4 comments about Bach: Brandenburg Concertos, Vol. 1: Nos. 1-3.

1. I totally agree with the review below. Gustav Leonhardt's recording of the Brandenburgs is one of the best. Everyone who loves baroque and earlier music performed on period instruments should try to get all of the SEON recordings from the 1970s that have been transfered to CD.



2. This was the first recording (1977) of the Brandenburgs Concertos which proved what marvellous insights the use of contemporary instruments (with the music, that is) could lend to the musical result (Harnoncourt's first set from 1963 came too early in their discography for the techniques of playing old instruments to have been fully mastered in these most demanding works). In the present set, well-judged tempi and an unerring sense of rhythm are juxtaposed in splendid proportion (most tempos here are moderate compared to some of the performances by next generation performers, the finale to BWV 1048 being an exception). Elsewhere (among these reviews) I read with astonishment the opinion that Leonhardt is "not a good conductor". As one who has experienced Mr. Leonhardt's performances live on many occasions, I can attest to his extraordinary level of achievement as musical director of many ensembles. Leonhardt is, simply, one of the greatest musicians of our time, and, as conductor, whatever he may lack in conventional "stick-technique", he more than makes up for in his extraordinarily authoritative, knowledgable, yet passionate musicianship (the same goes with Frans Bruggen - his conducting looks strange, but any of the musicians in his orchestra - and I know many of them personally - will confirm his mastery, and the enormous debt which all of us owe to him). Anyone with ears to hear will recognize the profound musical truths unlocked by these legendary performances. I also noticed, elsewhere, Leonhardt compared unfavourably with Trevor Pinnock. This is ironic, since Mr. Pinnock would be the first to acknowledge his own profound debt to Leonhardt. Actually, given the range of Leonhardt's achievements, and his unique role in re-discovering many facets of "authentic" performance that are now taken for granted, and copied by almost everyone (including Mr. Pinnock, in fact), what is astonishing to me is how timeless and enduring Leonhardt's musicianship has proved, and how little of substance has been added to what he and his generation discovered. Actually, all of the re-issues in the SEON series (here offered by Sony at a ridiculously low price) are collector's items, important for any one who wants to experience the excitement of discovering early music on period instruments for the first time. Do yourself a favour and acquire this one while you can. Let's not overlook the contributions of all the musicans on this release: Lucy van Dael, Frans Brueggen, Anner Bylsma, Wieland and Sigiswald Kuijken, Paul Dombrecht, Kees Boeke, Bob van Asperen. Many of these luminaries are Leonhardt's friends and students, themselves testimonies to Leonhardt's profound contribution to musical performance in our time. One of great bargains.



3. I disagree completely with the previous reviewer. He/she does not seem to enjoy good music... Gustav Leonhardt and the Kuijkens are among the best players in period instruments! Their recording of Bach's Brandemburg is wonderful. Don't go for that unfair review...



4. These were some of the earliest authentic instrument performances, back when musicians didn't have a good grasp of period instruments and good soloists interested in period practice were almost non-existent. Now we have some outstanding musicians making period instrument recordings with experience playing Baroque instruments. So for a good period instrument recording, I would recommend Trevor Pinnock and the English Concert Orchestra or other good period ensembles. Don't settle for Gustav Leonhardt. He was a pioneer, but he wasn't a good conductor. And the same for the orchestra in this recording.

4 comments about Wagner Weekend - The Ride of the Valkyries.

1. By looking at this cd, you'd think, "yeah sure...next"! I mean c'mon, how cheezy does the cover look and sound?
   
   But just look at the details on the back of it, then think for a minute...Leopold Stokowski, London Symphony Orchestra, Decca and recorded in the 1960's...
   
   What answers can you come up with?
   
   Need help?
   
   How 'bout..."THE RIDE OF YOUR LIFE"!!!!!!!!!!!!!!!!!!!



2. This is real music by a real genius. One wonders how he and other classical composers could envision all of the instruments interacting together to produce the desired outcome.



