5 comments about Artur Rubinstein - The Chopin Collection: The Nocturnes.

1. Artur Rubenstein was the romantic player "par excellence"-but the modern kind of romantic pianist. His playing reflected a culture, an exuberance, an absolute masculinity and athleticism, that made him unique. Though the nocturnes cannot be said to occupy as important a place among Chopin's works as do the preludes and the studies, they are in no sense minor compositions. As with the mazurkas, one feels that in them he was less concerned with pianistic considerations, and more with his most intimate thoughts and feelings. The moment Rubenstein begins to play, it is clear that he derives in great measure from Chopin's very personal style of composing these nocturnes, contemporary accounts of which invariably stress Rubenstein's extreme delicacy and beauty of sound he could achieve in cantabile passages. Though by all accounts he was capable of magnificent virtuosity, it was the poetic quality of his playing that made the deepest impression. The word 'nocturne', as used by Chopin, bears no relation to the "notturno" that we find in eighteenth-century music, which does not conjure up any picture that one could call specifically nocturnal. Only John Field had previously used the word in this sense, and it is generally admitted that it was from him that Chopin derived the style and atmosphere of his nocturnes. Chopin detested any reference or performance that implied sentimentality. Rubenstein developed into a romantic pianist who consistently avoided the meretricious aspect of romanticism and retained all that was good. He offered sentiment, without sentimentality, he never broke a line and seldom bent a rhythm. He used little rubato and relatively little fluctuation of tempo. His playing represented brilliance without nonsensical virtuosity, logic without pedantry, tension without neurosis. He could be dramatic without being affected or over-motive. However, if there was no "ham" in his interpretations, there was indeed some in his stage deportment. Rubenstein well knew the value of charisma, an element he possessed in googol quantities. He once said that the younger generation of pianists played better than he did, "but when they come on stage they might as well be soda jerks." Nobody ever accused Rubenstein of being a soda jerk. He adored playing in public, and his audiences adored him. The mutual love affair lasted as long as he lived. The directness of his musical approach seemed so natural, so inevitable, that one wonders why most pianists could not duplicate it. "But style is, after all, the man," and Rubenstein as a man was polished, witty, highly intelligent, probably emotionally uncluttered. "As the man, so his music." It is the culmination of these many wondrous characteristics and attributes that make this recording and all others ones to be treasured and hallmarked for a lifetime.
   
   Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)



2. This is definitely Rubinstein territory. The pianist is known for his warm melodic phrasing and intelligent use of rubato in these pieces. One of reasons he excells in these pieces is because of the proper right hand-left hand dynamic balancing which can make or break these pieces. The left hand obviously has to be softer, but how much softer? We still need to hear it - Rubinstein has the answer to this. In addition he always plays a mild forte that is more characteristic for these Nocturnes. I also like Moravec's set but this is my favorite. Rubinstein and Chopin go together well. Warm rather than aggressive.



3. Rubinstein's first set of the complete Chopin Nocturne's recorded in the late 1930s in Europe is outstanding (as with those of the Mazurkas etc.). He was then working hard to compete with great Chopin interpreters performing in Europe. Things change when it comes to his later recording of the Nocturnes in the US for RCA. You would not even recognise that it is the same pianist anymore. He realised that with the US audiences he could get away playing Chopin with much less effort and during the war as pianists from Europe could not travel to the US there was hardly any competition and possibility for comparison. The result is there to compare for anyone interested who can find the older recordings.

   As to Idil Biret's Chopin, referred to by one comment, her playing is far above Rubinstein's recordings made in the US but perhaps not equal to his 1930s recording of the Nocturnes. It is strange and interesting, however, that her recordings are mentioned with negative comments here. One wonders why she is being constantly targeted.




