5 comments about Verdi - Requiem · Quattro pezzi sacri / Orgonasova · von Otter · Canonici . A. Miles · Gardiner.

1. This is one fantastic recording of the Verdi Requiem. As previous reviewers have mentioned, the Monteverdi Choir (69 members strong) produces a powerful sound that easily holds its own against the bigger choirs. The Orchestre Revolutionnaire et Romantique uses period instruments, but you won't hear the tinny sound, vibrato-less strings, or the over-miked percussion of typical period instrument CDs. This orchestra sounds every bit as good as the "modern" orchestras that have recorded the Verdi Requiem. And they have a GREAT bass drum!
   
   The soloists are not the blood & guts Verdians that many listeners associate with this piece. The liner notes by John Eliot Gardiner include a reference to Verdi's letter to Ricordi in which he adamantly cautions against singing this work like an opera. It is not surprising, then, that a scholarly conductor like Gardiner would choose soloists that would match Verdi's own desires.
   
   Luba Orgonasova (born in Bratislava, Slovakia) is a lyric soprano much in demand in Europe. She was personally invited by Karajan to co-star in 1990 Salzburg Festival's Fidelio (the production was conducted by Kurt Masur following Karajan's death). In Verdi's Requiem, she provides a sound that shimmers like glass. Her high B-flat in Libera Me is almost vibrato-less, creating a pure crystalline sound.
   
   Anne Sofie von Otter (1955 - , Stockholm, Sweden) is well-known among American and European audiences alike. In addition to her many trouser stage roles, she has extensive recordings of oratorio literature. Her Verdi Requiem is totally without theatrics. The music is all you get - and that's good enough for me.
   
   Luca Canonici (1961 - , Tuscany, Italy) is a lyric tenor not very well-known outside of Europe. His recordings include Donizetti's Linda di Chamounix, Bellini's La Sonnambula , Rossini's Il Signor Bruschino, and Verdi's Falstaff (Solti). His Requiem is also devoid of theatrics, much like Gedda's (Giulini) and Araiza's (Hanns-Martin Schneidt). His Ingemisco did not please me at first, but I gradually grew to enjoy it with additional hearings.
   
   Alastair Miles (1961 - , UK), bass, is a superstar in England. He made his Metropolitan debut in 1996. He has a beautifully resonant sound that reminds me of Simon Estes (Hanns-Martin Schneidt). Okay, he's not Ghiaurov (Karajan, Giulini) or van Dam (Karajan), but I really enjoyed how he sang this Requiem.
   
   The Monteverdi Choir gives a totally stunning performance of the Quattro Pezzi Sacri. The fine work of the orchestra adds to the sonic grandeur of the singers. This is definitely one of my all-time favorite recordings of this work.
   
   I was highly pleased with the recorded sound; it is one of the main reasons why I love this album. Liner notes include texts and translations, names of all orchestra and choir performers, artist photos, and essays by Julian Budden and Gardiner. This album was recorded Dec 1992 in London.
   
   While I highly recommend this album, I realize its high price may deter some. But try to get it if you can.



2. So far at Amazon every reviewer seems to echo the same opinion, that Gardiner's is a revelatory performance, the best ever, incomparable on every score. I don't think such overkill helps a recording, however. There have been monumental accounts of the Messa da Requiem from Toscanini, De Sabata, Serafin, Giulini, Fricsay, and Reiner, with soloists the likes of Schwarzkopf, Ludwig, Jussi Bjorling, Pavarotti, Leontyne Price, and so on. In the light of so much glorious history, it's quite a feat to make a highly successful new recording of this great work.
   
   Gardiner has certainly done that. He leads a propulsive, exciting reading, and trimming down his orchestra and chorus adds much-needed clarity and impact. It's rare to get a professional chorus on the order of the Monteverdi Choir, and they sing perfectly in tune throughout, with wide dynamic contrasts. But Gardiner's soloists aren't the absolute best I've ever heard. Tenor Luca Canonici is nowhere near the level of Bjorling, Pavarotti, and Domingo in this work, appealing as he is; the Ingemisco runs out of steam after the first few lines. Von Otter is exceptional, of course, and Alistair Miles acqits himself well. The major solo part belongs to the soprano in the Libera Me, and Luba Organosova has a good, if fairly light voice, free of Slavic wobble and edge. She sings with intense passion and has good vocal control. Is she the equal of Leontyne Price? If she were, she'd be a headliner in every opera house in the world. Expect a good-to-very good job form her, as form the others.
   
   Finally, the only real deficit is the sound, which is edgy and harsh in loud climaxes and shows evidence of microphone shatter. Also, Gardiner's rough, punchy style in the fastest passages, like the Dies Irae, may not be to everyone's taste. Otherwise, this is one of his best recordings outside the Baroque repertoire.



3. This is absolutely glorious music. The Requiem Mass of Verdi has long been a favorite for both listeners and vocalists and is now acquiring a semi-popular following. The only limitation to even more public performances is the extraordinary length. What is even more remarkable about this deeply moving piece is that Verdi himself was not a religious man though being Italian the Church must have made a deep impact on his psyche.

   The synthesis of the orchestra and chorus is near perfect and the tempi are just right. Many times one hears parts of the Mass taken at near neck-break speed and other parts at a near standstill. The depths of the emotional range is astounding - from the thundersou blasts of the Dies Irae to the mournful, languid, rapturous Lacrymosa to the piercing sopranas and warm altos - it is the kind of music that comes along rarely.

   The sound is sterling, the acoustics just as clear. I liked the informative accompanying pamphlet with the original (Latin) words along with a translation as opposed to a transliteration. Add this to your collection.




