5 comments about The Top 100 Masterpieces of Classical Music (Box Set).

1. I had this collection and lost it in 2000 when moving to a new house. I took me a time to find it but after having it again I can say it is the most valuable selection of classic music, it is truly the 100 top masterpieces and the sound is excellent.



2. I have to agree that this is a good collection of music for the money, especially if you are a novice at the Classics like me. Each disc covers a 40 year period with an hour of music and a little bit of history in the cover slip. However, there were some oddities that made me question the quality of this product. First, a few of the songs seemed like the conductor was hurrying them along so the songs on a disc would add up to exactly one hour -- where's the love? I know I'm a novice, but there are just some songs that are so famous that you can pretty easily tell when they are being butchered or compressed. Second, the quality of the product was suspect. Some of the discs looked like they were manufactured in 1990 and some in 1994. The older ones just had the titles on the discs and the newer ones had a screen-printed color change with no information. They couldn't even use the same type of Jewel Case throughout the collection. In total, it's good for beginners and the money, but not much else.



3. Not bad, but not a perfect as well. The music selection is very questionable for my taste. The performers are not always very suitable for specific masterpieces. It is inherently, just because such mix of names cannot be bad ;). If I will compose such set a lot of forgotten things should take their place.



4. Not bad, but not a perfect as well. The music selection is very questionable for my taste. The performers are not always very suitable for specific masterpieces. It is inherently, just because such mix of names cannot be bad ;). If I will compose such set a lot of forgotten things should take their place.



5. Bought this CD to calm and relax myself after a hard days work. CD seems like a great collection to me. It's got a lot of songs that I recognize and some that I don't. It does sooth me a bit after the the many stresses of everyday life.

   I'm not really a classical music nut like "Frasier Crane" so I'm not sure how much merit I can bring to the table with this review. But I think it's great..!!!

5 comments about Callas: La Divina [Limited Edition].

1. Excellent collection showcasing Callas's full range of vocal talents and her most well known pieces. The set also contains an interview with her that answers many questions one may have about her as an artist.



2. This Beautiful Box holds Tears, Laughter, Sadness, Joy, Madness, Deliriam, Love, Hate, Great Good, Evil Incarnate...And MORE!
   
   Never, in the whole history of acting, singing, all of theater, has there Ever been Anyone Like Her! Mlle Callas! The Great One! La DIVINA!
   
   All this amazing woman had to do was simply walk out onto the stage; and it was "automatic"...you were "hooked"...PERIOD! She did not have to even open her mouth! Never, in all my years have I ever seen anything like it! Even in the few pieces of film clips that we have of her, it is spellbinding to watch this fabulous entertainer work her talent(s) to our complete, spellbound, belief that she was, certainly, whoever she was "playing" on any given night/in any performance! Truly, The Greatest Performer of the 20th Century (NOBODY could touch her or even come close for sheer dramatic intensity)...the Looks! the Expressions! the Arms! the Hands! the Eyes! And, of Course, the VOICE!
   
   The Voice: While it was not "pretty" like Tebaldi, Sutherland, and many others, it was impossible not to be drawn in, spellbound, by it. It was, in truth, sort of ugly...but, you Could Not ignore it! You could not pass over it! It was Real, Believable, and you willingly drank it up! We, luckily, have the recordings that "La Divina" left us, and, they are enough. Some are perfectly caught, some are not. All are satisfying, because they are what we have.
   
   Once in a generation, perhaps, we get a supreme artist. In the case of Mlle Callas, it was once in a century...and, how lucky we are that it was a century that had recording equipment to preserve her efforts for us. EMI, thanks to you for packaging these four beautiful discs for our enjoyment into this perfect little black box! Long Live Callas...."Bravo" La Divina! Enjoy this one, folks! ~operabruin



3. I have listened to this 4-cd set numerous times and each occasion yields an abundant harvest. Maria Callas, one of my favorites, thrills, exalts, and saddens the listener to no end. You don't have to be a classical music fan to enjoy and be moved by this music. I cannot find words to substantially explain the beauty and meaning of this set.
   
   Thank you La Divina.



4. I am no expert, I just love music. I bought this set in order to get an overview of what Callas offers, boy did I get more than I bargained for. There are many wonderful sopranos, I won't say this one or that one is better... its like good wine, what you choose to drink depends on your mood. Sutherland is purity, Bartoli is sheer joy, Callas is darkness. For me she is the Schubert of the voice and she can make me weep, that is her power, pure and simple.



5. With the apparent genius embedded in Callas' singing, it is no wonder that decades after her death, her voice will still echo within the chambers of our living rooms. Her great sense of the bel canto style, combined with the empassioned soul she juxtaposed into her performances, along with her amazing control over the three hundred (acclaimed conductor Nicola Rescigno said this) voices she had, are undeniably the reason why such a controversial singer survived the passing of time with a legion of fans still eager to submit to her amazing and passionate singing. She had the ability to chop a singular, monotonic-sounding instrument to convert it into a million shades of human emotion--something that no great singer was able to do today. She was the divine goddess of opera, able to command any listener to watch and listen to her declaim her roles. It was because of this that she was called "La Divina", and then many years later as "The Voice of the Century". But what defines a Voice of the Century, you might ask? It is the ability to live the life of a character all the while singing the lines, the melodies, the trills, and the embellishments required to bring a certain degree of drama into the role. Meaning there was no need for overornamentation, or such and so. Being the Voix du Secle didn't mean that you could sing coloratura roles so efficiently. If that were so, then Lily Pons would have been the Voice of the Century. Callas did so much more than that. She breathed life into opera, and turned it into the most illustrious and the most highly celebrated of all arts. No other singer can claim to have done that, no matter how amazing the range, how great the tonal quality whatsoever. Only Callas deserves such a title...and she truly was La Divina and The Voice of the Century.
   
   I am also a big fan of Joan Sutherland. I just don't find it right for her to be tackling overly dramatic roles such as Norma, which her middle voices couldn't support. The middle voice is required for Bellini, you know. Joan Sutherland has a perfect vocal technique, but let me let you in on something divulged to me by an authority in music: Joan Sutherland never learned to read notes. She had a perfect sense of hearing, and it was Andre Previn and not Richard Bonynge who introduced the roles to her. Andre Previn would play a note on the piano, and she would just follow by singing. Surprising isn't it that the most celebrated coloratura of our age never learned to read notes? She has a great voice anyhow, but the only other thing that bothered me is that she didn't put her soul into singing. Although her voice remained in her throat until her 60's, the only reason that happened was because she didn't pour out her soul. Callas' technique, although one of the most attractive ever to have walked this planet (she could very well sing anything and be the character), was damaging to the vocal cords. Pouring your soul into the role has a tendency to scratch your instrument. Still, she was the Divine One, and she truly places first as my favorite soprano of all time.