4. I should start off by saying I don't have this exact CD, but I do have a CD with Rubinstein playing Chopin's Nocturnes. They Are beautiful. His playing is always tasteful and restrained, yet emotion shines from them. I'll admit I've felt a lump in my throught and water in my eye listening to this recording... but I've got a soft spot for them.
   Idil Biret, has 1/4 of the emotion that this has and this recording is played without overt rubato of arrau, but is suble. Very Good. :)

   Op.9 No.1 - I never understood the tempo marking for this until I heard Rubinstein do his stuff. Idil Biret's version doesn't compare.

   Op.9 No.2 - Not cliche at all!

   Op.9 No.3 - shorter than the music I've got for it. I'm not sure why. In my opinion, an improvement. Does anyone know why? was it just Rubinsteins preference?

   .... The rest are beautiful too, but I've run out of time. Please get a recording.




5. My favorite piano album of all time. I moved a few years ago and lost all my CD's, and because of financial problems have only recently begun to repurchase many recordings. When I bought this again and listened to it after a few years away, I could have cried. It was like meeting an old love, and none of the thrill was gone. She was as beautiful as ever. Rubinstein's sense of rubato is perfect; affective and full of rhythm within rhythm, yet only consciously noticeable when you carefully examine the playing. Totally natural. Like Liszt said of Chopin's rubato, "See that tree? See how the leaves move yet the shape stays the same?" The tone is bold and sharp, proving that Chopin's music was not to be maudlinly caressed as the stereotype of a weak, tubercular genius has perpetuated. This is music to lay in the dark with, not to fall asleep to, but to ride the night blanket away in.

No comments about A Portrait of Pavarotti.

5 comments about Haydn: Symphonies Nos. 40-54.

1. Excellent performance...each symphony has its own beauty. I would definitely buy another set of Haydn's symphonies by this same conductor and orchestra.



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. This set of Adam Fischer's traversal of Haydn's symphonies is perhaps the jewel of the entire series. After over a decade of Haydn performing and recording most of early bugs in recording venue and playing together had long been resolved, and the group as here constituted plays with great confidence and tremendous brio. This is a vital selection, too, containing some of Haydn's very best symphonies, worthy to stand with the greatest of all. And a few, the serious "Sturm und Drang", have the most passionate and serious symphonic music Haydn composed.
   The general level of playing is very high, especially among the soloists, but there are some lapses which can cause a raised eyebrow, however, these are not so common as to prove bothersome. I prefer this groups easy way with Haydn to the slightly frentic quality too often popping up with historic groups efforts in these pieces, a tendency made worse by their notoriously anemic string sections, at least as realized on the digital medium. I am delighted to report that Fischer's orchestra of 'modern instruments' (A funny phrase when you realize some of the violins used may pre-date Haydn!) capture almost all of the delightful color contrasts and lightness found in Haydn when played by original groups without thinning out and sacrificing beauty of ensemble.
   In comparisions with my admitted ridiculously excessive Haydn collection I was especially pleased at how well the performances on this Cd set stood up to many of my all-time favorite performances in this music. Moreover, they almost always have a little bit different take on one movement or another in every work, offering the delight of a new window onto this most evergreen of composers. Some of the solo work is especially memorable, and I found myself replaying favorite movements - a sure sign of a winning collection. I preferred these to another modern set, the performances found on Helios with Goodman and the Hanover Band; it's impossible not to notice the greater finesse displayed by Fischer's strings. Too, Goodman's way with these works, though never foursquare and certainly well-conceived and in places genuinely searching, rarely captures the personailty and wit bubbling over so constantly in the Fischer set. And personality and wit are certainly major staples in Haydn's recipe book.
   If you already own later symphonies but do not have any from this period then this would be a great catch. The major competition in this group of middle symphonies, the Pinnock, was not as well recorded, and I personally think the Fischer are slightly better performances to boot.
   Try starting out with Symphony 48 - you might be surprised such a work was written so early!