4. Verdi's mass for the dead is one of my favorite pieces in the western canon, so I've collected a few over the years. You can read the other reviews for poetic waxing on the themes and scope of this work, but I will concern this review with the musical and performance merits of two specific recordings: the best period performance (Gardiner's, albeit the only one) and arguably the best modern performance (recorded by the regrettably late Robert Shaw, and there are some other moderns in close contention).

   I won't make you read the entire review to get my take: I prefer the Gardiner/ORR recording to the Shaw/ASO for the simple reason that there is more fire, drive, dynamic, or other related adjective involved in this performance than any other.

   Gardiner's players are absolutely deadly - you need look no further than tracks two and three for evidence of that! The tempi, while quite brisk, do not daunt this remarkable ensemble, and they play with an astounding precision. 50 percent of that credit is due, however, to Gardiner's outstanding conducting (most/all of his recordings with just about any group are staggeringly precise - check out The Planets with the Philharmonia!).

   The choir, being the Monteverdi Choir, sings an incredible performance, but using far more vibrato than is normally heard from them - consistent with the style of the work. Their technique and facility equal that of the orchestra: a combination that is difficult to beat.

   The tempi, taken as literally from the score as possible, are faster than we normally hear (by lesser ensembles) so, some listeners may feel that the music is not given enough time to breathe, or that it is too fast to comprehend. Enter Dr. Shaw...

   Robert Shaw's outstanding account of this requiem has an incredible asset: phrasing unparalleled in any other recording. Under the guidance of the best choral conductor of his time, the Atlanta Symphony Chorus responds to their director's brilliant musicality with aplomb. His superb vocal phrasing transfers well to the strings too. Every phrase has a top and bottom, and he exposes many textures that other conductors do not.

   But, Shaw's larger, less agile, and more-distantly miked ensemble do not capture the immediacy that Gardiner's does. Compounded with a slower performance, Shaw's - while breathtakingly beautiful - does not have Gardiner's impact.

   So here's my recommendation: purchase Gardiner for the recording quality, tempo, orchestra, perferable choir, and effect. Purchase Shaw for the contemplative setting, outstanding choral phrasing/conducting, and superior soloists. Really, purchase both when you can.

   But to feel the true power and effect of Verdi's opera for church, Gardiner's is the one to get.




5. This recording has been the subject of equally passionate praise and denouncement. Some critics threw about words like 'classical' and 'unidiomatic'. They were not entirely unjustified, but after acquiring this recording of one of my favourite pieces of music, I no longer care. This is revelatory.

   No other recording has such detail, such clarity, such remarkable presence. Phillips should be congratulated. Few other performances have no weak links. All the soloists are excellent, the choir & orchestra superb.

   In particular, I cannot find enough superlatives for Luba Orgonasova. It is an endless mystery to me why this soprano is so scarce in the catalogue. In this role, at least, she reigns supreme. Schwarzkopf; Studer; Stader; Sutherland; Scotto - all the "S" sopranos seem to have sung this! - Price; Gheorghiu; Caballe; Freni, the list goes on, NONE of these excel Orgonasova in this part. Verdi made incredible demands on his soprano soloist and the far lesser-known Orgonasova meets those demands better than any in this illustrious company.

   The key to her success is that she has a strong chest voice which is properly integrated tonally with her head voice. To understand what I mean, just listen to that crucial part in the Libera Me (Requiem Aeternam), where she floats a high B which is truly pianissimo, followed by the ferocious recapitulation of the Libera Me culminating in the word "terra", which so many sopranos either under-power, or resort to a distortion of tone. Not Orgonasova. This is one phenomenal instrument.

   The other aspect of this recording where its quality has the edge over all the competition is in the remarkable integration of Orgonasova and Von Otter's voices in the Recordare & Agnus Dei. No other recording I have heard blends the two parts so perfectly - almost like one singer who can sing in harmony with herself!

   For buyers who can afford a few recordings, this may be an excellent complement to a more operatic recording (I would recommend the intermittently-available live 1960 Fricsay - don't confuse with his studio recording) and/or the great Giulini with Schwarzkopf; Ludwig; Gedda; & Ghiaurov, now at mid-price on EMI Great Recordings of the Century. The present recording is full price over two discs; which may deter the budget conscious, but it is well worth it for anyone who cares to know this music intimately, to have its mastery revealed afresh.

5 comments about Tárrega: Integral de Guitarra.

1. The omission of "La Cartagenera" is the only lapse that I see with this collection of pieces. Russell even faithfully takes all of the repeats so the works are of maximum length. The only guitarist, who to my knowledge, ever recorded La Cartagenera was Narciso Yepes on his 1983 all-Tarrega LP which was transferred to CD in 1987. I wrote to Russell about this omission but he never responded.



2. Scottish guitarist David Russell spent much of his childhood in Spain, speaks fluent Spanish, and married a Spaniard. So he brings a deep understanding and affection to the music of late 19th century guitar virtuoso Francisco Tárrega. Add to this his supple phrasing and gorgeous tone--lovingly captured by recording engineer John Taylor, himself a guitarist--and you have a recording that shows off guitar playing at its finest.



3. This is one of the best CD's I've purchased in the last five years. Not only are all of his works here on two discs, but there are works that I haven't ever found on any other discs.
   Notably, the Gran Jota variations are found in this set. These variations comprise of almost 11 minutes of one of the greatest guitar compositons you will ever hear!



4. This is a great recording of Tarrega's music, and David Russell is one of the very best guitarists.



5. It's great that someone finally issued a recording of all of Tarrega's music. You'll find all of it here, the preludes, etudes, tremelo studies, the concert masterpieces and the transcriptions. Also, the only recording where you'll find the beautiful Tango. And, David Russell plays it all so well!