4 comments about Recitals 1954-1969.

1. I am driven to give such a low rating to this collection of the work of one of the greatest artists ever to be recorded because it is a massive distortion of her legacy.
   
   The greatness of Maria Callas did not arise from her skills as a mere songbird or as a concert singer. Callas was a singing actress with a phenomenal ability to create living, breathing characters on the opera stage. She succeeded in this to a degree largely unmatched by her contemporaries, not at all by her successors, and seldom (if ever) by her predecessors. Many, perhaps most of her truly telling moments did not occur in arias that could be lifted out of context and placed on the disks of this set.
   
   Consider her famous studio recording of "Tosca" with diStefano and Gobbi. I assert that there is as much art and genius in her entrance lines, "Mario. Mario! Mario!!" as there is in her brilliantly sung "Vissi d'arte." (Speaking of that, just where are her Tosca and her Norma among these eleven disks and 78 tracks? Such omissions are major distortions in themselves.)
   
   There is no shortage of fine Callas recital material on the market for those casually interested in Maria Callas as a singer. For those who would experience Maria Callas as an artist, her complete operatic performances must be savored.
   
   One earlier Amazon reviewer asked "Can a Callas fan actually live without this?" With all respect to that person's opinion, which I take to be honest and heartfelt, my answer to that question is "Yes, easily." In the same way, to the reviewer who described the set as "Indispensable," I am forced to respond, "Not hardly!"



2. This is a must have for the serious Callas fan, and perhaps will only
   be completely understood by one who knows the long journey of
   this artist. From the "fat" Callas with voice to spare to the soignee
   diva with only a shred of sound left, her musical and interpretive
   intent is always clear, always penetrating, always atonishing.
   
   Compare these studio recordings to the re-issued live concert recordings on EMI to get a more complete picture of Callas. For the new listener, some of the later recordings on the recital set will be
   troubling, for many times you have to listen "past" the voice itself.
   
   For those of us who already owned these recordings in some form, it
   is nice to have them new and clean.



3. This collection is the best because it does not only allow you to have to whole set in a cheaper price but it lets you feel Callas in her intimate moment without other singers. That way we get to feel her voice alone. What is great about the la Divina is that her voice does not only sound good but it acts by itself. You don't have to see her to feel the character is singing. Some recordings are not in her "prime" but who cares. No soprano in living memory can surpass her acting and emotional voice. Other sopranos may sound like an angel but you would have to look at the libretto to understand and create the emotion. For someone like me whose native tough is not Italian, or French emotion to the song is more important. I can boldly say that some arias here are better performed that her complete opera series just like In Questa Reggia in Turandot and the Madam Butterfly arias. So if you have the buck don't hesitate buy this complete collection. This is a Maria Callas collection that is indispensable.



4. This 11-CD set is titled "Recitals 1954-1969." The title can be misleading although it's not intentional. These CD's are not "live" recordings of actual recitals Callas gave in 1954-1969; instead, these are official studio recordings of opera arias she made for EMI during this period.

   This beautiful set includes all 11 of the aria albums of the new EMI Callas Edition (except "Live in Concert" and "The EMI Rarities"):

   CD 1: Maria Callas at La Scala; CD 2: Lyric & Coloratura Arias; CD 3: Mad Scenes; CD 4: Verdi Arias Vol. I; CD 5: Verdi Arias Vol. II; CD 6: Verdi Arias, Vol. III; CD 7: Puccini Arias; CD 8: Rossini & Donizetti Arias; CD 9: Mozart, Beethoven & Weber; CD 10: Callas in Paris, Vol. I; CD 11: Callas in Paris, Vol. II

   The CD's in this set are all individually packaged (each CD has its own case and booklet) just as what you'll get when you buy them separately. The advantage of buying this set, therefore, is its reduced price and the slipcase that holds these 11 single CD's. This is a convenient way to collect all of Callas's official solo albums.

   A lot of these performances are legendary and absolutely essential, and no serious Callas collector will regret buying this set.

5 comments about Verdi: Aida / Abbado, Teatro alla Scala.

1. Claudio Abbado, who I believe was head of La Scala when this Aida was made, is capable of exciting Verdi readings, but this isn't one. I don't know if he was trying to make the score sound less like a warhorse by smoothing it out and reducing the melodrama, but Aida isn't a warhorse: it's a masterpiece. His staid tempos and underpowered climaxes frustrated me from beginning ot end.
   
   Not the their is any huge losss when it comes to the singing. Domingo was much more powerful in hhis two other studio recordings opposite Leontyne Price for RCA and Monserratt Caballe for EMI. Here he seems to have been subdued by Abbado's understated interpreatation. As Aida, Katia Ricciarelli is severely over-parted. She was a fill-in during a time when no credible dramatic sopranos were at ahdn, and therefore she landed roles like Tosca, Turandot, and this Aida that even close placement of the microphone can't boost enough. Her tone wobbles severely in climaxes, although I must admit that she tries to inject some dramatic fervor into her phrasing.
   
   By contrast, Obrazova chews up the scenery as Amneris and has a clotted Slavic vocal tone that doesn't suit Verdi. The orhcestra nad chorus sound less than enthusiastic. In sum, a big disappointment and one of the least convincing Aidas ever to emerge from a major label.