3. These orchestral works from the Ring and Die Meistersinger are some of the most thrilling interpretations on record. Stokowski was very passionate about Wagner and it is obvious. The writer usually does not agree with the conductor's style but admits that he was blown away here. Conducting the London Symphony, Stoki forces the "Stokowski Sound" out of the flood gates immediately. The color of the recordings is amazing yet it never gets excessive. The "Ride of the Valkyries", "Rhine Journey", "Funeral March", and "Entrance Into Valhalla" are equally impressive for all of the above reasons. The crown jewel of this CD however, is the "Forrest Murmurs." Combining all of the emotions and ideas associated with the opera (wonder, mysteriousness, joy, and triumph) is a monumental task. Stokowski and the LSO pull it off in dramatic fassion. It has never been bested. The live performance of the prelude to Die Meistersinger is electric and has adrenaline that is common with such recordings but it is very interesting to know why. Stokowski and the orchestra performed the overture without fully rehersing it! During rehersal, they began and after a few bars of music Stokowski stopped the orchestra and said, "We don't need to do this. You all know it!" He was right.



4. Like many people, I find most of Wagner's operas somewhat difficult to listen to from start to finish. But each of Wagner's operas contains sections that are simply gorgeous. This CD collects five such pieces from his "Ring" cycle. Each is magnificently conducted by Leopold Stokowski who, in my view, was the greatest Wagner conductor -- and, possibly, the greatest all-around conductor -- of the 20th century. If you think you don't like Wagner's music, please try this CD. I think it will convert you.

5 comments about Mozart: Violin Concertos Nos. 1 - 5; Sinfonia Concertante.

1. There is no need to talk about this product. Just buy and enjoy. Superb performance. Although the recording is ADD, it sounds like DDD. I do recommend it to all Mozart fans.



2. I originally bought this for my college age daughter for her music class. The sound quality is great and the selection of pieces gives a good sense of Mozart.



3. Yes, I have to agree with the reviewer who praised this CD for its Sinfonia Concertante. The only other comparable recording that I've ever heard is Oistrakh/Barshai performance, that I could find, unfortunately, only on an old LP by Melodya.



4. The performance is may be O.K. but the sound quality is so bad that listening to this CD is a pain. The price is tempting, but believe me it's not worth it. Buy instead the performance by Mutter.



5. This CD, recorded in the early 1960-ies is a real treasure. Beside Menuhin's superb performance, it has something really unique - Barshai's Viola playing that is the greatest viola playing that I have ever heard! His rare recording truly makes this CD one of the best releases of Mozart's music, especially Symphonia Concertante.

1 comments about Ignace Pleyel.

1. This is a great combination of Pleyel's work. The flute quartet could easily be placed in Mozart's or Vanhal's collection. It's an enjoyable piece. The Sym. A is mislabled, I believe it is a String Quartet. But no matter, Pleyel was an excellent SQ composer and this piece is excellent. The Sinfonia is well done and very likable. Please give us more. Pleyel is a hidden genius in the shadow of Haydn and Mozart.

4 comments about Handel: Messiah - Arias & Choruses.

1. Like many of the other reviewers here, this recording of Messiah has more of a nostalgic than musicological appeal. The three-LP London set was a family Christmas gift, and was literally played to death on the living room hi-fi. Since that time I have graduated to other performances of Messiah that are of a less ponderous sort than Sir Adrian's second recording (the first in stereo) here, using historicaly-informed instruments, tuning and practices. Still, if this performance of Messiah was encountered in live performance it would be most satisfying. Joan Sutherland's voice here was lighter (despite her trademark mushy diction) and at least she is granted some liberties with ornmanetation - she had to fight Boult to do them (she would rerecord it with husband Bonynge, and in my opinion, not as successfully). Then-mezzo Bumbry and bass Ward are sturdy soloists, and lyric tenor MacKellar is likeable. Boult's tempi are of the Beecham variety, so the entire performance is long. The original 3-CD issue is now out of print and only available used and at inflated prices. This disc of highlights will suffice for now.
   
   I don't rate this performance at the top, but it is a good alternate. Davis' classic first Phillips recording is still my favorite, followed by performances conducted by Somary (Vanguard), Leppard (Erato, complete recording now out of print but highlights available), Solti (Decca), Shaw (Telarc), Harnoncourt (Teldec), and the Mozart arrangement conducted by Mackerras (RCA out of print, but now available as an import).