4. For some reason, many music lovers seem to think that Haydn's first worthwhile Symphony was #94. Well, I haven't heard them all yet (although I've heard at least half of them), but I can happily verify that the variety and consistent excellence of the entire series of 104 symphonies - including the first 93 - have no equal anywhere in all of music literature; - that's right, ANYWHERE, including the Mozart in comparison to whom Haydn is often unfairly disparaged. Mozart composed 40 symphonies (#37 isn't his), but the first 20 are almost never performed because they're simply forgettable.
   
   Not so with Haydn. I won't claim that all 15 symphonies in this collection are masterpieces, but several of them are, and NONE of them are duds. How this man managed to maintain his flow of wonderful musical ideas, decade after decade, is one of the most remarkable mysteries in the history of human achievement. Remember, in addition to 104 symphonies, he produced what is arguably the largest collection of truly outstanding chamber music by any composer in history, including INVENTING the string quartet as we know it today. In his spare time, he composed what is still today probably the best concerto for trumpet and orchestra ever written, as well as the magnificent oratorio "The Creation" and other works of consistent excellence, too numerous to mention. Why, oh why, when the discussion turns to "Who was the greatest composer of all time?", does the conversation center exclusively around Beethoven, Bach, and Mozart (with a few people parading their avant-garde credentials by advocating Stravinsky's consistently ugly "music")? Haydn does not take a back seat to any of those people.
   
   With regard to the specific works and performances on these CD's, you are unlikely to ever do better than this set. The sound is very fine, if lacking in the latest word in brilliance that you can sometimes get on the very latest state-of-the-art recordings. Fischer obviously loves these works, and the orchestra plays with warmth and enthusiasm.
   
   Get this set now! There is a distressing (I would actually use the word "sickening") trend toward recording any piece composed prior to Beethoven on those indescribably ugly "original instruments" that are all the rage now. In the future you might find it difficult to get recordings of these works performed on listenable instruments. So buy it!



5. These performances are paced just right and the Haydn Orchestra brings a crispness and vitality to these works I've not heard on other recordings. This is not just another "good for a discount set" kind of collection. These recordings are first rate. I plan on acquiring all the volumes in this set, and the affordable pricing makes that achievable. I hope they tackle the complete Mozart Symphonies next. Highly recommend.

No comments about Classics for Relaxation.

2 comments about Ballroom Dance Music.

1. This collection of Ballroom Dance Music is one of the best I've found.The collection reflects good rhythmn as opposed to melody which is essential for DANCE music.Disc's 1 and 3 are excellent but I found Disc 2 to be weak.To be honest I have never found a Dance collection which I could rate as excellent.Most suffer from outdated,(not classic's which are timeless) best forgotten tunes and/or weak rhythmns.



2. The Swiss Ballroom Orchestra plays mostly instrumental music. All tracks are played in "strict tempo," and this makes it easier for newer dancers to stay with the beat. All 36 tracks are beautifully performed with an appropriate dance rhythm and tempo. This boxed set makes the "Let's Dance, Volume 5" of little use because 8 tracks are identical. If you enjoy the Columbia Ballroom Orchestra, you will enjoy this orchestra also.
   
   There are some puzzles on the second disc. The third track is mislabeled as "Carnival, samba." It sounds more like rumba to me. Track 6 has a female vocalist, and it sounds a like a sedate Carol Channing. Track 10 is labeled as Paso Doble. Again, it sounds more like rumba to me.
   
   Here are the titles, durations, and suggested dance for all 36 tracks:
   
   Disc One
   Cheek to cheek , 4:06, Foxtrot
   Anything, 2:10, Quickstep
   Great waltz, 3:25, Waltz
   Golden Earring, 4:14, Tango
   Continental, The, 3:49, Cha cha
   Salamanca, 3:16, Paso Doble
   Brazil, 2:55, Samba
   I've got you under my skin, 4:19, Rumba
   Zing! Went the strings of my heart, 2:58, Foxtrot
   Jeepers creepers, 2:58, Quickstep
   Skye Boat Song/Greensleeves/Amazing Grace, 2:53, Waltz
   Poinciana, 2:24, Tango
   