2. Aida is the very definition of "Grand Opera". I have noted how many recordings of it there in stores and on Amazon.com. It can be overwhelming sometimes. But if you are seeking for the perfect or the best Aida, thats all a matter of personal choice. Each Aida has its special aspect, something in the conductor's style or the orchestra, the lead tenor-soprano magnetism, the performance of the mezzo as Amneris, the chorus, always something to enjoy. With this recording, we get some fine singing from Domingo and Ricciareli. Of the two, Domingo was the more experienced Verdi singer. His discipline and artistic integrity as an an actor of the opera enabled him to sing Radames, a role which is testaterone-driven, heavily sung, masterful and top-notch tenor stuff. Domingo is an elegant singer and like Corelli loved to challenge himself. Calaf and Radames were roles which required him to push his voice for darker and more thunderous effect, as is most notably Otello. As Radames he is doing a glorious performance, and this recording is his best Radames of his later period. His first is the one he recorded opposite Leontyne Price on the RCA Label. Domingo and Price actually are the greatest interpretors of Aida and Radames. That one by far takes the crown for the best. But this one is nothing to laugh at. Ricciarelli is a fine singer, with dramatic integrity. She is, for me, an example of a high, lyric voice (not really as dramatic or spinto as the big Kahunas of soprano territory- Callas, Leontyne Price, Tebaldi, Birgit Nilsson, Montserrat Caballe)..she does have a lighter, smaller voice than them. But Beverly Sills did too and she had an incredible and successful career which extended after retirement to managing opera. So Ricciarelli is a truly gifted singer taking on a role that could have damaged her voice but did not. She also sang Tosca to great acclaim. And Turandot. She is more like Carol Vanness in this manner. The fire is not so much in the voice but in the hint of it. As Aida she is amazing. Mirella Freni, too, a lighter lyric voice, recorded a successful Aida.
   
   Listen Ricciarelli sing "O Terra Adio" and "O Patria Mia". It is moments like those that make her a fine choice for Aida no matter what the critics say. Abbado, full-blooded Italian man, knows Verdi to a "t" and so his conducting of this opera is the most Italian we'll ever find. But still..look for other Aidas to make a judgement for yourself and it all boils down to personal choice. What sound do you like ? Leontyne Price: dramatic, dark, husky, smoky, brilliant high top, spiritual, African - as far as we know she IS Aida "my costume for Aida was my skin" said Price. Do you like Mirella Freni whose more Italianate, softer, more feminine, delicate but transcendent voice makes Aida appear like a kind of mythic princess of fable (same with Ricciarelli) or Caballe and Tebaldi, both supremely big voices, classically trained, rich and "clean" sounds or the eternally loved Maria Callas. Always Callas. Her Aida is dark, intense, primal, and she's not afraid of sounding ugly to get dramatic effect.



3. OK, I confess... I am an great admirer of Abbado and that is because he do mostly everything very professional but not "dull".

   You have always "new" interprets and more "steady" ones. This is a "staedy" one and thats not easy do that (sometimes I wonder if "new", radical versions depends on that the conductor cant read notes?:-)

   Anyway... I own the famous version from Muti (EMI) too and I like this one even better. Singing here is at nearly same level... (Caballe is good at Mutis version but so is Ricciarelli here)and at least is Domingo very good here again BUT music is def. better on this version in my opinion.

   And something about music that IS importent in Aida are of course the brass in the triumph-march. Brass at Mutis version sounds like a scared kitten compared to this even if it is well played too otherwise but you miss essential Aida/Verdi without the famous brass sound.

   This is an old, so called "to crystal claer CD" (it is not remastred), but sound is VERY good but I suggest DG remaster it anyway and put it on two discs instead on three and fix price but it is DEF: worth its full price if they dont so buy it if it goes out of print.

   Enjoy.




4. Esta versión de una de las más hermosas Operas que se hubieran compuesto, nos gusta sobre todo por el excelente trabajo de los solistas, todos están de primera, el bemol de la interpretación es que la orquesta y el coro no está a la misma altura de los solistas. Abbado no aprovecha todo el gran potencial que la partitura da a la orquesta y al coro.

   El resultado satisface, pero hay versiones mejores que tienen TODO.

   Versiones 5 estrellas: Muti (EMI), Karajan (EMI y DECCA), Toscanini (RCA), Solti (DECCA).




5. Deutsche Grammophone's 1981 La Scala AIDA was one of the first digital recordings of Verdi's masterpiece. Led by Claudio Abbado, then reigning at Italy's premier opera house, it is a beautifully dramatic reading, proportionately well paced and, for the most part, well sung. At full price, it's hard to recommend it as a first choice, but anyone interested in this opera won't want to be without it.

   In the men's and comprimario departments there isn't a weak link to be found. Domingo gives his best recorded account of Rhadames, with finer detail than in his previous outings with Leinsdorf and Muti but losing nothing of the power, molten tone and security he'd already displayed in the role. As for Leo Nucci, he isn't the best Amonasro I've heard, but there's nothing in his performance to complain about and much to admire. The Ramfis of Niccolai Ghiaurov has aged well and it's acutally this aging that gives his performance the edge over other recorded High Priests. It's the best version of the role to be found. Ruggero Raimondi's warm voice and commanding presence make a regal king of Egypt and it's a luxury to have him in a role usually reserved for less-distinguished singers. As for the smaller roles, Piero de Palma, always excellent, gives what would be his last recorded Messenger and Lucia Valentini-Terrani contributes an ethereal High Priestess.

   It's the vocal performances of the two leading ladies that are this jewel's flaw. Katia Ricciarelli possessed a golden voice, good looks,and the ability to project the drama through the text. Her vocal technique on the other hand was less than masterful. One gets the sense that someone saw her potential, wanted to be the one who could claim discovery, and therefore she was put before the public prematurely, a kind of exploitation that became highly visible in the 1970's and 80's as star singers became older or retired with no one to replace them. There are many moments in this particular recording that Ricciarelli is reminiscent of Montserrat Caballe, though she is minus Caballe's vocal freedom. Ricciarelli almost cruelly pushes her voice and many high notes come out as desperate, pressured squalls, especially when a fortissimo is required. On the positive side, in the middle and lower registers, Ricciarelli's singing is tender and delicate, creating a believably vulnerable Aida, and her way of putting just the right emphasis on key words makes one ache for what might have been had this artist been allowed to develop in her own time.

   For her part, mezzo-soprano Elena Obraztsova's Amneris has no problems cutting through the orchestra with her powerful, vinegary tone, although her method of vocal production gives her a disagreeably wide vibrato that at times obscures the pitch. There's nothing to carp about in her overtly dramatic performance, though I personally prefer the likes of Verrett, Simionato, and Cossotto. In the end, all of this is really a matter of taste, so there are most likely those who would have no objections to Obraztsova's performance.

   Finally, the sound quality is everything you'd expect from a digital recording, clear and accurate, if somewhat sterile and occasionally congested. The aural staging is effective, and the orchestra and chorus perform well under Abbado's able, inspired direction. In short, this really would have been an unbeatable performance had Ricciarelli and Obraztsova been stronger. As it is, there is much to enjoy here, and for those already acquainted with AIDA and looking for a fresh take on the opera, this is a good recording to acquire, though it would be even more irresistable at a lower price.

