like a piano sonata with occasional string accompaniment.
   
   This situation is less annoying than it otherwise might be as the piano really has a stand-alone part and the overall nature of the works is surprisingly undiminished in the apparent absence of the strings. In any event, the violin and more particularly the 'cello whose principal function was to bolster the rather fragile bass of the early Viennese fortepiano, don't have much to say that is of great musical consequence. To a degree, this "imbalance" is characteristic of the trio form as it was employed by Mozart, Beethoven and others; it was well into the nineteenth century before Mendelssohn distributed the musical parts more evenly but a contrived imbalance of musical composition is one thing - that of shortcomings of recording quality is quite another. The "solo" nature of the piano in this instance merely serves to demonstrate what an unusually fine pianist Menahem Pressler is. In other respects the recording is very good.
   
   These trios are immensely satisfying, partly due to their delightful nature and partly because they don't demand much in the way of intellectual involvement from the listener. I should like to have awarded five stars; generally, the set deserves them but I feel some penalty has to be imposed in respect of the poor microphone balance. Musically, this collection is a superbly performed joy and others surely will share my delight in it.



3. The Beaux Arts Trio, as always, performs well enough to win an award with these trios. The works are so tuneful that I frequently found myself walking around the house humming the tunes after hearing a quartet for the first time.
   
   This music is also wonderful to listen to while doing desk work or reading. You'll not be disappointed.



4. No doubt that Haydn is one of the greatest composers of all times both in terms of quality and quantity of his diverse compositions.I have always found his piano sonatas very witty and enjoyable having listened to Jando and Richter.I was completely floored by one of the Haydn's Piano trios featured in the Stern,Rose and Istomin recording of the Schubert Piano Trios-Perky,springy,Bouncy playing keeping the listener constantly guessing.It is with great expectation that I bought this complete set of Haydn Piano Trios by the REPUTED Beaux Arts Trio.Listening to the First 2 CDs of this set was a bit of a let down.I find their playing totally bland and Lifeless-Yes,they are pretty but lacking in perky,quirky humour that Haydn is justly known for.They sound like Rameau's compositions!I find that the individuality and personality of Haydn is totally absent.
   I know that the Beaux Arts Trio has a Big Reputation but I need to say this.I found their Beethoven Trios a Trifle Bland as well.The Stern Rose Istomin Excel in that recording as well!Ditto for their Schubert Piano Trios.Just what is the Difference?I find the Stern Rose Istomin Trio play with Fresh Abandon whereas the Beaux Arts Trio seem to be too Studious,a little too serious!This robs a little bit of spontaneity and LIVING IN THE MOMENT vitality.(More so for Franz Joseph Haydn!)
   Yes,This may be the only complete recording of the wonderful Haydn Piano Trios,but I would strongly advise that you collect the individual performances by different groups after due listening.



5. Bad recording - all one can hear is the piano part...too loud and is sounded liked the piano was set right next to the microphone... Wish I could return this set of CD's. Very disappointed.

5 comments about Classical Music for People Who Hate Classical Music.

1. Cheers to those with drive to attain "real" music student status. However, I just want to listen to music passages I have found enjoyable over the years. There is no pretense of this selection being a student workbook of classical music for the serious scholar - it is just an enjoyable alternative to that shared by those offensively loud vehicles near me at the stoplight.



2. I admit I am not a huge fan of Classical music, but I have throughly enjoyed this CD. I recognize the songs, even though I have no idea of most of their titles.



3. I had this cd set years ago and lost it, It is good. I am happy with the speed it was delivered and the fact that shipping wasn't an over price.
   a.f.



4. Although I can see why classical music novices wouldn't care that this CD's recordings and interpretations aren't very good, I do think that there are much better quality compilations out there that serve the same purpose and are still affordable.
   
