1 comments about Vaughan Williams: A Sea Symphony.

1. ... of one of the 10 best pieces of Western music ever written.
   
   Each of the four movements has a clear mood and intention, and the orchestra and singers succeed thoroughly in each movement.
   
   The first movement, as bracing and tumultuous as one brisk cloudless day out on the ocean, and yet at the same time dedicatory and timeless, is fully realized by the surging, sparkling, nimble drive of the orchestra, and the passionate, clarion voices of the principals and chorus. The first movement introduces the Sea - an introduction in the largest sense, portraying the Sea both as a Being unto itself, and as part of the canvas on which Human history, both tragic and triumphant, is painted.
   
   The second movement thoroughly evokes the Sea as a profound and helpful witness of the deepest moments of Human reflection. How amazing that the shores of the Sea - the Sea, with all its immensity and Presence - should be such perfect providers of what humans cherish in Solitude! The soprano is silent in this movement - unless perhaps she intones quietly with the chorus. It is the male lead, John Shirley-Quirk, who, as the voice of the poet, with stately passion and authority guides the listener's thoughts through the awe of what is available to any person on the beach, at night, alone.
   
   The third movement soaks us in the joy of children who play in the waves - indeed, in the joy of all creatures who dart and frolic. With total emotional clarity along with instrumental virtuousity, the orchestra and chorus portray the dashing, toppling, lifting, accelerating ecstasy and triumph of the best wave you have ever seen a surfer ride; of the most gorgeous leap you have ever imagined a sail-boarder topping as the water finishes its launch. Do not miss this music, reader: few of us will ever be skilled surfers, or elite outrigger-rowers, or athletes who can strain a sail-board along the crests and troughs where none but experts should go - but if you give yourself to this Third Movement, you *will* feel what they feel: you will coast the tumult, you will be hoisted, thrown, and will splash safe and keel-down to fly again, wherever you are and as many times as you will.
   
   There is no more sublime fusion of sound and meaning, in all the World's art, than in the fourth movement of this symphony, and you are, in this performance, in the right hands to be given it as it should be. The symphony turns to the beauty and glory of the World itself, and the urge to comprehend it, voyage it, explore it, know it - and to the Sea as a metaphor for this, and the Sea as a place where it happens, and the Sea as just a starting point for going even further, as we both seek and witness the Soul, and the Source Of Souls, both within us and without us.
   
   O thou transcendent,
   Nameless, the fibre and the breath,
   Light of the light, shedding forth universes, thou centre of them!
   
   Swiftly I shrivel at the thought of God,
   At Nature, and its wonders - Time and Space and Death;
   But that I, turning, call to thee O Soul, thou actual me -
   And lo, thou gently masterest the orbs:
   Thou matest Time, smilest content at Death,
   And fillest, swellest full the vastnesses of Space.
   
   John Shirley-Quirk, Heather Harper, the chorus, and orchestra with mastery and melting poignancy offer the listener a chance to stand on heights of the Spirit, and to look far, with hope, with curiousity - and most of all, with some moments of certain focus on what to Look For: this music helps one to have a readiness to recognize what should be Recognized, at those moments when it may try to appear to us. It's possible to meet revelations half-way, you know: and if you practice a little bit of Joy and Awe, here and there, there may be less impeding your recognition when it shows up outside of a musical setting.
   
   So: lock your door, silence the telephone, imbibe movements one through three - and, in the fourth movement: stand up, take a singer's breaths, look out your window to the horizon, and sing the verses with John and Heather. And, thank you, Ralph Vaughan Williams: may you and Tchaikovsky and Smetana and Dvorak and Brahms and all the other inspired ones sit beside the Source Of Souls, and feel the comfort you have bestowed upon millions.

5 comments about Bruckner: The Complete Symphonies.

1. The words of praise I have about this set are innumerable. It was my first Bruckner cycle...I grew up with it. It accompanied me in all my times...and it changed my life.
   