3 comments about Rubinstein Collection, Vol. 24.

1. If you appreciate classical chamber music, then you MUST acquire this CD. It's a reprint from old analog recordings (1950s) and features four giants of musical performance at the height of their powers. Rubinstein and Heifetz collaborate on both trios and they are truly magnificent. Piatigorsky and Feuermann more than hold their own. The Mendelssohn Op. 49 trio is, to my mind, the most perfect piece of chamber music ever composed. Its digital reproduction is clear and compelling. The Brahms reproduction is pretty scratchy -- you should prepare to listen as if to an old AM radio.



2. Heifetz was not an easy going man, as could be seen from the immaculate perfection he demanded of himself. All the great violinists of his time, including Jan, Kreisler, Elman, Milstein... all were suffering from the so-called "Heifetz disease". Consciously or unconsciously, Heifetz might have displayed some disapproval of Rubinstein. But on that score, Heifetz was not alone: Moriz Rosenthal as well as Ignaz Friedman, two of the top 5 or 6 pianists of the century, took the same stance and the latter two was even more open...and there came a time when Rubinstein himself was so troubled of his own deficiency that he undertook a seclusion tying himself to the piano for months before going before the public again.

   Among the trio, Feuermenn was rare in the sense that Heifetz "liked" him, calling him "his fireman". Naturally, Heifetz recognised him -- well, Toscanini saw him as the greatest cellist and Casals saw him as the greatest artist of the century! That Feuermenn was a better and more worthy partner is undoubted.

   In any event, when we listen to Rubinstein, we need to take a different standard than the modern one-- one aiming at precise rendition of the notes like Horowitz (or even Serkin ) somehthing which is not exactly his strength. However, his playing and his music is natural and very easy to listen to. In any event, Paderewski also sounded more or less like Rubinstein ( or even Horszowski ) and like Rubinstein, he was also hailed as the most popular pianist of his time. But whether he was up the the standard of the other two or whether the three mixed well is a different matter.




3. Volume 24 of RCA's complete Arthur Rubinstein Collection features the pianist in collaboration with violinist Jascha Heifetz and cellists Emanual Feuermann and Gregor Piatigorsky.

   With the outbreak of World War II in 1939, many of Europe's finest musicians took refuge in the United States. Rubinstein settled in Southern California, where he remained until the 1950s. The pianist came into frequent contact with fellow Californian Jascha Heifetz, where both were persuaded by RCA to return to the recording studio and build on the success of their earlier collaboration, the Franck Violin Sonata, recorded in 1937 (Volume 7).

   Rubinstein disliked Heifetz, and his distaste for the violinists domineering personality (which clashed with Rubinstein's own need to be the center of attention) grew with the passage of time. All the more surprising then, that they managed to obtain excellent results.

   The Mendelssohn Trio was recorded in 1941, in collaboration with Emanuel Feuermann. The performance is more boldly expressive and intense then is usually heard today, and played on a larger dynamic scale. One of the tricks with performing chamber music is the expression of the individual personalities of the players, while still achieving unanimity of interpretation. Rubinstein, Heifetz, and Feuermann meet and surpass this goal superbly. One never forgets the fact that these are three top rate instrumentalists playing--particularly with Heifetz--but they never unduly overshadow each other.

   Feuermann died in 1942. Russian cellist Gregor Piatigorsky signed on, and the three became known as the Millian Dollar Trio, a name which amused Heifetz and disgusted Rubinstein. Many of the same attributes heard in the Mendelssohn are also present here. Heifetz is a bit more dominant in this performance, and is accorded the closest microphone balance. Still, this performance is far superior to Rubinstein's 1972 stereo remake with violinist Henryk Szeryng and cellist Pierre Fournier (Volume 72). Tempos are brisker here, with the first movement being played as a true Allegro con brio. In the Scherzo, Heifetz phrases the stacatto passages in a manner which gives the piece more character than in the later version--although it seems at times that Rubinstein is scrambling just to keep up.

   The mono sound is fine here, although there are the inevitable balance problems (Heifetz is rumored to have manuvered himself closer and closer to the microphone when recording). Surface noise has been resuced without excessive filtering. However, there is an annoying pitch change during the first movement of the Mendelssohn.

4 comments about The Classical Collection, Part 1 / Vanessa-Mae (3 CD Box Set) (EMI Classics).

1. While it would be, of course, somewhat unfair to rate this CD recording of some of the world's most famous pieces for virtuoso violin the same way one would for a mature, older artist's recordings, it is horrendous marketing strategy on the part of Sony Classical to release this three CD set on the premise that they are "brilliant," as stated on the back of the CD case. They are anything but, as a quick listen to any one of the three CDs will reveal to the discerning ear.

   The first two CDs are mainly concerned with Mae playing the Kabalevsky, the Tchaikovsky Concerto in D, and the Beethoven Concerto in D -- all highly acclaimed pieces aimed at showing off not only the speed, strength, physical and mental endurance of the violinist, but also, certainly, the tone production and "fingers," as Sarah Chang would have liked to put it. Mae fails on almost all the above counts. While she professes to have a high degree of passion for the Tchaikovsky and the Beethoven (Mae gushes about learning them by heart long before her instructor had the chance to teach them to her), the pieces are a great disappointment. The first thing to jarr the ear is her tone (a scratchy, unconfident, and extremely tinny one, at that) and, rather surprising, her lack of capability at pulling off the cadenzas. It is beyond anyone's understanding how the then young Mae's speed and technical accuracy could be so highly acclaimed as they are by some quarters when she falters and stumbles along the notes, mainly in the higher registers. This is most apparent in the extremely poor playing of Sarasate's Carmen Fantasy, where she sometimes lags behind the entire orchestra by a few wrenching notes as she struggles to catch up and keep in tempo.