   Disc Two
   Cherry pink and apple blossom white, 3:01, Cha cha
   Viva Espana/Una Paloma Blanca/Hasta La Vista, 3:18, Paso Doble
   Carnival, 2:18, Rumba (This is not a samba as listed on the label)
   My prayer, 4:03, Rumba
   New York, New York, 2:06, Foxtrot
   I get a kick out of you (SB7f?), 2:01, Quickstep
   Thornbirds Theme, 2:58, Waltz
   Olvidado, 3:29, Tango
   Ob-La-Di, Ob-La Da, 2:50, Cha cha
   Apache/Wonderful Land, 3:00, Rumba (This is not Paso Doble as listed on the label)
   Meditation/Little boat/One note samba, 3:25, Samba
   Mash Theme, 2:23, Rumba
   
   Disc Three
   Nightingale sang in Berkeley Square, 4:40, Foxtrot
   In the mood, 3:22, Quickstep
   Three quarter, 2:52, Viennese Waltz (It has a slower introduction, and then hits a proper Viennese tempo)
   Ole Guapa, 2:57, Tango
   Over the rainbow, 4:04, Cha cha
   Spanish gypsy dance, 2:06, Paso Doble
   Mais que nada, 2:33, Samba
   O sole mio, 2:06, Rumba
   All of me, 4:00, Foxtrot
   I got rhythm, 1:58, Quickstep
   Vienne, mon amour, 2:48, Viennese Waltz
   Night and day, 3:30, Tango

4 comments about Symphony 1-4 Complete/Variations Haydn/Tragic.

1. I've noticed a lot of outrageous deletions of historic classical recordings--many of them from Sony Classical--but this one has to take the cake. Aficionados may quarrel with George Szell's interpretations of the Brahms symphonies, or at least specific symphonies, but no one can doubt that the Cleveland Orchestra under Szell was one of the world's great orchestras, or that these recordings of Brahms are historical and musical documents of the greatest importance. These could still be made available to a wide audience at a bargain price, as they used to be. Why does Sony care so little about the treasures in its vault?



2. We don't have conductors like Szell these days. He was the master of removing all but the music. In the case of Brahms a special challenge is the need to be strong and focused enough not to get self indulgent and bogged down. Rather one must stay true to the music. Few can do this. In addition to these recordings one thinks of the famous Heifetz/Reiner recording of the Brahms violin concerto and the Szell/Fleisher recording of the second Brahms paino concerto. These are all recordings that you can listen to over and over. But there is a danger here. If you get these recordings of the Brahms symphonies you will never be satisfied with any others again.



3. George Szell was both well known and critized for his precision. When dealing with classical greats like Mozart and Haydn, George Szell is one of the first conductors I seek after, as the Classical Period of music allows for such squared-off conducting. However, Szell's abilities as a Romantic Period conductor (Brahms, with so many pear-shaped tones on the grand scale) seem to lack a certain level of passion, fire, and fluidity that this kind of music thrives on. I might say that listening to this recording is like having to look at van Gogh's "Starry Night" rendered with nothing but straight lines. All of the notes are there and in order, but they're delivered rather stringently.
   
   As for boxed sets of Brahm's Symphonies, Otto Klemperer comes with my highest recommendations. Compare the robust sound of Klemperer's opening of the 1st symphony to Szell's rushed rendition and the difference becomes quite clear (other discrepencies are found throughout). Klemperer knew the work of Brahms like few else and even chided himself for composing pieces that sounded more like Brahms than like Klemperer. The Klemperer recording of the Brahms Symphonies is available on EMI Classic's 'Great Recordings of the Century' label and also includeds my favorite rendition of the Alto Rhapsody and a quite good recording of the St. Anthony Variations.



4. This set is truly one of the best recordings of Brahms that I have heard. The sound of Cleveland's strings is lush and the wind section was one of the greatest in history (John Mack on oboe, Robert Marcellus on clarinet). Listen especially to the second movement of the 3rd Symphony.