   Jochum completely understands Bruckner, and his love for him shines out of every Symphony in this incredible set.
   
   Here's a few things of why I think Jochum's 2nd set surpasses all others:
   
   1) His answering to Bruckner's many spiritual questions.
   2) His searching and quest like feeling he brings to the music.
   3) The meaning, weight and believablility he gives to Bruckner's vision.
   4) The consistency of dedication throughout all of the symphonies.
   5) The recorded sound is warm, clear and sumptuous.
   6) The orchestral playing shines splendorously throughout.
   7) It seems from the magic aura these recordings have, that it wasn't just Jochum who loved Bruckner but also the players, the engineers and even the producers who all worked on this production.
   
   I set this bar above Karajan's recording, Celibidache's, Haitink's, Masur's, Chailly's, Wand's, Eichhorn's, Skrowaczewski's, Furtwangler's, Knappertsbush's, and also Jochum's first set.
   
   A MUST in all households!



2. This box set a must-have. Actually, Eugen Jochum recorded all Bruckner twice. First one with Berliner Philharmoniker for Deutsche Grammophon at 60's, the second is that one with Staatskapelle Dresden for EMI, 70's. Well, it's a little complicated to choose one, because both of them have different qualities. But, I suppose, that Dresden version is more transparent, dramatic and intensive than Berliner version.
   
   Eugen Jochum is a master on the music of Bruckner. His reading way is totally opposite of Celibidache. Celibidache has the majesty, the sustaining of time in the manner of Zen On the other hand, Jochum has spontaneity, dramatic intensity. You will not bore in any little moment when you're listening Jochum's Bruckner. The Staatskapelle Dresden sound is so precise, clear in every minimal detail, you can hear all the counterpointal subjects and parts, very deep and satisfying bass sound, touching strings (just check the Adagio of 9th) and glorious brass section (check the complete 7th).
   
   The most interesting points that I shall say are: the 4th is really very interesting, I haven't listen any version just like that, it is not similar to any reading. One hour long that symphony moving on just like a few minutes. Especially the last movement has an enigmatique intensity. The 7th is one of the best available. The majesty of the firs movement, the solemn and desolate Adagio which is written for death of Wagner, the Shcerzo which will make your tension up and again, a majestic mood, Finale.
   
   The 9th! I think, this is the best ever! How Jochum make that music such dramatic, you can imagine a master composer now near to death and hardly working on finish his last symphony... The string tremolos at the very beggining sounds like nothingness. And then 8 horns coming just like the meaning of life. The sarcastic and devilish Scherzo, may be the best Scherzo of all Bruckner. And "farewell" Adagio, begins with full singing-strings, and time is now sustaining, there is nothing going on,just the end of everything and waiting for the last breath. And there is a huge climax includes a dissonant chord, just like the dissonant chord of Mahler 10th. But then, fade away...
   
   If you're searching for a really defenitive Bruckner performances, you should get that. Highly recommended.



3. Bruckner è sempre stato il compositore che mi affascinava di più sebbene
   fino a poco tempo fà avessi sentito solamente la nona sinfonia all'interno di una raccolta della Reference Recordings. Ho successivamente comprato la nona appunto (RR) e la sesta che ho trovato ad un prezzo stracciato (Edizioni Telarc diretta da Jesus Lopez-Cobos). Se la nona della RR è veramente superba sia dal punto di vista dell'esecuzione che dell'incisione la sesta della Telarc è sicuramente superiore in quanto dinamica rispetto l'incisione che stiamo analizzando della EMI ma la qualità della ripresa e l'esecuzione sono assolutamente sotto tono!
   Devo riconfermare ciò che ho letto più volte su Eugin Jochum e la sua maestria nel riprodurre il messaggio musicale di Bruckner.
   Sono rimasto veramente stupito dalla qualità generale dell'incisione EMI anche considerando il prezzo a dire poco incredibile, in Italia penso sia impossibile trovare un cofanetto di nove sinfonie di questo valore musicale ed artistico ad un simile prezzo. Assolutamente consigliatissimo!