5 comments about Haydn: Symphonies Nos. 21-39 (A & B).

1. That's how one prominent review tabbed this set! Went on to compare with Dorati's recording of same, and found this one relative equal, but with somewhat faster tempos and period faithfulness.
   
   Having fallen in love with hearing Symphony #38 on radio with its dazziling oboe part, had to have that recording and in the bargain found many more of this 1760ish collection of Haydn's works to equally love.
   
   Especially fond of No. 31 with its superb horn work and double bass, and also the 30th with its addition of trumpets and drums.
   
   For the price brilliant five disc set to enjoy these in Haydn's symphonic cycle.



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



3. A superlative recording of Haydn symphonies. These perfomences are very enjoyable and i highly recommend them



4. To record the complete Haydn symphony cycle (107 symphonies or so, depending on which reference you choose) is no doubt a daunting task to say the least. Haydn's genius is evident in every one of these works, from the earliest to the experimental middle periods (but they are all experimental in some way), to the late, great works of the '90s. His symphonies not only provide almost endless formal and musical variety - they are an unusually accurate (if the current Hoboken numbering is corrected) documentation of a great composer's steady growth as a composer. This is why boxed sets of symphonies such as this series offered by Fischer and the Esterhazy Orchestra are so important, not only for those who love Haydn in particular, but for those who are interested in the development of the orchestra, the symphonic form, and the history of Western music in general.

   As this set follows the incorrect Hoboken numbering system, the set recorded here includes a few of his earliest symphonies written in the late 1750s as well as those written during his "Years of Transition", to use Geiringer's apt term for those works written during the experimental years of the 1760s. These include the early masterpiece, no. 31 in D major, "The Hornsignal", the beautiful no. 21 in A major, the famous no. 22 in the "wisdom" key of E-flat major, "The Philosopher" (the first symphony to my knowledge that uses English Horns), and 2 minor-keyed works (I don't include no. 34 in this category because only the first movement is in d minor), nos. 26 in d minor, "Lamentatione", and no. 39 in g minor. (Incidentally, both of these minor-keyed symphonies had an obvious influence on Mozart - his d-minor fugue for 2 pianos and his "Little" g-minor symphony are the most obvious respective debtors to Haydn's examples here.)

   This recording is excellent throughout. The sound is wonderful, the tempi and interpretations are clear, simple, and forceful and the playing is first rate. These sterling qualities are present in each of the symphonies recorded here and the only quibbles I have are merely interpretive. The technical difficulties written for the horn parts are played with absolute aplomb and even the occasional concertmaster and other string solo passages not written in the score (this is a liberty taken by Fischer) usually add to the interest rather than detract. Fischer occasionally prefers grace over fire and the occasional attempts to make the music more charming by using such devices as extremely clipped articulation or sudden (and sometimes nonsensical) volume changes or backing away from a forceful cadence are minor distractions. Overall, the interpretations are very good.

   For this price, Nimbus is offering quite a bit of wonderful music that is handsomely packaged and extremely well recorded. The liner notes are succinct, yet informative and I guarantee learning will take place while listening and reading up on this great set of works. I highly recommend this recording.

   (By the way, Amazon's advertisement for this set includes 2 works not included in the recording due to a mistake: Symphonies 'A' and 'B' are non-numbered symphonies and are not the names of two symphonies. They were included in Haydn's symphonic cycle after Hoboken (whose numbering system is mostly followed) had died. Symphony 'A' and symphony 'B' are included in this recording. Nos. 45, "The Farewell", and 71, an even later work, are NOT included in this recording.)




5. Well it took 14 years, but this 5 disc volume completes the 32 disc collection of Haydn symphonies.

   As with the previous volumes this one is fully digital, the technical quality of these discs is excellent.

   I have all 8 volumes and have been happy with every one of them.

   The sounds of Adam Fischer and the Austro-Hungarian Orchestra are splendid. This group of symphonies (21-39) is quickly becoming one of my favorites.

2 comments about Granados: The Complete Piano Music.

1. I am one of those people who prefers to be introduced to a composer by a performer of the same nationality. The notion that a performer and composer of a similar background will have a similar musical soul is one that I generally subscribe too. In this case, however, Martin Jones, an Englishman, simply blows Alicia De Laroccha, the most often recommended Granados interpreter---and a Spaniard---out of the water. There is no comparison between the two. De Laroccha sounds absolutely lifeless compared to Jones' fluidity, sensuality and passion. You can almost hear someone turning the pages for her, while Jones makes the music sound spontaneous and organic. The best Granados recordings I have ever heard. Start here. And, like me, you will probably end here too.



2. This is a fantastic set played beautifully by Martin Jones. All this at a very reasonable price.

2 comments about Rubinstein Collection, Vol. 12.

1. The Wife is really into classical music. She seems quite pleased. Now I hear classical music all day coming out of her Bose CD player.



2. I'm glad I never encountered this Archduke trio recording in an LP transfer. A couple of generations of listeners were probably frightened away from pre-stereo recordings by inadequate transfer technology. I read somewhere this performance is "justly famous" but "miserably recorded". We are indeed fortunate in the digital era that the best restorer and transfer expert of recordings of the pre-tape era, Ward Marston, has had a hand in the Artur Rubinstein series. What you have in the Beethoven is a decent recording from 1941, after Mr. Marston's transfer. One should perhaps mute the upper frequencies more than usual, as this will eliminate anything remaining that might distract from the music. So you have before you an Archduke trio of legend and a most satisfying musical experience. The Schubert is not the Opus 100 that is perhaps more famous, but the Opus 99 trio. The recording seems to find the original masters perhaps less worn and therefore clearer and warmer. But this is all "essential" stuff for admirers of these artists. I plan to keep this recording of the Archduke trio as my primary one.

5 comments about Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO.

1. These are compelling records of Wilhelm Furtwangler's approach to the Brahms' symphonies and the Piano Concerto No. 2 with Edwin Fischer playing the solo piano role. Listening to these recordings will help a new or inexperienced collector understand why Furtwangler was given a god-like following in his time, when it was said he could cast a magical spell over an audience in concert. Those were times when the likes of Adolf Hitler could cast the same magical spell over Germans, as well, making it a time far different than our own, when virtually any message given this individuality would be subject to questioning, ridicule, constant and ongiong evaluation and second guessing. So these recordings represent a time much different than our epoch and must be heard in that perspective.
   