1 comments about Rubinstein Collection, Vol. 8.

1. Volume 8 of RCA's complete Rubinstein Collection features the pianist in performances recorded on 78RPM discs in London from 1928-1947.

   Although Rubinstein recommended in-depth study of Bach for every musician, he seldom performed Bach in public. He invariably relied on the remarkable arrangements made by pianist/composer Ferruccio Busoni. Rubinstein, along with Horowitz and many other virtuosos of the period, considered Busoni's arrangements of Bach's organ works the ideal transference of Bach's musical thought to the modern concert grand piano. Unfortunately, Busoni's arrangements have fallen out of favor with today's more "purist" style of "interpretation," and they are seldom played despite remaining in print. In this 1934 recording, made ten years after Busoni's death, Rubinstein brings all the virtuosity that both Bach (yes, Bach was a virtuoso organist, in a day when virtuosity was not a dirty word) and Busoni would have expected. Rubinstein is notably more secure technically than Horowitz is in his 1965 performance, recorded live in Carnegie Hall. Incidentally, Rubinstein plays the ossia passages in the second movement.

   The A-Flat Impromptu of Schubert was a great favorite of Rubinstein's. The tempo in this 1928 recording is faster than one would be accustomed to hearing from a 21st Century pianist. However, judging from other recordings of the period--notably Rachmaninoff's--Rubinstein's tempo was probably considered mainstream at the time, and here is no lack of clarity in the repeated-note passages which are a hallmark of the piece. The third movement, recorded in 1936, from Schubert's pastoral G-major Sonata makes one wish Rubinstein had recorded the entire piece. Schubert's Sonatas were rarely performed in the early 20th Century--even as cultured a musician as Rachmaninoff didn't even know they existed.

   Rubinstein was nearly always at home in Schumann, as is the case in these four short pieces. The Arabeske and Romance he recorded several times throughout his long career. The performance of Traumerai heard here makes one wish he had recorded the entire Kinderszenen cycle.

   Brahms was closer to Rubinstein's heart than any other composer, and occupies the largest portion of his discography of any composer except Chopin. The Capriccio featured here was recorded at the pianist's first session on March 9, 1928. The sound here is notably compressed and hollow sounding, however, electrical recording was in its infancy in 1928, so this is to be expected. Tempos in this piece and the Rhapsody are exceptionally faster than in later versions by the pianist.

   "Rubinstein plays Rubinstein" would have made a great selling album whatever the musical merits, and RCA was forever trying to persuade the pianist to record works by the Russian composer Anton Rubinstein--to whom the pianist was unrelated. The most they could coax out of him were a few short pieces, including the Valse-Caprice--a wonderful bit of fluff.

   The five star rating is for the playing and interpretation. The mono sound is acceptable, with reasonably clear high-notes and full bass in all but the earliest recordings.

5 comments about Sibelius: The Complete Symphonies.

1. Trust me. You have no need to read the rest of this review. This is the symphonic cycle to own. I always knew that Sibelius's music was extraordinarily beautiful, but it was obvious from other recordings I used to own that the interpretations I heard were sub-par. I took a chance on an orchestra I had never heard of, and I was blown away. The precision and care with which these great works are handled is simply unmatched by any major orchestra's recorded performances. The closest I came to hearing a rendition of the Fifth this good was a tape from Deutsche Grammaphon, but I cannot find a CD of that particular recording. No matter. It is no longer necessary. I am intent on eventually purchasing all of Sibelius's orchestral fare strictly from this conductor and orchestra.
   
   Every time the brass enter, it is an incisive cut through the ephemeral strings. The woodwinds are always playful, the strings precise and finely tuned. With Sibelius's complicated phrasing and enigmatic rhythms, it is vital that the subtleties don't get lost in mushier playing, and the fact that this orchestra survives on a smaller string section helps a great deal in keeping the sound clean and fresh, like you would imagine the air of Finland to be.
   