4. I have listened to Bruckner for more years than I'd care to admit, but these recordings by Eugen Jochum are like hearing him for the first time. It is startling how good these recordings are, and what freshness Jochum brings to the more familiar Bruckner offerings...the 3rd, 4th, 7th, 8th and 9th. Electrifying is not too strong a word to describe them. In addition, these EMI recordings are an astonishing value. Buy and listen for yourself. I dare you not to be transfigured by the music-making.



5. Bruckner fans can find other recordings of certain symphonies that might reveal some aspect of the music that this set does not. But I think those recordings are far and few. I know there are Jochum fans (and I am one)who find his DG recordings to be superior. Except for the Fourth with the Berlin Philharmonic I have not listened to any of them.So they may be better. But it is a little hard for me to conceive of that being the case because I have found that Jochum has pulled off something nearly miraculous here.I first bought this set back in the very early Nineties when it first was released on CD. I was swept up in the sheer passion,exuburance and religous devotion that is on display. Like other reviewers I think a lot of the credit goes to Staatskapelle Dresden.I find them so involved with Bruckner's music and the thought world he inhabited that any point of criticism would be nearly useless. "The petty cavils of petty minds",as Samuel Johnson said of some of Shakespeare's critics.Yes this will be a set I could live with for some time( I already have!) And I would still recomend getting this remastered version because it is superior to the first version and the box takes up far less room. I don't have the same problem that some people have with the Nowak versions. I do prefer the 1877 version of the 3rd symphony to be superior to Nowak's. But I find Georg Tintner's recording on Naxos to be interesting but it is too ungainly and sprawling. So I would prefer the Nowak,though I don't care for some of the cuts. But even if you have reservations about versions I would still urge you to check out Jochum. I think he will convince you.Enjoy!

5 comments about Haydn: String Quartets, Op. 76, Nos. 4, 5 and 6.

1. When Naxos started releasing the Kodaly Quartet's series of the Haydn string quartets I was pretty excited. These are some of my favorite works and I'm always amazed that he could write so many works in one genre that were so consistantly good. The Op. 76 quartets were written in the last phase of his compositional life, a time when he had well deserved fame and was generally regarded as the greatest living composer. The fame seemed to drive him to even greater heights, writing some of his very finest work including the London Symphonies, the last six Masses, The Creation and the later string quartets, including the Op. 76 quartets. These are quite simply some of the finest chamber works ever written. The Kodaly Quartet's interpretations are clear and lively, definitely doing justice to the music and effectively evoking the spirit of the period they were written in. If you can afford it, buy all the discs in the series, but this one is a good start.



2. For me it is the late Haydn string quartets, more so than the late symphonies, that afford us a full demonstration of his consummate compositional mastery. For as good as the London Symphonies are, if you listen to them alongside Mozart's great symphonies they really do not quite measure up; but the late quartets are second not even to Mozart's best works in the genre, endowed as they are with magnificent complexity, ingenious subtlety, and profound sophistication.
   
   The Op. 76 quartets are the place to start in listening to Haydn's quartets. He sometimes equaled these exemplary compositions, in earlier works as well as later ones, but he never bettered them. Op. 76 belong to that rarefied list of powerful, progressive masterworks written at the end of his life that includes the Trumpet Concerto, The Creation, Paukenmesse, and, yes, the aforementioned London Symphonies.
   
   (Especially beautiful on this disc is the adagio of the E-flat quartet: harmonically adventurous, mysterious, and captivating, I've returned to it more than once.)
   