   The pieces on the Virtuoso Album CD aren't worth much -- colourless, soulless renditions of miniatures that have been performed better by countless of other violinists, at every measure of age (Chang does a splendid job of the Carmen Fantasy, and she recorded it in the studios when she was only nine years old).

   The only redeeming piece of the entire three CD set I can think of must be the Russian Dance from Swan Lake. Although her bowing is rarely, if ever, confident and full, her thin, wavering vibrato ever used effectively, she opens the piece with a vigour that isn't seen in any other of the pieces.

   It is rather unfortunate that Mae has never really progressed far, classically -- a look at her later recordings (the Classical Collection 2) and her live performance at the Royal Albert Hall (where the Shostakovich Piano Trio No. 2, Moses Variation on a G String, and a few others were played) drives the point home painfully. I am a fan, of course, but not one of her classical side -- the techno-pop-fusion music masks her flaws well enough to allow one to forget that one is listening to a very mediocre violinist at work.




2. Vanessa-Mae: is the beautiful young Singaporean violinist with her flowing hair, gorgeous figure, pop star clothes, electric violin, laser and light shows, websites, and rock band just a media creation, or is she instead a modern-day Pagannini or Liszt, a true virtuoso with a flair for showmanship? In other words, can she play? This three CD set of her early recordings, made when she was only 12 and 13 years old, answers the question authoritatively. Although there are, of course, some flaws, the fact remains that even at this early age Vanessa-Mae was a stunning performer. At thirteen she played better than many profession musicians have at thirty, myself included. Listen, for example, to the stunning beginning of Sarasate's Concert Fantasy on `Carmen".

   There is a certain tension between the interpretations of the soloist and the conductor occasionally, especially when Vanessa-Mae wants to play faster than the conductor will allow. This is in fact my biggest criticism of the recording; but these ego wars are not only the bloodiest but also the most common of musical slaughterhouses, and it is no surprise that such a young performer would get caught up in it. Otherwise, the performance is terrific--intonation is impeccable, interpretation confident. In particular, Vanessa-Mae has a commanding technique in the highest range, where her tone absolutely soars. Only very rarely, and then only at the very end of a rising run, does her intonation slip slightly. And she varies her style appropriately to suit the music--at the time of this recording she'd not yet gotten to playing Vivaldi with a rock band. In Fritz Kreisler's Schon Rosmarin, I can practically see her in a ball gown with her hair up in ringlets, performing this for the Viennese elite at a society soiree. It seems appropriately schmatzy to me, and it provides a link between the Classical and popular sides of Vanessa-Mae featured in this collection.

   The set consists of three CDs, the first the Russian Album, the second, the Viennese Album, and the third, the Virtuoso Album. This last title is somewhat curious, as only two-thirds of the way through do the selections take a virtuoso turn. Otherwise, they are pops and light classics that are not at all demanding of the performer. This CD has a theme of inspiration from various sources, and the selections are categorized as "inspired by the classics, inspired by cinema, inspired by pop and folk culture, and inspired by opera" and include such things as arrangements of Brahms Lullaby, Mancini's theme to The Pink Panther, and Richard Rogers' My Favorite Things. Unfortunately, the Beatles also make an appearance--I love the Beatles, but Lennon and McCartney's Yellow Submarine is a testament to the perils of drug use. Whatever fondness society has for this piece--and I know they do, as my 10 year old daughter is learning it on recorder for her music class at school--this affection must come from our memories of youth, the fun of the 70's and the association of the imaginative animation by Peter Maxx of the movie, perhaps even the symbolism, arcane as it may be, of the text. Objectively, though, the tune is as trivial and banal as anything ever written, and here it gets turned into a sort of mini-violin concerto. Call the Blue Meanies and the Apple-Bonkers to put a stop to that!

   But the other performances and pieces on this CD more than make up for this miscue. The first CD features Violin Concerti by Kabelevsky and Tchaikovsky, and Beethoven's violin concerto is featured on the second CD with a gorgeous performance. Vanessa-Mae clearly *can* play--she is much more than just a media creation. This collection, a portrait of the artist as a young woman, proves the point admirably.




3. Vanessa-Mae: is the beautiful young Singaporean violinist with her flowing hair, gorgeous figure, pop star clothes, electric violin, laser and light shows, websites, and rock band just a media creation, or is she instead a modern-day Pagannini or Liszt, a true virtuoso with a flair for showmanship? In other words, can she play? This three CD set of her early recordings, made when she was only 12 and 13 years old, answers the question authoritatively. Although there are, of course, some flaws, the fact remains that even at this early age Vanessa-Mae was a stunning performer. At thirteen she played better than many profession musicians have at thirty, myself included. Listen, for example, to the stunning beginning of Sarasate's Concert Fantasy on `Carmen".

   There is a certain tension between the interpretations of the soloist and the conductor occasionally, especially when Vanessa-Mae wants to play faster than the conductor will allow. This is in fact my biggest criticism of the recording; but these ego wars are not only the bloodiest but also the most common of musical slaughterhouses, and it is no surprise that such a young performer would get caught up in it. Otherwise, the performance is terrific--intonation is impeccable, interpretation confident. In particular, Vanessa-Mae has a commanding technique in the highest range, where her tone absolutely soars. Only very rarely, and then only at the very end of a rising run, does her intonation slip slightly. And she varies her style appropriately to suit the music--at the time of this recording she'd not yet gotten to playing Vivaldi with a rock band. In Fritz Kreisler's Schon Rosmarin, I can practically see her in a ball gown with her hair up in ringlets, performing this for the Viennese elite at a society soiree. It seems appropriately schmatzy to me, and it provides a link between the Classical and popular sides of Vanessa-Mae featured in this collection.