   Highlights include the superb and highly dramatic entrances of the strings and then the brass in the opening of the First, followed by respite with a jaunty little passage for harp and woodwinds; the pastoral first movement of the Second, followed by a lightning-fast Scherzo; the somber and tremulous passages in the Fourth; the frightening screech of the Horns at the climax of the Seventh, shortly before the prolonged leading tone in the penultimate chord; there's even the original version of the Fifth for your enjoyment. But what sets this recording above other cycles in my opinion is the way that the Fifth and Sixth are handled.
   
   The Horns are crucial in the Fifth, and here there are no complaints, only pure, harmonious playing. The strings also have a vitally important part in the first movement as they climb chromatically in oscillating chords behind fragmented melodies in the woodwinds, and Vänskä interprets this increase in dramatic tension perfectly, with a wonderful slurred motion that accentuates the rhythm without drowning the winds. The end of the first movement is beautifully done, as the timpani releases the rest of the orchestra to scurry to the finish in the higher registers. In the final movement, the Horns once again prove their mettle by keeping their layered playing expertly connected, slurring up and down to make mountaintops while playing harmony in thirds. The final staccato chords with the pauses in between are so often given to the occasional false start, but not here. The finale is a satisfying and powerful finish.
   
   The Sixth took me entirely by surprise. I had never heard this symphony played so well, therefore its immense power was hidden from me for quite some time. The strings take their time giving their mournful opening over to a lighter passage for harp and woodwinds; the brass are reliable in their ability to cut through everything with a surgeon's knife, and they do not disappoint here. The second movement consists mostly of scales, and fragments of scales for melody, with an almost baroque-like fortspinnung for strings in the final section. Here the delicacy of tension, just as in the opening movement of the Fifth, is held with exactness. The scherzo-like third movement showcases the Horns heralding the midsection and the finale with a magnificent dropping of the harmony back into the tonic with a few decisive chords. They also appear in the final throes of the fourth movement, bringing this magnificent symphony to glorious life once more.
   
   The Lahti Symphony is apparently devoted almost entirely to the study of Sibelius's music. On this set, it most definitely shows. I cannot recommend it highly enough.



2. This could have been a great cycle. As it is, it's quite quite good. There are some thrilling moments, some pedestrian moments, and one 25-minute long horrible moment. It's this mixed quality that makes the set so frustrating: first I want to cherish it and then I want to get rid of it. Overall, though, it's a keeper.
   
   The First is an okay reading, but it won't displace favorites Maazel/Pittsburgh on Sony (the only reading in that cycle that's worth a darned), Davis/Boston/Philips, Ormandy/Minneapolis Symphony/ or Sanderling/Berlin Symphony/Brilliant Classics and others I'm sure I'm forgetting. The scherzo here is particularly disappointing: tightly wound, it has no humor or joy or life, only speed. The Second lacks the drama, the heft, of the great readings, and is a bit boring by the end. The orchestra here (and elsewhere in this set) can get lifeless at times. Although this is far from my favorite Sibelius symphony, some great recordings are...oh screw it. I'm not nuts about this symphony, so you'll have to find your own great recordings. Colin Davis/Boston usually works well enough for me. If I recall, Barbirolli/Halle/EMI is also an intense experience, but the sound isn't nearly as good.
   
   Number Three is where things take off. This is a *great* reading, full of energy and nuance that the first two lacked. There are subtle adjustments of tempo in the first movement that show off the structure to great advantage: Vanska finds drama and playfulness here where other conductors don't. The lyrical slow movement is gorgeous and reflective, and the ending brims with energy. It's close to tops in my book, with Davis/BPO/Philips being just about the only peer. (Davis' most recent performance, live with the LSO on that orchestra's own label, is also very good.)
   