   The few comments about bad sound quality from the detractors are also true. These are not high fidelity recordings; they are mainly radio recordings remastered by Arts & Music, one of the better labels specializing in realizing older recordings and radio broadcasts. Until Andante and Naxos came along and showed everyone how good an older recording could be, this label was probably the best available for older recordings. But no one can make recordings emanating from the 1940s and 1950s sound like new and these don't. But, like other reviewers here said, they are often as good as any available from Furtwangler. A notable exception here is the 1943 Symphony 4, which is musically the equal to the 1948 Japanese EMI recording, but is also sonically inferior to the later recording, carrying a noticeable radio buzz throughout the fourth movement.
   
   For the unitiated wondering, "Why should I spend money on 50- and 65-year-old recordings?", the answer is to hear Furtwangler's unique way with mainstream German repertory. Furtwangler held sway with the Berlin Philharmonic in two different eras -- from 1922-45 and again from 1954-55. He directed the orchestra after such luminaries as Hans von Bulow and Artur Nikish and before the ascent of Herbert von Karajan. Sergiu Celibadache, a cult conductor known for his disdain of studio recordings and glacial interpretaions, filled the time after the war until Furtwangler returned in 1954.
   
   Furtwangler's way was unlike anyone of his time or ours although certain wilful conductors of the recording era -- Leonard Bernstein, Leopold Stokowski and Daniel Barenboim among them -- demonstrated some of his characteristics of rapid increase in tempo and dynamics followed by tenuto or massive slowdown and quiet. None of the named conducotrs did it as frequently as Furtwangler, and none with such universal acclaim. However, like Bernstein and Stokie in their most individual moments, a Furtwangler interpretation is more an adaptation of the score than a reading of it -- adapting the conductor's ideas into the fabric of the music.
   
   Furtwangler was perhaps most renowned for his beat; or perhaps it is better to say he was renowned for not having a beat. There is an old joke, told by one of his players, about his how to pick up his beat when the old man's batonless right hand would quiver as if he were having a heart attack or rigor mortis were trying to set in: stand up, look about you and listen, walk around the chair three times, and sit down.
   
   Yet, as these recordings will tell you, Furtwangler did indeed have a defined beat and members of his orchestras picked it up pretty readily. When he is straightforward -- as he is accompanying Edwin Fischer's playing in the Second Piano Concerto here or in his famous rendering of the Schubert Symphony 9 and Haydn Symphony 88 on DG -- Furtwangler is a compelling voice for German reason and emotion. When his conducting tends to be all over the place, as it is in the first movement exposition of the Symphony 4 in this box, he is, by my reckoning, somewhat less of an authority on the music.
   
   There are plenty of people that continue to believe Furtwangler has special authority in the core Romantic German repertory of Mozart, Beethoven, Brahms, Strauss and Wagner. As Third Ear Classical Music said in its discussion of his Beethoven Symphony 9, "Furtwangler is thought to have a special authority in this music, and he does present a very interesting philosophical argument about how to approach it." This final section of this statement tells you everything you need to know about Furtwangler -- that he often has a philosophical argument in his recordings. It is never enough for him merely to lead the music; he must adapt it to his views as no one has ever done. For, make no mistake, a Furtwangler interpretation is as much as adaptation of the score as a Hollywood movie script is an adaptation of the book from which the idea came.
   
   And this is the razor's edge on which people spill their blood either supporting or rebuking the greatness in this conductor's approach. I was curious about Furtwangler's Brahms and bought this set during a time when I was listening to a lot of this composer including the symphonic sets by Karajan, Hans Schmidt-Issersted (available from Amazon.com.UK) and Ernest Ansermet. While Eugen Jochum's Bruckner represents a direct descendent of Furtwangler's way with that composer, the closest any modern conductor has come to Furtwangler's style is the way Stokowski rather "Stoki"izes the Brahms Symphony No. 3 on his old Everest recording or possibly the way Bernstein interpreted the Schumann symphonies for DG.
   
   In our period-induced era, where the score is sacrosanct and must be adhered to with conviction, it's unlikely another Furtwangler will be forthcoming anytime soon. He represents a time in the past when music and its expression was different than today. That expression and that time is perfectly represented in this set.



2. In a sense, Furtwangler's best Brahms recordings, collected here, are even more impressive than his Beethoven. Beethoven is almost foolproof, and even in a mediocre performance he will come across intact, but botch Brahms and a tedious soup is all that remains. Compared to Furtwangler's Brahms, all other versions seem not interpreted but merely played through. Under Furtwangler's baton, Brahms emerges as a tragic artist of Shakespearean proportions, with the unbelievable 1945 performance of the last movement of the First--as another listener points out, it stands with his 1942 Ninth among his greatest achievements on record--and the complete performance of the Fourth as particular standouts. As others have noted, the Third isn't quite up to par--personally I prefer the version in the EMI box, which has a terrifically dynamic first movement--but all in all these are performances to render almost all others insignificant. Nowhere else does Furtwangler better exemplify his uncanny ability to find the living core of a piece of music and bring it out whole. This is visionary artistry of the highest order, to which all discussion of conductorial eccentricity is irrelevant, and it will make a Brahms lover of anyone who encounters it fully. A completely extraordinary set of recordings, and a must.



3. The Furtwangler cycle of Brahms is comething special indeed. The sound leaves much to be desired, but trust me, after you hear the performances you will never want to hear Brahms any other way (no matter how good the sound is)!! This cycle is raw, uninhibited, fierce, probing, tragic but above all powerful. Take the finle of the 4th symphony as an example. It is played at a faster pace of any other recording I have heard of the piece. At the end the variations played on strings are almost a little sloppy. But playing them at that tempo gives the overall movement such great power, spontaniety and drive that it does'nt matter. These performances are should be the gold standard for all others. No other brahms cycle comes ever close.



4. ...all in one set! I'm not going to jump on "madamemusico's" one-star review too much, since she has certainly gotten her share of well-earned unhelpful votes, but I don't know what the hell the argument that Brahms is a "classicist" has to do with anything. The way I look at it, Brahms may have been a classicist with regard to form, but he had heart and soul of a romantic, so I don't understand what precludes his symphonies from being played as full-blooded romantic music. Just admit you don't like Furtwangler, and don't taint the ratings here with personal biases. 'Nuff said on that subject.
   