   The set consists of three CDs, the first the Russian Album, the second, the Viennese Album, and the third, the Virtuoso Album. This last title is somewhat curious, as only two-thirds of the way through do the selections take a virtuoso turn. Otherwise, they are pops and light classics that are not at all demanding of the performer. This CD has a theme of inspiration from various sources, and the selections are categorized as "inspired by the classics, inspired by cinema, inspired by pop and folk culture, and inspired by opera" and include such things as arrangements of Brahms Lullaby, Mancini's theme to The Pink Panther, and Richard Rogers' My Favorite Things. Unfortunately, the Beatles also make an appearance--I love the Beatles, but Lennon and McCartney's Yellow Submarine is a testament to the perils of drug use. Whatever fondness society has for this piece--and I know they do, as my 10 year old daughter is learning it on recorder for her music class at school--this affection must come from our memories of youth, the fun of the 70's and the association of the imaginative animation by Peter Maxx of the movie, perhaps even the symbolism, arcane as it may be, of the text. Objectively, though, the tune is as trivial and banal as anything ever written, and here it gets turned into a sort of mini-violin concerto. Call the Blue Meanies and the Apple-Bonkers to put a stop to that!

   But the other performances and pieces on this CD more than make up for this miscue. The first CD features Violin Concerti by Kabelevsky and Tchaikovsky, and Beethoven's violin concerto is featured on the second CD with a gorgeous performance. Vanessa-Mae clearly *can* play--she is much more than just a media creation. This collection, a portrait of the artist as a young woman, proves the point admirably.




4. I should of course first disclose that I do not know very much about classical music, but as far as I can tell this is a fantastic recording.

   This 3-cd set is a reissue of the early classical recordings that Vanessa-Mae made before crossing over into pop. It is a fantastic set because it offers a wide range of music: Tchaaikovsky, Kreisler, Beethoven, Paganini, Sarasate, Bach, Brahms and others. Vanessa-Mae's playing is fantastic throughout. I have always felt that she is a much stronger classical than pop player -- she really does not bring much uniqueness to pop music (just electronic supporting instruments) -- however, her remarkable classical mastery is easily evident even to an inexperienced person like me.

   All-in-all, the recording is remarkably mature and holds up well in comparison to VM's later classical recordings. Most highly recommended!

1 comments about Hindemith: Complete Orchestral Works, Vol. 3 (Box Set).

1. This box set contains mostly the wind, violin, viola, and organ concertos that Hindemith wrote. Most of these works are hard to find on disc, especially the organ works. The Violin Concerto soloist Dene Olding is a little weak, and the orchestra at times empahsizes this by showing a full force that Olding simply can't match. I find the wind concertos to be tedious and not very interesting. But the Kammermusik are uniformly excellent. The viola works are fine, as well. I thought the Trauermusik was especially good, heartrending when it needed to be, contemplative in the best sense of the word. Albert's conducting throughout is solid and sure, but it's a shame that not all of Hindemith's music is equally good. No conducting can save the clunkers from themselves (like the mediocre Clarinet Concerto), but for the price, it's a set definitely worth exploring.

5 comments about Bach: Matthäus-Passion.

1. This is certainly a milestone in the history of Bach on record. While there are many, new HIP (Historically Informed) recordings now (Gardiner, Koopman, Herreweghe, and even Harnoncourt's newest recording of the St. Matthew Passion) this present recording seems to be the most innovative, using an all male cast, whereas other HIP conductors use female sopranos and altos, a practice which was unheard of in Bach's day (in the Leipzig main churches anyway). After all, this could be considered the first Historically Informed Perfomance.
   
   This is the kind of recording that forces you to truly reminisce about Bach's Leipzig and his choir, the Thomanerchor, the all-boys' chorus of St. Thomas Church. The boys were aged 6-19. It is known that women were forbidden to sing in church. Even more so, castrati. The soprano and alto soloists that Bach would have utilized were actually prepubescent boy trebles and countertenors. These are the soloists that Harnoncourt used in this recording, an attempt that is found nowhere else, not even in the newest HIP recordings.
   
   Now, Philippe Herreweghe mentions that the boys' choir of today probably did not have the adquate training to meet the standards of Bach's choir. This in part because the boys of the day were more disciplined and took the learning of musical technique very seriously. Most importantly, the boys of the day pubesced at a later age, meaning their voices broke at a later age, around 15 or 16 or even 17, therefore the treble soloists and choristers would have had to been more powerful than those we hear today.
   
   While Philippe Herreweghe is most definitely right with his rebuttal, Harnoncourt's recording is still a delight to hear, and probably no other recording, in my humble opinion, comes as close to replicating the sound of St. Thomas's Boys' Choir (with the exception of Herrweghe's record which actually attempts to replicate the stereophonics of the interior of St. Thomas' Church; and very successfuly). There is something very magical and unique about this recording, thanks to the boys' choir and innovative period instrument performers. Hearing "Sind Blitze, Sind Donner" sung with boy altos and sopranos in no way takes away from the drama of the number. It rather, adds to the beauty which has been hidden for years.
   
   Not to mention that the soprano is a treble and the altos are actually countertenors. The countertenors are Paul Esswood and James Bowman, who is a pioneer in reviving the countertenor voice (someone that even Andreas Scholl admires). What a treat to hear James Bowman on the first HIP St. Matthew Passion! I was astounded to hear the soprano aria, "Aus Liebe" sung by a boy treble. As you'll hear, "Aus Liebe" is a challenging piece both technically and interpretively. And this young man's virtuosity is beyond belief. He should be applauded for his efforts which are beyond words.
   