   I have elsewhere stated my preference and conviction for authentic, "period instrument" performances of these works; while I do prefer the accounts of the Quatuor Mosaïques to these readings, then, I at the same time insist that these are interpretations not to be missed. Readings of the Baroque and Classical literature on modern instruments can still be very effective, if an awareness of the character and function of timbre and sonority in those historical musical languages is incorporated into playing of skill and good judgement (the academy of St. Martin in the Fields under Neville Mariner, for example, have committed excellent performances of the late Mozart symphonies to disc on modern instruments). The Kodály Quartet are a first-rate ensemble and they dig into these pieces with expertise and enthusiasm. And for only ten dollars per disk on Naxos, you really mustn't pass on these recordings.



3. This is general review of the Naxos series of Haydn's string quartets.
   
   You know the old saying, "you get what you pay for." This is usually true for sure ... but once in a while in life something comes around whose quality and value far exceed the price. Such is the case with the Naxos recordings of the Kodaly Quartet. These are performances of top caliber recorded with very good to excellent sound quality.
   
   But, where to start with so many Haydn quartets? One suggestion is to get the Naxos SETS of these works which are an even more stellar bargin. You can get them at rediculously low prices used on Amazon usually. But, if you are buying one CD at-a-time (which perhaps allows for more appreciation and slower savoring), you might focus on what is known as "Haydn's Top 30." This is a list of Haydn's quartets that are recognized by many experts as his finest: Op. 3 (no. 3,5) - Op.9 (no. 2) - Op. 17 (no. 5) - Op. 20 (no. 4,5,6) - Op. 33 (No. 2,3,6) - Op. 50 (no. 6) - Op. 54 (no. 1,2,3) - Op. 64 (all) - Op. 74 (no. 1,2,3) - Op. 76 (all) - Op. 77 (no. 1,2).
   
   Quartets prior to Op. 17 have more of a simpler, pleasant "galante" style ... Op. 20 sees Haydn fully in his "Storm & Stress" period with bold harmonies and dynamic rhythms ... By Op. 33 Haydn had moved on from the pre-Romantic-era emotive composing of Op. 20 and adopted a more lyrical style .... the quartets of Op. 64 have a really gorgeous and relaxed style ... then in Op. 76 & 77 we see the pinnacle of Haydn's quartet craft late in his life with quartets rich in intelligent form, complex part writing and more grand 'symphonic' harmonies - part due to his writing for large London audiences. A good place to start is to get one CD each from Haydn's early, middle and late periods - like Op. 3, Op. 33 and Op. 76 - and see the development that occured as Haydn literally gave birth to the modern string quartet.



4. Joseph Haydn wrote the six string quartets of opus 76 in 1797 when he was at the height of his powers. The quartets were dedicated to Haydn's patron, Count Edody, and are known as the "Erody" quartets. The first three quartets of opus 76 appear on a separate Naxos CD by the Kodaly Quartet. In fact, the Kodaly Quartet has recorded the entire series of Haydn quartets at a budget price. The opus 76 quartets in particular are music-making at its highest level. These quartets are engaging and accessible to hear and to play (they were composed to be played) and are yet filled with imagination, inventiveness, and musical content. In describing the opus 76 quartets, Karl Geiringer writes in his "Haydn: A Creative Live in Music" (p. 321) that "[e]verything here is condensed and intensified, the expression more personal and more direct." This award-winning CD by the Kodaly Quartet includes the 4,5, and 6th quartet and is a joy.
   
   The quartet no. 4 in B-flat major is known as the "Sunrise" after the running, rising theme in the first violin, set over heavy chords, with which it opens. The first movement, marked allegro con spirito, is a movement of contrasts. As do several other movements on this CD, it features alternating sections of fast and slow sections, rising and falling solo themes, and ensemble and solo playing. The second movement, marked adagio, continues to alternate solo passages for the violin with intricate playing for the entire ensemble. There is also a lovely theme deep in the lower register of the cello. This is a slow, sad movement. The third movement is a minuet which features echoing falling two-note figures heavily accented at the end of each phrase. The trio continues the pattern established in the earlier movements by having a solo theme sing out over chords in the remainder of the ensemble. The final movement is a rondo which opens with a whimsical, song-like theme played in the ensemble. As the movement progresses, the tempo increases, and the quartet ends humorously with a whirwind version of the rondo theme.
   