   But in the Fourth Vanska can't compete with some heavy hitters: Beecham/LPO/EMI, Maazel/VPO/Decca, Karajan/BPO/EMI, Davis/Boston/Philips again. (You'll get lots of recs for this set--I think it may be the best all-around set out there and a real bargain to boot--but avoid his two more recent goes, one RCA studio, one live, both with the London Symphony, both tired and pointless and the sound isn't even as good!) Here I get neither a chilling effect (Maazel, Karajan) nor a warmer, almost neo-Romantic effect (Davis). I don't get any effect, actually. I don't hear much structure here, and without an understanding of "where you are" at all times, it's easy for this symphony to fall apart into a sort of disembodied state.
   
   For the Fifth we have two versions, the original, thought for many years to be lost, and the current edition we all know and love. For the current edition, they turn in a sparkling performance that really pays attention to all the subtle dynamics in the score. In particular I have never heard the ppp markings observed as strictly as here. Two spots stand out: in the first movement the bassoon solo over ppp arpeggiated strings. And in the last movement, at about halfway through, as the strings start their quiet murmur of the big closing theme for the first time. Talk about breathing on the strings! Majestic stuff, brought to life with fantastically clear engineering. I've never heard this much detail before, yet it all sounds natural--no spotlighting. This recording compares favorably with Davis (again), Karajan/BPO/EMI, Barbirolli/Halle/EMI, Bernstein/NYPO/Sony, without displacing any of them.
   
   The original version of the Fifth is utterly fascinating. It's like meeting an old friend in a different form, so familiar and yet so new. In some ways I like it more than the standard version, but maybe that's just because it's new and fresh to my ears. Maybe it's because it's grimmer and more brooding and there's more drama in the struggle before we reach the finish line. At any rate, with no recordings to compare it to, I can just say Vanska and friends tear into it with passion and intensity. I recommend it highly, and I think you'll find his original thoughts particularly for the finale to be fascinating and very satisfying in a way the official version is not. Why Sibelius was not satisfied I'll never understand, but I'm grateful we have two versions to enjoy. Now if only that fabled Eighth symphony would turn up...
   
   The Sixth Symphony is the other great performance in this box. This is a spirited nymph of a performance, full of joy and love and longing. And this is a symphony I can find few good recordings of. This is one, arguably the best thing in the set. So many conducts take this so somberly and "inwardly" that it becomes dull. No such concerns of Scandinavian angst concern Vaska. This is my top recommendation for this work, though Beecham/RPO/EMI is pretty special too.
   
   After all that energy from the two versions of the Fifth and the stunning Sixth, you'd think we'd be reading for a Seventh to end all Sevenths, right? Wrong. This is my favorite Sibelius symphony, and one of my favorite symphonies period, yet I can never find a good recorded performance for it. My current favorite is Maazel/VPO/Decca. It's not perfect, but I can't find one that is, save for a live performance in 2004 by Simon Rattle and the BPO while they were touring San Francisco. They took the roof off of Davies Hall with a triumph that just may be the concert-going highlight of my life. I hope somebody recorded it.
   
   This present performance is slow, lifeless, and lacks all majesty and drama. I turned it off the first time at about the ten minute mark, bored to tears. It takes a lot to make me turn off a Sibelius Seventh. Finally I forced myself to listen to it to write this review. It's horrible. No sense of architecture. No nobility, no build. And the tone poem Tapiola, which is sort of a "sequel" to the Seventh, is equally unsatisfactory for the same reasons.
   
   So there you have it, after four days of slogging, some limited comparison listening, and checking some scores borrowed from the local library. It's a good set, beautifully recorded, with real attention paid to dynamics (micro-dynamics, really) but despite all that, some of the performances just don't gel. How much you need to get this set depends on how much you treasure these works, how much sound matters to you (this may be the best sounding set out there), how curious you are to hear alternate Fifth (my advice, be *very* curious), and how many other Sibelius boxes you have on your shelf. Overall I would recommend this set, but it's not as enthusiastic a recommendation as it could be.