   Kurt Equiluz is a classic Evangelist and has superb storytelling abilites.
   
   I would prefer much more relaxed tempos and instrumental playing, more to the liking of Herreweghe's second recording of the work. But it was nonetheless very good here.
   
   Bach would have been proud. This is an old recording, but please don't let this deter you. The sound quality is excellent. This set of the St. Matthew Passion is definitely an Essential one. Don't hesitate.



2. This was the very first Harnoncourt recording I heard-and how exciting that was! I recently heard bits of his more recent recording and I think that although impressive the later recording tends towards caricature in its striving towards theatricality. The earlier recording on the other hand has marvellous warmth and a naturalness that is heart rending. I have to say that no tenor that I have heard does a better job of the Evangelist part as does Kurt Equiliuz. His voice reminds me of a cello with gut strings and he never tries to grab attention away from the essential dramatic movement of the piece. He is emotional without being sentimental. The other soloists are marvellous aswell. Karl Ridderbusch as Christus has an amazing profundo voice with a sweetness that is beguiling. Paul Esswood is fantastic-his 'Erbarme dich' is a model of contained poignancy. One of the boy soloists has a maturity beyond belief in 'Aus liebe will mein Heiland sterben'. The Kings College men with the Regensburg Domchor are wonderfully mellow. Occasionally speeds are a little plodding in some of the arias although generally I prefer more relaxed tempos (often sorely missed in modern performances). So all in all-a performance to savour, and you really do get the impression in this pioneering recording of the excitement of removing layers of grime from a masterwork. My favourite St. Matthew!



3. This is the first Historical Informed Practice performance of the work, with an all male team of chorus and soloists and with one of the smallest orchestras (although the size of the choir is rather larger than the necessary to bring enough clarity). I confess, I have a mixed reaction when I listen to it. It was a revolution when it was recorded. listen, for example, to the first and last choruses, where for the first time in history the rithm (almost like a dance)is wonderfully brought alive by Harnoncourt. And if you compare it with the modern instruments recordings of the time, it succeds triumphally (I haven't listened to Klemperer yet), with the exception of Richter 58'. Since the beggining of the HIP movement, you can admire the attack of the instruments, so uneven in the melodic line 8that's why the dance spirit is refreshed in the historicist recordings), so springly executed. But ... this artists have a great problem: they were the first pioneers, and so I would say that every performer is in much bfiner form to play and sing: At that time there was still very much of the older style to play Baroque. I would put 3 stars ; I decided to reduce them to one because an Amazon customer repeted his review



4. There is no single definitive performance of the St. MatthewPassion because it is such a universal work, subject to wonderfulinterpretations in large scale romantic and small original instrument modes. Most everyone would pick Klemperer's rendition as the classic "big" version, with an unbeatable set of soloists (a five star account for sure), massive in scale and emotion, and very slow-paced. The Harnoncourt is pretty much the opposite end of the spectrum in terms of scale, timing and texture. Of smaller scale "authentic" versions I have heard (Gardiner, Koopman, Herrewegge), Harnoncourt's has the sweetest, mellowest sound, particularly because of the beautiful wind instruments. The choruses (with boy singers) are also very beautiful, and Paul Esswood is great. His "Erbarme Dich" is the best sung, most moving male performance I've heard (although no one beats Schwarzkopf on the Klemperer set). The Harnoncourt is also a better price than the other original instrument versions (but older sound). If you like Harnoncourt's cantatas, this Passion has all the same virtues. Some may be put off by all the male voices and light texture. Here and there the rhythms are a little plodding, but generally the timings are about right. Personally I would want at least two St. Matthew Passions in my collection -- the Klemperer and the Harnoncourt. If I were to choose a single "compromise" set with the best of both worlds I might opt for the Gardiner -- authentic with larger forces. The Naxos set by Oberfrank is a good bargain with modern instruments and brisk rhythms, although not up to the very highest standard. (The recent Teldec Bach 2000 sampler has the final chorus by Harnoncourt, which convinced me to get the complete work. For comparison, you can hear Herreweghe's first version of the same chorus on the HM Bach sampler that recently came out.) END



5. I have to admit the advances in Baroque music seem to make this recording seem less clear and shaped, but that is not necessarily the way the orchestra was heard back then. It was only with Beethoven that we heard the orchestra arranged as we know it, and he did it to give better clarity as he couldn't hear it. If we were to sit an orchestra as they were seated in Bach's day, the clarity we are accustomed to would disappear.

   I still find this the best of the recordings for a few reasons. The countertenor of Paul Esswood is far better than all the new hot shots of today, and it has the proper depth to give an emotional depth to the reading. He is really a countertenor who is totally forgotten, yet so many of Bach's cantatas would never have come to light were it not for his singing.

   I am suspect of the pitch in the more modern recordings. It seems the instruments are very shrill and lack colour. This recording was wise to put the pitch down to the level it was in Bach's day. The standard pitch of today ( A 440, which more often than not is now raised nearly to A 450 ) distorts the sound of old instruments which were not made to withstand the greater tension. No recording of this music is authentic, even if played on authentic instruments, if the pitch is too high to let the natural mellowness of these instruments come through. The loudness and brilliance of todays instruments were not possible on these older ones ( I have 2 violins and a viola di gamba from the early 1700's and have pitched them at the pitch of their day, and of our day -- todays pitch robs them of warmth, even if it gives the *clarity* were are used to ).