   As a professional-level classical musician who has many friends and family who "hate" classical music, I always suggest the iTunes "essential" collections. iTunes picks top notch recordings and a nice balance of works - some are in the "top 40" category and others are slightly lesser known but give a great idea of what the composer's best work was like. (You'd be surprised to know that a lot of the top 40 classical pieces are not exemplary of their composers' works).
   
   iTunes Essentials used to have a terrific "Classical 101" compilation, and now they have the follow-up "Classical 201," which is basically the same thing. You can buy the first level "The Basics" for $24.95, and if you like it you can branch out to the next levels. Also, iTunes has more Classical compilations organized by time period, if you find that you favor one period of classical over another. A very safe beginning spot if you want to start with a genre is "Classic: Romantic Period" for $21.78.
   
   Happy listening and I hope you end up liking classical music!



5. It's probably too much to say that this collection is for those who "hate" classical music. But I think it's safe to say that it is for people who are not serious aficionados. It provides classical tunes that most of us have heard but don't necessarily know the names of and presents them in a very palatable way. A diverse array of composers is represented and there is something here for just about anyone. Some of the songs will be familiar to you from TV commercials, movies, weddings, and all sorts of places. For my money, this set was exactly what I was looking for. I would never have been able to do enough research to discover the names of all these songs and track them down. I would also not be interested in hearing most of them in their full presentation. I know that the purists absolutely hate that these are presented in excerpt form but I find it perfect. I simply don't WANT to listen to 25 minutes of a song to hear the 3 minutes that I actually enjoy. The hardcore classical fans really need to understand that this collection is not aimed at them or their tastes and some of us have no interest in becoming experts, we just want to enjoy some of the best songs that the great composers ever created.

5 comments about Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw.

1. I am using this recording to learn the requiem for performance. It's fidelity is great and it is such beautiful music. Very easy to sing along with.



2. I am a big fan of the numerous Karajan recordings, and I found many similarities in this reading. This performance has a rich, thick romantic feel that can really overwhelm you. Shaw's tempos are a little brisker, though, but overall the lush atmosphere is pure Karajan.
   
   Arleen Auger has a gorgeous voice, but I felt she was holding back. Richard Stilwell, on the other hand, really let loose with plenty of dramatic verve. He has a wonderful sound that reminds me of operatic bass Donald McIntyre.
   
   The chorus displays their skillfully done German diction in Movement 2. I loved their work in Movement 4's "Die Loben dich immer dar", done with a fantastic legato approach. The tenors really shone in their few solo appearances in the finale.
   
   Another reviewer had reservations with the recorded sound. However, I didn't find any problems with it.
   
   Timings of Brahms' Requiem range from Bruno Walter's brisk 63" to Fritz Lehmann's 79" epic. Shaw compromises at 70'24" (almost identical to the famed James Levine recording).
   
   Recorded in Nov 1983 in Atlanta. Texts and translations included.



3. Do not be misled by the paucity of David Hurwitz's 4-sentence review for Amazon which is surpassed only by the wrong-headedness (Shaw, boring??) of his blatant prejudice against "choral conductors." His basis for evaluation is so off that he gets almost everything wrong, save for the words nobility and clarity. His praise of the recorded sound is also backwards; This is one of the biggest technical mistakes in Telarc's exemplary catalog - The orchestral sound is somewhat muddy and unfocused and the choir is far too distant and diffuse.
   
   That is not to say the recording cannot be enjoyed for there are substantial positives here, principally Shaw's interpretation which is among the best in the world. His tempi are so insightful, so right-sounding its almost freaky. The only performance negative is soprano Arleen Auger; this lovely singer is just not right for the part; Brahms was very specific about the soprano sound he intended for the 5th movement - he specified she should sound "like a giant bird." Auger is a bit of a robin, albeit a very pretty one.
   
   The expressiveness from both orchestra and choir are well-thought and refined. Shaw brings significant depth and understanding to this masterpiece. Too many orchestral conductors approach the Requiem as just another orchestra piece with voices; Shaw understands the impetus is Brahms' uniquely chosen text.
   
   For example, Shaw's opening tempo is informed by Brahms' textual concept - a wandering, unsettled feeling of a soul having no resting place on this earth. An orchestral conductor who is guided only by the tempo marking will get it wrong.
   