   The fifth quartet in D major is unique in that each of the four movements develop essentially the same thematic material. The opening movement is an allegretto which opens quietly and lyrically in the violin. Here again, the movement dramatically picks up in tempo near the conclusion. The second movement of the work marked "Largo cantabile e mesto" (very slow, singing, and troubled) is the highpoint of this work. The slow movement is substantially longer than the opening movement, which is itself highly unusual in a composition of this period. The movement opens with a slow stately theme followed by an intense middle section in different harmonies and then a return of the opening material. The minuet opens in the alto voice of the strings, but the most striking feature of this movement is the ruminative, running solo for the cello in the trio. The finale, marked presto, consists of a running theme over a brushing figure in the strings. It reminded me of a Russian folk tune and of Beethoven's middle quartets.
   
   The sixth and final quartet of opus 76 is in E-flat major and brings an extraordinary end to the set. The first movement, marked allegro-allegretto, is a set of variations based on a call and response theme. The variations feature solo instruments embellishing the theme as played by the ensemble. Again, this movement masterfully alternates fast and slow sections and ensemble and solo playing. There is a great deal of counterpoint throughout. The second movement marked "Fantasia:Adagio" is full of adventurous harmonic writing based upon rapid and ambiguous movements from one key to another. In much of this movement, Haydn dispensed with the use of a key signature, giving both the music and the notation a strikingly modern flavor. The third movement, a minuet, opens with a theme with many turns and twists for the violin in its upper register. But, again, the striking portion of this movement is in the trio. Haydn writes it in an old form called the Alternativo. The pattern is a rising heavily rhythmic passage in the cello playing the major scale, followed by a descending passage playing the scale. This is a delight to follow when one is prepared for it. The finale, allegro spirituoso, is based upon a falling figure. It is light and rapid and shows Haydn's mastery of counterpoint.
   
   The music of these quartets, and of the earlier three quartets of opus 76 is inexhaustible. This CD is an outstanding introduction to chamber music and to the music of Haydn.



5. I certainly agree with the other reviewer on this page: With the possible addition of Op. 77 No. 1, the three quartets on this Naxos CD represent the greatest, and most appealing, quartet music that Haydn produced. And that's saying a lot because there are many other treasures among Haydn's string quartets.

   Finest of all is the "Fifths Quartet," so called because of the first violinist's widely spaced intervals at the start of the first movement. Haydn is not always congenial when he writes in the minor key, but here he creates a movement of great drama and energy that is unique in his oeuvre. The other movements are just as fine, especially the remarkable canonic scherzo, a bewitching witches' dance.

   But then the other quartets are no also-rans. The "Emperor" features lovely variations on Haydn's own hymn to the emperor of the Austro-Hungarian Empire ("Glorious Things of Thee Are Spoken") and a last movement of great dash and sparkle. And the "Sunrise" has that wonderfully evocative rising figure at the beginning of the movement that gave the quartet its name.

   The Kodaly Quartet, as throughout their Haydn cycle, show they are to the manner born. They caress those lovely variations with a much tenderness, then throw themselves with great abandon into the fiery "Fifths" quartet. All of which makes for just about the best performances of these quartets on disc. Naxos adds a warm yet clear and detailed recording to top off a highly distinguished release.

No comments about Secunda: Kol Nidre Service.

5 comments about Opera without Words.

1. This music is overly heavy on Puccini, which is O.K. except the performance of the orchestra is very lack luster.



2. Kostelanetz has a real flair for this kind of material, and his orchestras are first-class. The Bizet aria alone (from "The Pearl Fishers") is worth the price of this enjoyable CD. Does it supplant the vocal originals? Of course not, but if you are looking for instrumental arrangements, you'll not do better than this.



3. Opera Without Words and Puccini Without Words provided the perfect background music for a photo DVD I made for my mom's 88th birthday. She is an opera lover and hearing her favorite music along with viewing a lifetime of her photos now on DVD was very special.