   This said, for those who wish to hear Bach as he probably heard his music ( though we can never say for sure we are exactly correct ), this is the recording to buy. It brings one things so lacking in all the academically perfect recordings -- soul to the music of a man who dedicated all he did to God, and who tried to express his profound love of God in the works he wrote. I have never found that in any other recording of this work.

No comments about A Portrait of Pavarotti.

1 comments about Arnold Schoenberg: Chamber Music for Strings.

1. This is a monumental recording. It ended my search for a good performance of Schoenberg's complete string quartets. Compared for instance to the Arditti's version, which makes for a pretty "difficult" listen, hard on the ear and the brain, this one is pretty "easy". Let's not argue about the "romantic" or "modernist" points of vue which have plagued the Schoenberg issue for much too long. This boxed set is a mature rendition of some of the most essential works of the XXth century. The Schoenberg quartet provides excellent performance throughout (although their version of "Verklärte Nacht" might seem rather dark and lacking in contrast as compared to, say, the Boulez reading). This is Schoenberg beyond theory, this is, to put it simply, Schoenberg's music as Schoenberg himself might have wished to hear it. Thanks to the Schoenberg Quartet, the 21st century should see at last a vast audience starting to appreciate a body of work on a par with that of the greats which Schoenberg revered so much : Bach, Mozart, Beethoven, Brahms. Treat yourself to this one and relish in an adventure (while it still tastes like adventure).

5 comments about Mozart: The Piano Concertos.

1. On these recordings we have a "copy" of a primitive fortepiano recorded at a considerable distance. It sounds like someone backstage is plucking rubber bands.
   
   Can this be how Mozart expected to make his name and fame, playing a toy piano way off in the background somewhere? "Authentic", my ---.
   
   Later fortepianos (e.g. the Grafs from the 1820's) developed some tone and volume, but even these cannot hold their own against a full orchestra.
   
   If you are looking for a recording of the complete concerti, the recordings Geza Anda made with the Salzburg Mozarteum are still available and are very fine indeed.



2. Mozart was a Mason. A child of the Enlightenment. A believer in humanity's perfectability, who had the philosophical luck to die before the disappointments of the French revolution. He wrote music of tragedy and despair, but he never wrote a note of Gothic horror, of 'Romantic' reaction against rationality, a task he left untouched, shall we say, for the next generation. If you want your Mozart to sound like the art of someone who's been reading Schopenhauer, you won't like this set of piano concertos played by Malcolm Bilsen, with John Eliot Gardiner conducting.
   
   Bilsen plays a period keyboard fortepiano, an instrument of much lighter construction than the modern pianoforte, on which the 'decay' of note reverberation is naturally quicker, making a softer and more transparent sound. The orchestra of period instruments that Gardiner conducts is also smaller by far and more carefully tuned than the modern symphony orchestra, and emphasizes the polyphonic/heterophonic interplay of all the voices of the composition. The tempi chosen by Gardiner are often faster, more nimble, more witty than most post-Wagnerian conductors choose. The result is a Mozart who sounds as if he's passed Sarastro's "initiation" into wisdom as portrayed in the Magic Flute, rather than settling into the syphilitic gloom of 19th C Romantic pianism.
   
   There is no absolutely historically authenticized version of Mozart, and double-absolutely no "definitive" performance of these twenty-seven concertos. I recently made the tongue-in-cheek suggestion that a performance of them on harpsichord might be revealing, since Mozart grew up in a milieu in which harpsichords were far more familiar than pianos of any sort. The touch required to play the fortepiano, Bilsen's instrument, is closer in some ways to a harpsichord touch than that developed by Liszt and Chopin. It's the touch, as much as the specific instrument, that matters for performing Mozart. Bilsen has the touch. I like his sound, a judgement by ear alone, better than that of Derek Han or Melvyn Tan, two other historical keyboard specialists. And I admire Gardiner's spunk - his musical intuition - even when occasionally his interpretations are rash.
   
   But don't take my word for anything! Use the sample function; compare the same snippets from the same concertos on as many recordings as you have patience for. I'd suggest Concerto #20.



3. John Eliot Gardner and Malcolm Bilson are to be thanked for giving us such a superb release of all of Mozart's original piano concerti on original instruments of Mozart's time. These are brisk and bracing as well as dramatic and even dancing versions of these timeless classics. Bilson is an excellent fortepianist and Gardner and his band provide great performances of their parts, making this an essential set. There are other good and great performances of these works, either seperately or complete (such as those by Brendel, Uchida, Perahia, et al.), but these are special. Excellent sound and good packaging and notes.



4. Currently, I own 3 sets of the Mozart Piano Concertos (two modern instrument ones - Anda & Schiff; and the Gardiner-Bilson set). I must agree w/ the reviewers who rated this HIP set 5* - my main reason for posting is to help 'counteract' the ridiculous rating of 2* given, primarily because the CDs did not sound good on the highway in a car! I play a lot of CDs in my car, but rarely classical music because the dynamic range needed to appreciate these performances just will not work on a highway; if I wanted to hear a lot of classical music in the car, I'd probably 'burn' my CDs to CD-Rs using software in which I could compress the dynamic range, so 'lows' & 'highs' can be heard comfortably.



5. In what must be considered a triumph of performance and recording, the Bilson/Gardiner/English Baroque Soloists collaboration on the Mozart Piano Concertos cycle makes us understand anew what Mozart should really sound like. These are period instruments? We can't make ourselves believe that, and yet that is the case here, as remarkable as that may be. The sound that pours forth from these discs is rich, vibrant, full, and, powerful. Bilson doesn't miss a beat, and Gardiner and the English Baroque Soloists play throughout with their usual silky perfection. The recording quality is simply superb, and the balance between piano and orchestra is just right. And although the piano is the focus of this set of works, the English Baroque Soloists play with such great precision and rich sound that we appreciate all over again the important role in orchestral accompaniment in successfully pulling off compositions like these. This is certainly a set that most, if not all, classical musical enthusiasts should consider acquiring.
   