   Notice the collective orchestral breathing in the second movement. Coupled with the dead-on independent triplets from the timp, the unified lifting of the strings and the falling weight from the winds - this is ensemble perfection. It makes me weep.
   
   Shaw keeps the third movement moving forward; he never allows it to sink into a lugubrious morass, a flaw in so many performances.
   
   Its very difficult to render an overperformed movement perfectly, but again here in the famous fourth, Shaw's tempo and subtle emphasis are exemplary. One couldn't ask for a more lovely and perfectly controlled rendering of Brahms' chosen lovely dwelling place.
   
   Shaw's sixth movement tempo reflects the wandering soul now with increased restlessness. This is exactly correct, unlike some conductors who render this movement as a deadly dirge. Shaw's tempo here perfectly sets up Brahms' positive ending.
   
   From the initial sounds of the seventh movement, we know instantly that there is a new dawn - the tempo is bright, the dynamic lifted and the choir swells from a pianissimo entrance and takes stage. We have found our heaven.
   
   Whatever flaws exist, this is a magnificent addition to the recorded repertoire, one in my collection to which I am proud to return often.



4. While a student at the New England Conservatory (a number of years ago) my husband and I were fortunate to be members of the N.E.C.Chorus that performed this very work under the direction of Robert Shaw himself. Needless to say, hearing it again, a master work done by a master, brings back many pleasant memories each and every time it's played.



5. It becomes hard after awhile for me to comment on maestro Shaw's work, because I love all of it! Obviously, he definitely does not fall short with this CD. His talent of conducting was matched only by his love of music itself.
   
   The chorus and soloists are excellent. The sopranos seem to float over the rest of the chorus, and a sound of pure heaven is produced. I can just see both Shaw and Brahms smiling down from heaven as I write this!
   
   As you can tell, I am very enthusiastic about classical choral music, especially when it is conducted by Mr. Shaw. And, to sum this up, check it out for yourself and see if you like it as much as I do.

5 comments about Liszt: The Two Piano Concertos; The Piano Sonata.

1. No fan of Richter should be without this disc. His interpretation of the two piano concerti ranks among not only the best but also among the highly out of the ordinary ones.



2. Of course, as great pianists go, Richter is perhaps the best all-rounder, and like many a pianophile I probably have more recordings by him than by any other single pianist. Nevertheless, there is greater refinement and daring in Byron Janis's Mercury Living Presence recording of the Liszt concertos. Much as I also like serious and probing accounts of the Liszt sonata and so would not part with Arrau on Philips (coupled with a fine Vallee d'Obermann and a superb Benediction), it is difficult to return to him or indeed to Richter once you have encountered Martha Argerich's astonishing recording of the sonata on her Debut Recital compilation on DG. Richter's only fault was that he could occasionally take too firm an approach to a piece just as Michelangeli could sometimes seem to be too aloof. Richter's virtuosity could be astonishing (the Mendelssohn Variations serieuses appended to the Richter/Rostropovich DVD of the complete Beethoven cello sonatas, the Chopin Etude Op10 No4 on the Bruno Monsiagneon DVD, and Debussy's L'Isle joyeuse on BBC Legends) - and his poetry could be just as breathtaking (the Chopin Ballade No3 on the same BBC CD set) - but sometimes Richter could also go over the top and allow his ferocious virtuosity to squeeze the poetry out of a piece. Neither the Liszt concerto recordings nor the sonata are cases of this approach, but nor are they Richter at his most completely inspired - and for my money the Janis and Argerich recordings are superior for the COMBINATION of virtuosity and poetry. Byron and Martha rule on this occasion!



3. Might I mention one performance that Jeffrey Lipscomb omits - that recorded live in Budapest 1960. It was issued as a Phillips Legendary Classics CD, 422 137-2. The cd is a sort of twin to the 1958 Sofia Concert but has always been very much harder to find. This is my favorite of the recordings I know.
   
   There is also a performance in the Chopin/Liszt box from the Authorised Recordings collection, Phillips again, 438 620-2. The minimal information claims it was recorded in 1988 but I believe it is the Livorno 1966 version.