   "Brahms music is boring and his orchestration is too thick," is one of my least favorite of the countless cliches' about romantic era composers and their music. When I worked at a record store several years ago, I was playing a really good and exciting recording of a Mendelssohn symphony, and a lady came in and, after listening to it for a few minutes, she asked, "What is this? It's really good." "Mendelssohn's (I think it was the 3rd) Symphony," I responded. "Really?!" she said, surprised; "I thought Mendelssohn was boring." "That's because you've never heard any GOOD Mendelssohn," I said. She bought the CD. I am not a big Mendelssohn fan, but the point of this anecdote is that you frequently get the same kinds of opinions about Brahms, based on cliches' about his music that preclude people from giving it serious consideration: "Oh yeah, Brahms; thick and boring. Not my cup of tea." Then you hear some GOOD Brahms, and you are a fan for life.
   
   I would not pretend that this is the only Brahms set you should have. The sound quality is variable, and Furtwangler's style is unique, but if you have any interest in Brahms' symphonies, and you have some more modern recordings that you like, then you really need to have this one; esp. since you can probably get an inexpensive copy on the Marketplace.
   
   I have listened to many of Furtwangler's numerous Brahms recordings, and there is no question in my mind that M&A have assembled the best ones here. Part of the magic of Furtwangler's Brahms is that, despite the weight of the sound that he gets from these great orchestras, plenty of detail can be heard, and surprisingly little apology needs to be made for the sound, even though these recordings are from widely different sources.
   
   Brahms recorded multiple good Brahms' Firsts, but this one from 1951 with Schmidt-Isserstedt's wonderful Hamburg orchestra is my favorite, and it has the best sound of any Furtwangler Brahms recording. The Tahra release of the First has slightly better sound than the M&A, but not enough to diminish the appeal of this set. The wartime Second might have the most thrilling account of the wonderful finale ever recorded. The Third, recorded in the last few months of Furtwangler's life is deeply ruminative, and is the most idiosyncratic of all of the readings here in that much of it is very slow, but it is easily the best of his Thirds, and I find it to be a uniquely satisfying reading. It has often been commented on the Brahms' music has an autumnal feel to it, and it seems to me that this is particularly explicit in the Third, with its luminous woodwind coloring, esp. the clarinet parts: the third was the last of the Brahms symphonies that I fell in love with-- courtesy of the Szell recording--and there is a palpable feeling of deep autumnal reflection in Furtwangler's reading, esp. in his achingly beautiful account of the third movement; and in the closing bars of the quiet coda, you can almost see the last autumn leaves slowly wafting down to the earth. The wartime Fourth is one of the most overtly tragic readings you will ever hear, with an amazing forward thrust to the finale; again, this is easily Furtwangler's best reading.
   
   The fact that there are later Furtwangler Brahms recordings with somewhat better sound is not really a factor, such is the quality of the performances assembed in this M&A set. If you have this set you don't really need any other of Furtwangler Brahms symphony recordings. The EMI References set is good, but those performances are all runners-up to all of those in this set.



5. I feel that this set belongs in EVERY collection. It has great CD transfers, sensational conducting and WONDERFUL Brahms!
   
   Sym. #1: This 1951 Hamburg with the North German Radio is, to my mind, the finest Brahms 1st on record. It is also on Tahra FURT 1054/7, but this M&A transfer is distinctly SUPERIOR: the Tahra has lots of extra hiss and a midrange that sounds rather hollow. However, you MUST have that Tahra set because it contains Furtwangler's majestic 1954 Lucerne Beethoven 9th in its best transfer. The only Furtwangler 1st to rival this Hamburg is the 1952 Berlin Phil. (deleted DG 415662-2). More mellow and less dramatic, it and this Hamburg are sonically just about the best of ALL Furtwangler recordings.
   
   Sym. #2: The 1945 Vienna Phil. here is also available on 6-disc DG set 474030. They are close in sound quality, but I would give the edge to M&A. Incidentally, you must have the DG set for its 1944 Vienna Phil. Bruckner 8th in a finest-ever transfer. This Brahms 2nd is VERY dramatic, but the lesser 1948 with the London Phil. (Dutton) has grown on me of late - if it were the only Furtwangler available, most of us would be raving about it! My favorite Furtwangler Brahms 2nd remains the more reflective, less hectic 7 May 1952 Berlin Phil. account (mine is on an Electrola Da Capo LP).
   
   Sym. #3: This 1954 Berlin is the best of 3 Thirds - it was also on DG 423572-2 (deleted) in sound that was the same as this M&A (the DG was coupled with my favorite Furtwangler account of the Schubert 8th from 1952). He isn't as persuasive in the 3rd, but the closing pages have a lovely autumnal, valedictory quality.
   
   Sym. #4: This dynamic 4th from 1943 is his best, and this is its best-ever transfer.
   
   2nd Piano Concerto: The 1942 live sound is congested (it's the only poor sound in this set). The transfer on DG 471294-2 is somewhat better, but both are pretty bad.
   
   Haydn Variations: This 1951 Hamburg and the Berlin 1950 (DG) are my two favorites: both have excellent sound.
   
   Brilliant as these are, there are accounts by other conductors that I also cherish. Some are foils that help to appreciate the greatness of Furtwangler's readings, and a few of them offer insights that are different and perhaps equally valid. In the 1st, Abendroth is stunning (his best: the live 1955 Berlin Radio on Tahra 145/146). If there were no Furtwangler Brahms 1st, this would be my favorite.
   
   For the 2nd, my other favorites are Schuricht/VPO (London LP) and Fritz Busch (EMI). The Max Fiedler and Walter Damrosch 2nds (on different Biddulph CDs) are weirdly hypnotic - a trip back to the past. In the 3rd, I love Kna (Tahra), Schuricht (Greenhill), and Mengelberg (Naxos). For the 4th, three worth hearing are Abendroth (Arlecchino), Busch (Dante LYS), and Schuricht (Ades).
   
   Edwin Fischer isn't my top choice in the 2nd Concerto, despite the lovely slow mvt. I prefer Curzon with Kna/VPO on a Decca LP. And for the Haydn Variations, I also like the pokey Kna/VPO (Decca) and the Schuricht (Ades).
   
   But make no mistake: if my house were on fire and I could keep only one Brahms set, it would be this Furtwangler. If I could grab two, the old Weingartner (deleted EMI) would come along for contrast. As Fielding once observed, "what is a jewel without its foil?"