4. Great cd. I love opera, but sometimes it's nice without the singing too.
   Beautiful orchestration.



5. For someone that isn't too keen on Opera, I really enjoyed this CD. As a choreographer, having famous operatic themes without lyrics is such a blessing. The only criticism I have about the CD is that the volume level isn't consistent throughout, and for some of the songs it is extremely low. I had to constantly adjust the volume from one song to the next, even within one track.

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.

3 comments about Brahms: Alto Rhapsody; Nänie; Gesang der Parzen; Schicksalslied.

1. This is Brahms at his most contemplative, complex and introspective. Complete attention is required. If you are looking for lollypops & lullabies you will be disappointed. This music takes you to the lofty heights of parnassus. No one said the climb would be easy & you need to have made the necessary intellectual preparation.
   Robert Shaw & the Atlanta Symphony have, once again, shown themselves to be a first class unit. There is no banal, excessive displays of emotion, no hysteria - just beautiful music tatefully recorded.



2. Brahms is overwhelmingly the most-performed composer in the 45-year history of the American Choral Directors Association conventions, according to a very informative ACDA monograph by Sandefur Schmidt -- confirming what one might naturally suspect. This reflects not only the especially large contribution Brahms made to choral literature (both sacred and secular, large- and small-scale), but also a universal love for that romantic era of music which Brahms exemplified better than anyone, in absolutely first-rate compositions. Okay, maybe some people don't care for it. For the rest, you can't go wrong with these, the secular pieces for chorus & orchestra -- a sub-genre with almost no lasting competition from Brahms' contemporaries or followers. Uniquely gorgeous works, in excellent performances.



3. A very rare recording that is seldom seen or heard. Most of the works on the album are rarely recorded, making this cd an unusual and exciting find. The four works on the disc show Brahms at his best. The playing of the orchestra, the singing of the choir and the direction of Robert shaw are all flawless and beautifully done. Get this cd as soon as posible!

5 comments about Bach for Relaxation.

1. Another great collection of songs in this series with very good performances of the pieces.
   
   Calm and soothing and definately recommended to relax by.



2. This is a great CD of instrumental Bach music. I listen to it very often



3. I have purchased this CD twice, first for myself to listen to during labor and secondly for a friend who has a new, very stressful job. I love the music on this CD, it is wonderfully played and listening it to it during labor was very helpful and uplifting. Now both my daughter and I enjoy listening to it, and during fussy days it calms her down a bit, which is very nice. The music truly brings on a serene feeling without making one sleepy, which means its great for anytime you just need to relax yet stay alert. I'll be giving it to my friend for the holidays, and I'm sure she'll love it as much as we do.



4. What better way to begin 'Bach for Relaxation' than with "Jesu, Joy of Man's Desiring." This CD is not dumbed-down Johann Sebastian Bach just because it advertises itself as relaxation music (which was my initial fear before purchase). Good orchestras and soloists perform the nineteen well-chosen chamber works, ranging from the deceptively simple "Prelude in C" from "The Well-Tempered Clavier, Book 1" (Sviatoslav Richter, piano) to selections from the powerful Brandenburg Concertos.

   This is Bach in his most serene, mathematically perfect form. None of his mighty organ or choral works will disturb your contemplative mood as you drift through the sixty-eight minutes of this CD.

   I'm usually asleep by track fifteen, the adagio from "Concerto for Flute, Violin & Harpsichord BWV 1044."

   Another very good CD in this 'relaxation' series from BMG RCAVictor is "Cello for Relaxation."




5. This is one of my favorite classical CD's. It is a composition of soft, calmer Bach, and is perfect for almost any occassion. This is a great CD for first time classical listeners or long time fans ... It functions as perfect dinner background music, or to listen to alone. I highly recommend this compilation of Bach.

No comments about Schubert: Greatest Hits.

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.