4. 
   It's far to be a mere casualty, the fact Richter and Francois have become the most important performers in which concern the major achievement of Franz Liszt `s Piano Concertos. Both pianists have some similarities, first and foremost, they possessed a nonchalant respect for the objective rules of interpretation so frequently watched until the 60's. Additionally, they created atmospheres every time they played and the glorious musical intuition, logic consequence of that irreverent posture before the rational way of playing the piano, permitted them to discover and explore new horizons around these well known and many times neglected works. They caught the entire attention of the public, because the Dionysian spirit made they considered these Op. as transient works between an agonic Romanticism and an emerging musical Impressionist. That explains why composers such Bartok, Respighi or Reger decided to undertake new musical paths.
   
   The main difference between Richter, Francois and the rest is they illuminated and explored new facets of the score. Go for this unavoidable album an then you will agree with me.
   
   The performance of the Sonata in B minor is mesmerizing.



5. If you are new to the late Russian pianist Sviatoslav Richter, arguably the greatest all-round keyboard virtuoso of the last century, this is a splendid place to start. And if you are new to Liszt's piano concertos, there is little need to look any farther. Few "legendary" recordings live up to the praise heaped upon them so deservedly as these classic 1961 studio recordings. Richter's inspired blend of drama and poetry is matched by a superb accompaniment from Kondrashin and the London Symphony. Philips here has actually improved on the sound of the original LPs: only a trace of hiss betrays the fact that these performances were taped over four decades ago.
   
   However, for Richter collectors, the situation is a little more complicated. These concertos are sensibly coupled with a "live" 1966 concert reading (from Livorno) of Liszt's Piano Sonata. Recently, Philips has re-issued these same concertos (minus the Liszt Sonata) in a coupling with three Beethoven sonatas (#10, 19 & 20). The sound on the newer disc is SLIGHTLY better than what is heard on this less expensive CD. Of course, Richter completists will want to have both.
   
   Further complicating the situation, BBC Legends has issued the "live" 1961 Richter/Kondrashin concerto accounts (Royal Albert Hall, London) that preceded these studio recordings. While I generally prefer the "spontaneity" of actual concert performances, I think the studio accounts here are a little better realized and have superior sound. But again, the compleat Richterphile will need to own both: the BBC CD also has a "live" Liszt Hungarian Fantasia and Chopin's "Andante Spianato & Grande Polonaise." The Chopin is a personal favorite, along with the Czerny-Stefanska/Smetacek version on Supraphon (see my review). So, in short, I own both Philips releases as well as the BBC concert CD.
   
   That brings us back to the Liszt Sonata, which Richter never recorded in the studio. This 1966 account is one of four "live" recordings by Richter (all of which have some wrong notes). It's superior to the 1965 Aldeburgh (Classica d'Oro), which is very messy and rushed, and about on a par with the 1965 Moscow (Brilliant Classics). All in all, it's a rather analytical reading, and I would rank it just behind historic recordings by Simon Barere (mine's on Turnabout LP) and Ernst Levy (on a wonderful Marston CD that includes a great account of Beethoven's "Hammerklavier" Sonata).
   
   Unfortunately, Richter's GREATEST account of the Liszt Sonata is the only one that is currently un-available: a stupendously well-controlled, supremely poetic 18 May 1965 concert performance from Carnegie Hall. This was first issued on a rare LP (Private Edition P-101, apparently the only record issued by that label). I bought a copy in Manhattan back around 1974 for $20 - a princely sum in those days for a sole LP (adjusted for inflation, it's likely the most I have ever paid for a single disc). It also included the most awesomely well-played Mendelssohn "Variations Serieuses" I have ever heard (22 April 1965, Brooklyn), plus Richter's finest version of Beethoven's Op. 101 Sonata (3 May 1965, Carnegie Hall). This stunning Liszt Sonata was briefly available on a "Legendary Pianists" CD (Philips 422137, now deleted).
   