2. This recording by Sir Adrian Boult and the London Symphony Orchestra and Chorus dates from the early 1960s, and seems now very much an old-school rendering of Handel's beloved masterpiece. As such it still has its pleasures, among them the skilled singing of the chorus and two major stars, Joan Sutherland and Grace Bumbry, in their youthful primes. Though there are no "added accompaniments" of the kind that used to be routine and unwelcome additions to Handel's original, lean orchestration, modern connoisseurs of Baroque music may find the choruses, particularly the famous "Hallelujah," and final "Amen," altogether too leaden in pacing and glutinous in texture. In general the performance practice is restrained, with barely an ornamented da capo to be found, and even essential vocal appoggiaturas omitted. The selection of numbers on this highlights disc is not particularly satisfying; an apparent desire to give all soloists and chorus more or less equal time results in some jarring skips in continuity and unfathomable omissions, as well as equally strange inclusions. I would have opted for hearing the chorus "Lift up your heads, O ye gates" over a complete, nine-minute "Trumpet Shall Sound," for example, since there is not one ornament in the da capo and bass David Ward is taxed by the high tessitura. Nevertheless, the overall authority of Boult's interpretation makes this venerable Messiah still worth a listen, especially at this bargain price.



3. The remastering of this CD was not top notch. The sound quality is far inferior to my DDD from Hyperion starring Lynn Dawson,Katherine James et al.
   But I'm still looking for the perfect Messiah recording.



4. I remember this playing in the background in the house back when I was a kid. It defined Christmas for me. I've heard several versions of "The Messiah" but this one, from the London Symphony Orchestra, is the most full and robust. There seems to be no rival, in my opinion. I highly recommend this for new families. Whether you're religious or not and celebrate Christmas/the year-end holidays as a religious event or a simple but important time for a family get-together, either the lyrics and/or the sound of the music will stay with you for many Christmases to come. The stand out song is Hallelujah. Though, I'm not a complete aficionado of classical music (especially of the religious kind), this must be one of Sir Adrian Boult's finest. But I'm speaking from the LP and tape versions. I can only imagine the sound from the CD version. I highly recommend this recording.
   
   UPDATE: Yup, this is the tape I remember. Down to the quality. I dunno about anybody else, but that's part of the charm for me. It reminds me of the tape and that reminds me of Christmases past. I love it.

No comments about Nature's Symphonies: Wilderness.

No comments about Bach, Handel, Tartini: Violin Sonatas.

No comments about Tchaikovsky: Nutcracker; Swan Lake.

1 comments about Franz Joseph Haydn - Lola Odiaga, Fortepiano (Vol. 1): Sonatas Hob. XVI / 19, 39, 48 & 50 / Capriccio "Acht Sauschneider müssen seyn", Hob. XVI / 1 / Variations on the song "Gott erhalte".

1. Odiaga's playing is very bright and lively, and reflects the joy that Haydn expressed in his compositions.
   
   I was surprised at the amount of color that Odiaga is able to bring forth from the model fortepiano. It's interesting to hear the pieces played as they might have been heard back in Haydn's time.
   
   But this isn't simply a historical curiosity; the CD is rewarding on a purely musical enjoyment level and highly recommended.

2 comments about Rimsky-Korsakov: Scheherazade / Respighi: Fountains of Rome.

1. Most older listeners leave behind light classics like Scheherazade and the Fountains of Rome at a certain point. I retain a lingering fondness for the former, though, and in the annals of great Scheherazade recordings, Stokowski produced a handufl. This must be the most gorgeous to come out of Philadelphia since his heyday, and gorgeousness counts for a lot.
   
   Muti doesn't lay on the Arabian Nights shmaltz at all--his tempos tend to be brisk, his phrasing pristine rather than blatant. But there's panache, and EMI's recorded sound, if a bit distant, packs a punch. If Scheherazade is one of your guilty pleasures, this is a luscious wallow. The Resphigi, also gorgeously played, gets a marvellously pure and un-vulgar reading.



2. I have several recordings of Scheherazade. Ormandy's old recording was my favorite until now. Reiner with the CSO, many others, but, since receiving this recording just three days ago I can say, in complete amazement that this is the most beautifully played orchestral recording I have ever heard in my life. I know that there has been much said about Maestro Muti 'killing' the 'Philadelphia' sound, but upon listening to more and more of his Philadelphia recordings that there is a refinement that I hear in no other orchestra. And, this recording of Rimsky Korsakov tops them all. Listen to the strings in the third movement, 'The young Prince and the your Princess. I have never heard such beautiful tone and playing. I feel as if I am being told the story as the music is played. Maestro Muti has brought out a tone in the strings that I cannot describe-I mean, all the great orchestras of the world have great string sections, they are the heart of the orchestra, but somehow there is a refinement that I cannot describe but it is as if I can reach out and touch it, or there are overtones of such beauty-I don't know-maybe it is all of the Strads and Guarneries the orchestra possesses.

   Anyway I hope that anyone who reads this will buy the recording. The Respighi is beautiful also, but I listen to the complete recording of the set Muti has recorded with the PHO