5 comments about Mahler - The Symphonies / Chicago Symphony Orchestra, Sir Georg Solti.

1. The recent tenth anniversary of Solti's death has prompted me to renew my acquaintance with this conductor's work. Over a period of several months I have been listening to recordings from various phases of Solti's career of diverse repertoire from Bach to Bartok. As a result of this effort, I have come to a new estimation of an artist of whose work I had previously a fairly low regard. This estimation was, I believe, based more on the received opinions of record reviewers than my own perceptions. I had always believed Solti to be a "high-voltage" sensationalist who tended to brutalize the standard repertoire. That assessment, however, misses both the abiding accomplishments of Solti's career as well as the many ways in which his interpretive proclivities matured over the years. The stereotype of Solti as a brutalizer now seems a hasty generalization based on an incomplete assessment of a complex artist who developed in surprising ways over a long career. If this assessment seems ill-considered, I would encourage you to check out some of Solti's later Haydn and Mozart recordings, which are remarkably sympathetic, or his surprisingly idiomatic *St Matthew Passion* (one of the most oustanding modern-instrument versions of that work).
   
   The set under review here presents Solti's work with the CSO over a span of about fifteen years. Earlier versions of certain symphonies with other orchestras, and in some cases later versions with the same orchestra, have been passed over for the sake of presenting a maximally coherent interpretive profile. In some cases, the compilers' decisions concerning which versions to include were regrettable, though overall one can derive from this set an accurate estimation of Solti's approach to this composer, with its characteristic virtues and vices. What is most striking about these performances, perhaps, is the sheer virtuosity Solti evokes from the band with which he was associated for such a large portion of his career. They respond instinctively and with remarkable unanimity to his every gesture. This is playing that, in purely technical terms, approaches perfection. Another virtue is Solti's ability to balance detail and structure in unfolding Mahler's densely contrapuntal textures and sometimes convoluted symphonic arguments. Like his fellow Hungarians Fritz Reiner and George Szell, Solti combines intellectual brilliance with a consummate understanding of orchestral sonority at every level. But unlike them, his approach to Mahler (and other composers) is warmer, more affectionate, and ultimately more compelling. Indeed, the very intensity of his involvement with this music can be disturbing, and may account for the impression of sensationalism that has worried many reviewers over the years.
   
   However, no single conductor can interpret every work within a composer's symphonic output with equal insight or enthusiasm; and so Solti's Mahler cycle is predictably uneven--though no more so perhaps than Bernstein's, Kubelik's or Abbado's (to name just a few).
   
   Here is a brief run-down of my (mostly positive) impressions of each performance in this set:
   
   No. 1: Solti's earlier version of this symphony with the LSO is a riveting account, justly praised for its brilliance. The later CSO version, included here, is warmer, more evocative, and also more hazily recorded (early digital). The introduction to the first movement is quite magical, but thereafter the tension begins to flag, and despite some gorgeous playing, the overall impression is one of fits and starts. My own preference would be for the superbly remastered LSO version, or better yet for Horenstein.
   
   No. 2: Solti also recorded this with the LSO in the early Sixties. The later version may lack the grip of the earlier, but it is more sensitive to nuance and atmosphere, particularly in the long Finale. I prefer the soloists in the LSO version, but otherise the later performance is to be preferred; it conveys a greater sense of occasion. On the other hand, Solti doesn't begin to convey the spiritual depths of the work as searchingly as Klemperer, Walter or Bernstein.
   
   No. 3: I have not heard Solti's LSO version of this work, but it was almost universally regarded by critics as unsympathetic. The later version conveys a certain welcome cogency in a work that can seem to ramble, but otherwise this is one of the less impressive performances in Solti's Mahler Cycle. Solti doesn't seem entirely in sympathy with the work's evocation of cosmic forces in the first movement, or pastoral epiphanies in the second and third. The fourth movement with its Nietzsche setting manages to convey a haunting quality, and the Morning Bells of the fifth are exuberant enough. But then in the finale, Solti fails to convey the rapt quality one desires: things just keep getting faster and louder. Little spiritual exaltation here. For that, go to Horenstein or Bernstein/Sony.
   
   No. 4: A vast improvement over Solti's earlier version with the Concertgebouw which was indeed "brutalized." This time he's got the measure of this work's nostalgia and whimsy, and Dame Kiri is quite lovely in the finale. In the end, however, I would opt for Walter, Kubelik or Kletski in this work.
   
   No. 5: An unpleasantly hard-edged, even hard-nosed interpretation. Solti's later CSO recording, done live on tour, is far more effective. Indeed, it is one of the most ecstatic accounts of the score I have ever heard.
   
   No. 6: A thrilling performance--maybe not a profound as Bernstein, but superbly played and vividly recorded, with devastating cumulative effect. One of the better sixths around, in my estimation. Far better than the overpraised Karajan.
   
   No. 7: Bernstein evokes a more haunting atmosphere in movments 1-3, but Solti's incisiveness is also welcome. Solti is surprisingly seductive in the fourth-movement serenade, and second to none in his ability to hold the ramshackle finale together. Overall, a compelling account, and once again the CSO cover themselves in glory.
   
   No. 8: Arguably Solti's most famous recording, and justly so. A performance of a problematic work that successfully combines rigor with sensitivity. No imporant detail escapes Solti's attention, yet he has the measure of Mahler's "cosmic" vision. Tennstedt conveys the work's religious ardor more effectively, and Bernstein is uniquely propulsive in the first movment; but Solti grasp of the work's architecture is so complete that everything proceeds with a sense of dramatic inevitability. The solo and choral singing are first rate; perhaps unrivalled on any other version.
   
   No. 9: Solti would not seem to be an ideal expositor of this elusive, death-haunted work, and indeed his earlier LSO version could be accused of exposing every dark corner of the piece with a searchlight brilliance. The later CSO account, however, reveals how much Solti matured as a Mahler interpreter. It conveys the hushed intensity as well as the tragic import that were lacking the first time around. Solti's is a dark, turbulent vision of the work--no easy consolations here. Even the second movement--which if often given as a kind of comic relief--is dark and menacing here, thanks to a slowish tempo and heavy accents. Throughout the CSO revel in Mahler's kaleidoscopic scoring. A superb Ninth, in my estimation--though it doesn't quite achieve the catharsis of Bernstein or Karajan.
   