   So, to summarize: 1) This Philips disc contains the greatest studio accounts of Liszt's piano concertos known to me, 2) You may want to supplement it with Richter's "live" BBC accounts, and 3) Hopefully, Philips will re-issue that fabulous "live" 1965 Liszt Sonata from Carnegie Hall. The latter is the greatest account of the Liszt Sonata I have ever heard, and just possibly Richter's greatest-ever recording, period. Philips, are you listening? [Nov. 2005 update: the 1965 Carnegie Hall reading of the Liszt Sonata has recently been re-issued on a Palexa CD, which is available here at Amazon]
   
   Highly recommended.
   
   
   
   
   

3 comments about Rachmaninoff: Rhapsody on a Theme of Paganini in Am; Ravel: Alborada Del Gracioso.

1. 
   Fleisher is remembered mainly for his superlative performance of Beethoven & Brahms concertos, but he plays Paganini Rhapsody with titanic virtuosity and emotional intensity, comparable to Russian greats, that surpass most of existing great recordings. It would sound like this if Richter had recorded this work.



2. ...is underrated. He is a student of a student of a student of a student of Beethoven, and he is also in a descendent line of students of Liszt and Czerny. His performances are incredible, and this CD is a prime example. Highly recommended.



3. Like Clifford Curzon, Leon Fleisher was a student of the great Artur Schnabel and if I had to elect *the* American pianist of the century, it would probably be Fleisher. His collaborations with conductor George Szell resulted in some of the most splendid interpretations of Brahms, Grieg or Schumann's piano concertos. Unfortunately, Fleisher's right hand became paralyzed and almost stopped his career. He went on playing most works for piano for the left hand, including Ravel, Britten and Prokofiev's concertos.

   These recordings date back to the 1950s, at the time when Fleisher made his comeback. Franck's Symphonic Variations probably find here their best interpreter, perfectly accompanied by Szell and the Cleveland Orchestra. The Rhapsody is maybe even better with Fleisher's dazzling, brilliant but also truly poetic playing. And I lack compliments to describe his vivid reading of Ravel's "Alborada del Gracioso".

   The collection from which this CD is taken is called : "Legendary Performances". I'll totally agree on that one. My only regret : like on many CBS releases, the booklet is really too thin. Few details on the composition of the included works, but no details at all on the performances, alas.

5 comments about Mozart: Eine Kleine Nachtmusik, etc / Karajan, Berlin PO.

1. I do not know where one would find a better rendition of these works. I doubt one exists. Wonderfull.



2. I just find my words too limited in describing the works in this album. It's simply moving.



3. I am just beginning to expand my experience of Mozart and picked up this CD based on a friend's recommendation. I am very pleased with the performance and the recording of the pieces.



4. Mozart's Eine Kleine Nachtmusik has always been a favorite piece, and I was overjoyed to find this recording conducted by my favorite conductor, Herbert Von Karajan. Karajan's brilliant conducting once again inspires the Berliner Philharmoniker to perform beautifully.
   Karl Bohm said of Mozart's music "It has the effect of a fountain of youth," and that is the best way to describe these works. I always find my spirits lifted, my mind rejuvenated when listening to these performances.
   Eine Kleine Nachtmusik is done here by the BPO as well as I have ever heard it done, and is the gem of this CD. Seranata Notturna is equally impressive. The three Divertimentos are wonderful performances as well.
   Deutsche Grammaphon's fantastic digital mastering allows you to enjoy every note, with virtually no tape hiss, etc.- a tremendous feat considering that these performances were recorded in 1966 and 1968!
   This collection of some of Mozart's most beautiful compositions would make a wonderful addition to any library of classical music.



5. Karajan's conducting of divertimentos KV136-138 is superior one. Tempos, accents, phrasing are excellent and playing of BPO strings are the best. The performance is inspired one. Also the performance of Serenata Noturna KV 239 is lustrous too. As to Eine Kleine Nachtmusic KV 525 the performance is interesting especially by the final part where at coda the conductor accents a counterpoint which for an instant turns this music by dark side reminding us of the Don Giovanni final. Among the recordings to compete with discussed above I can mention the Ton Koopman's recording of KV 136-138 on periodic instruments (Erato) and another later Karajan's recording of KV 525 (Polygram).