   These discs, as virtually all of the Archiv/DG discs from the 1980's and 90's, were originally released as individual pieces. At that time, these discs were being sold at a much greater price, and collecting the entire set was a more difficult task. With DG's more recent "Collector's Edition" box sets, which consist of entire sets of re-issued recordings in a more economical packaging, acquiring these sets is now simultaneously much easier and less expensive. (In fact, building a comprehensive classical collection today using such box sets is now much more a feasible undertaking, and although we lose out on all the lovely artwork that once graced the individual Archiv discs, it is a small price to pay for making these recordings much more affordable and pre-organized into comprehensive collections.)
   
   Mozart's Piano Concertos, a form he essentially created, are some of the most delightful, cheery, and upbeat pieces in the repertoire, and even non-classical enthusiasts have difficulty avoiding their obvious delights. Nevertheless, even Mozart said that there were gems hidden among them that only the most musically talented individuals would be able to discern, and so these pieces hold something for everyone. Among the numerous recordings available, this set is certainly one of the very best, making it a prime choice for the collector. Take advantage of DG's "Collector's Edition" set to make it an even better deal.

5 comments about Bach: The Organ Works (Box Set).

1. My familiarity with Walcha's Bach recordings goes back to my student days when I acquired several of the popular works on Archiv LPs (with the plain gray fold-out covers). I own this set in its's 1990s mid-price compilation on Archiv CDs. Walcha's interpretations of the organ works have been my gold standard since those early hearings. The style of playing, which incorporates varied registrations in the course of the pieces for structural and interpretive impact, is somewhat at odds with current "historically informed" use of the plenum through the big pieces. Also absent is the bending of tempo and ornamentation that figure in a number of more recent accounts of this music. Walcha employs ornamentation of the line but also allows the music to speak for itself without a lot of intervention. The grandeur of these masterpieces is always in evidence. Listen, for example, to the brooding intensity of the F minor Prelude and Fugue in which Walcha employs a somewhat more deliberate tempo than current norms to stunning effect.
   
   My only complaint is the omission of the 1961 recording of the great E flat Major Prelude and Fugue in favor of the 1970s version. While the interpretaions are consistent, I prefer the sound of the Franz Casper Schnitger organ at Alkmaar to the Johann Andreas Silbermann at Strassburg. As others have pointed out, Walcha did not record the complete works, but what we do have is one of the great recorded legacies. We are fortunate indeed to have it.



2. I never thought I would like Bach's organ works as they can be dense and daunting. However, if you can get onto Bach's wavelength, he can transport you to an electric cosmos of beauty and enlightenment. I was given a collection of Bach organ LPs by Helmut Walcha some time ago. My friend said that Germans regard Walcha as the premier interpreter of this music. He certainly knows how to play the organ and this music soars in his hands. This music is more varied than most people imagine. Some is extremely simple and delicate while some crushes your brain! I have always loved Archive recordings and these did not disappoint!



3. Helmut Walcha was named my TIME as "the" Bach interpreter for organ. I think that is true more than ever today with all the influences of the French Romantic school, the slam-dunk American style and the avant garde crowd. The recording has a German sound, quintessentially Teutonic in both style and approach. While Bach sounds different and even magnificient on an Aristide Cavaillé-Coll organ it does not sound authentic - or as we perceive authenticity.
   
   The fact that the artist is blind(!) means that unlike other folks who can use the music as aids, he must rely on his phenomenal memory. This is truly the stuff of genius. The sonatas are brilliant and I have never heard a better B Minor Prelude & Fugue. I only with that his stupendous "Kunst der Fuge" could have been transferred from record to CD.



4. This set of many Bach's Organ works by Helmut Walcha is, in my opinion, the greatest recording of these immortal treasures. There are almost all of Bach's Preludes and Fugues for organ, as well as many fantasias, miscallenous works and his chorals for this instrument. Walcha plays with utmost respect to the original scores, his playing is clear and powerful. Many other organists have allowed themselves quite a bit of experiment with these pieces (likes of Ton Koopman are over the top), but in the end, i've always came back to Walcha's renditions. If you want to treat yourself with some of the greatest music ever written, then get this rare set! Bach's organ music can be challenging at first, especially the fugues, and many of my friends have complained that they hear nothing else than noise in these pieces. I suppose you have to have listened this kind of music for quite some time, before you can wholly appreciate these unique pieces. But once you have, you find a world full of riches and wonder, world which only Bach can bring you. And this is a world i wouldn't change for any riches in the world.



5. It is hard to express in words what an incredible achievement this is. The immense feats of memory alone, demanding far greater efforts than sighted performers face, command our respect. So does the consistent quality of Walcha's playing.
   
   Bach's almost mathematical absorbtion with fugue lies at the centre of his genius. He was an organist first and foremost, an organist all his life. Like Bach, Walcha is an obsessive controller who uses music to shape his world. He treats each piece as a treasure to be cherished and burnished, and this makes him the greatest Bach organist since Schweitzer. We are told that Bach would travel miles to hear great organists perform, and Helmut Walcha is just such an organist as those.
   
   The magnificent instrument used here is celestial in tone. To those for whom Bach fugues conjure up images of Christopher Lee playing Dracula, or dull Sundays in church, here is one of the great achievements of Western civilization, a glittering pinnacle of Baroque art, performed by a great modern spirit, in one handy box. You can't have Michaelangelo ceilings in your home, or Bernini bronzes in your living room, but by golly, you can put this on your stereo.