   In sum, then, the prospective purchaser would probably do better to acquire individual versions of each symphony rather than opting for an integral set under one conductor. However, if the idea of a modestly priced box appeals to you, and if you are open to Solti's intensely dramatic and hyper-virtuosic style of interpretation, then I wouldn't hesitate to acquire what is ultimately one of the better Mahler cycles around.



2. I was a young high schooler when I bought this set. When i heard all of these performances I was inspired and amazed at the power of mahler. Now 10 years later i will say my tastes have changed, and I have heard many other versions of mahler. And while there are many amazing performances of all of mahler symphonies I still think this set is truely inspirational. With all that said i want to take the time to point out my new mahler passion. Abbado and the Lucerne festival orchestra and their ongoing mahler DVD project.
   
   If you have the rescources and the money, I would suggest that you invest in this series. The performace of Symphony 5 is great and on par with many of the great performances. I still think Solti's 5th is the definitive recording, but the lucerne performance is still worth the money. And the "Ressurection" symphony is truely an inspiring performace. But it is the 7th symphony that is truely awe inspiring. I have never heard a performance so full of life and musicality. I cry everytime i hear it. I just ordered the new release of mahler's 6th symphony and i have high expectations as well.
   
   Back to Solti's mahler. In my humble opinion the Recordings of 2, 3, 5, and 6 are definitive recordings. I have not come across another recording that I like better. I would have said the same thing of the 7th until I heard Abbado's on DVD. Now it is my definitive 7th. The 8th is generally consididered difinitive as well and i won't argue at all, but i did recently come across a new recording on the naxos label with the Warsaw philharmanic and Antoni Wit conducting. It is well worth checking out. The ninth i fully admit is the symphony I am least familiar with. I do however enjoy the recording here in the Solti set, but fully contest that there might be better out there. So this leaves us with the 1st and 4th. The recordings in this set are fine recordings, but again there are probably better ones out there. One of my favorite 1st is one on the Harmoni Mundi label, with the Florida Philharmonic and James Judd conducting, but I recently found out it is out of print. So if you come across a copy I highly recomend picking it up. So as for the 4th, I don't have any recording to recommend.
   
   So my overall recommendation is if you wan't a great reference recording of the mahler symphonies this is the way to go. I don't think there is another set out there that can compete with the solti version. I also say that if you can, expereince the ongoing mahler interprtations on DVD with Abbado and the lucerne festival Orchestra.



3. Beautifully reproduced. I say that because I also had CDs of these performances before they were reproduced for this collection. Absolutely warm and human interpretations by Solti. Thanks for putting this all together.



4. So many Mahler performances, both in concert and on record, are mannered to the extent that one senses a conductor trying to convey the impression that it is his personal suffering, not the composer's vision, which is producing such beautiful music.
   Not Solti's. He and his incredibly virtuosic orchestra let Mahler do the talking. The 5th, 6th and 7th especially lend themselves to Solti's approach, while the 8th benefits from his
   long, successful career in the pit. Though Karajan, Walter, Guilini and others have recorded great 9ths, I defy anyone to find a better played one than this. Solti gives us the orchestral tours de force that are the Mahler Symphonies and which, I believe, explain why "my(his)time will(has) come."



5. Solti made himself a national hero in England and a media star in Chicago, ensuring two decades of rave reviews despite the occasional acknowledgement that he persistently drove the music. He made spectacular recordings of Mahler judged by execution and sonics, but in truth he lacked the depth that Mahler's music demands.
   
   In its day, these CSO readings sold very well for Decca, given the spectacular virtuosity of the orchestra, but Solti can't help himself--he is a driven, unsubtle conductor who approaches every symphony in a coarse, sometimes frenzied manner. Mahler conducting has come a long way since then...and had come a long way before then, to think aobut it. I am not a fan of any of these performances, particularly the blatant Second and Eighth -- both famous, high-profile recordings at the time -- but if pressed, I'd rate Solti as best in the First, Third, Fourth, fifth, and Seventh.

1 comments about Rubinstein Colection, Vol.37 - Grieg: Piano Concerto in A Minor/ Tchaikovsky: Piano Concerto No. 1.

1. Rubinstein unashamedly loved the Grieg Concerto, dismissing many pianists' claims that it was "cheap stuff." When stereo recording became available, he was eager to record it with Fritz Reiner and the Chicago Symphony. However, a fallout with the irascible conductor put a stop to those plans. In February of 1956, Rubinstein set up shop with Alfred Wallenstein and the RCA Victor Symphony Orchestra--a pick-up group used for recordings. There are several problems with this recording which prevent it from being of the first-rank. Rubinstein seems rushed here. His phrasing seems clipped, without the relaxed, natural sounding quality we usually associate with this pianist. The orchestral accompaniment leaves much to be desired also. Although they play reasonably together and in-tune, there are numerous balance and intonation problems. The sound, like many of RCA's early Living Stereo recordings, is extremely dry, even with remastering. On the whole, this is not a memorable performance, and Rubinstein's 1961 remake (Volume 60) is a vast improvement.

   This was the last of Rubinstein's three recordings of Tchaikovsky's warhorse, and is the product of fifty years of experience playing and thinking about the piece. This performance is the antithesis of his first recording with Barbirolli (Volume 1 of the Rubinstein Collection). The earlier version, though undeniably exciting, was played rather sloppily and suffered from poor sound. These problems were a factor in RCA's decision to supersede the Rubinstein/Barbirolli version with the Horowitz/Toscanini recording made in 1941. Rubinstein was furious at RCA's move, and roundly criticized the latter performance as being artistically deficient and technically defective. (He was right on the second count: Side 6 of the 8 sided 78-RPM set was markedly off pitch with the rest of the concerto.) For the liner notes of this recording of the Tchaikovsky, Rubinstein remarked about his change in approach, claiming that he wanted to "reestablish what a beautiful, beautiful piece it is." He also criticized the way certain pianists performed the piece as a virtuoso warhorse, and those who knew Rubinstein's history with his rival knew that his verbal barbs were aimed squarely at Horowitz.

   Rubinstein's 1963 performance is one of the more lyrical interpretations of Tchaikovsky's well-worn warhorse. The pianist certainly lets virtuoso fireworks burst from the keyboard when the music calls for it. But, phrasing, tempo, and dynamics bespeak of a kinder, gentler Tchaikovsky First. Erich Leinsdorf and the Boston Symphony Orchestra do a fine job of accompaniment. RCA's remastered sound is well balanced and smooth.