3. Jean Sibelius remains somewhat of an enigma to concertgoers: nearly everyone is enraptured with the second symphony and many swoon over the fifth and seventh symphonies, but so often symphonies one, three, four, and six are overlooked. Yes, his violin concerto is well represented in nearly every contemporary violinist's repertoire, but the tone poems evade popularity. That is why it is exciting to own this fine set of four discs that not only surveys all seven symphonies but also adds the Tapiola as an encore.
   
   Osmo Vänskä conducts the Lahti Symphony Orchestra in an echt recording of Sibelius. Yes, some may prefer a different approach to the more familiar symphonies such as the second, but taken as a whole Vänskä coaxes stunning performances from his ensemble. He allows the massive 'organ pedal' sustaining notes that occur repeatedly in all of the symphonies to sound as if they are the earth itself emerging through splits in the glacial craters of the Scandinavian landscape. His tempi are so correct that they constantly encourage the sense of urgency few other conductors find in the works. If this listener had to select a favorite among the works it would clearly be the performance of the rarely heard and somewhat musically retrospective Symphony No. 3. Rarely has this work seemed so coherent and so ripe with all the ideas that constantly sprang from Sibelius' mind. It is a gem of a performance.
   
   Not one for boxed sets usually, this particular one, recorded with some of the finest sound available, is a mighty exception. It is a solid, consistently inspiring reading of the Sibelius symphonies. Grady Harp, November 06



4. Perhaps I've heard more memorable performances of some of these symphonies -- which, along with Debussy and Ravel's orchestral music, are my all-time favorite symphonic works -- but taken as a whole these are quite well played, with tempi reasonably judged and plenty of Sibelian atmosphere. The strings are a tad thin but have an appealing and appropriate "chill" to their sound, and the woodwinds and brass parts are persuasively characterized.

   As a bonus, you get BIS' wonderfully natural recorded sound, superior examples of how to properly record a symphony orchestra. If you're looking for one-stop Sibelius symphony shopping, you will be pleased with this collection.




5. I own three sets of the Sibelius symphonies: Maazel/VPO, Davis/LSO, and this one. There are still a lot of other ones out there that I haven't heard yet, but if were to make a recommendation this one would be my pick. Vanska and the Lahti Symphony Orchestra give some really fine performances of these works. A few bonuses with this Sibelius cycle is the symphonic poem Tapiola, and the 1915 version of the 5th symphony which is very interesting to compare with the final version. The sound quality is great, and the rather extensive liner notes give some very helpful information about each piece. This set costs a little bit more than some of the other ones available out there, but I think it's worth it.

   To be truly honest, my only disappointment with this set was the the 2nd symphony, which seemed to lack some of the intensity that I find in all the other performances in this collection. It's probably because the 2nd is my favorite Sibelius symphony and I'm really picky about it (I own 6 recordings of the 2nd). All I can say is don't let that keep you from buying this set. There are plenty of good recordings of the 2nd out there, so don't be discouraged.

   Still, I highly recommend this set. Just listen to some Sibelius. More people need to hear his music.

2 comments about Rubinstein Collection, Vol. 57.

1. With his specialty in Chopin, Rubenstein brought a sophisticated, somewhat underplayed style to Beethoven that relies on charm more than power. He doesn't miniaturize the music, though, and we have the pleasure of hearing his lovely touch, as in the slow movement of Concerto #1--it's like taking Beethoven out of the concert hall into an intimate parlor. Leinsdorf is on best behavior in the First, also, and RCA has recorded the BSO well. As the reviewer below states, there's a good deal of inner detail, and Leinsdorf never dawdles.
   
   Concerto #3 is a larger work, and pianists have the choice to play it like a mini-Empreror Concerto (grand and romantic) or remain in the classical style of the first two concertos. Leinsdorf begins with a strong, big-boned accompaniment, but Rubenstein isn't comfortable there, so once the soloist enters we get a tug of war between his smaller reading, with lots of expressive rubato, and Leinsdorf's robust one. Rubenstein gets to set the tone for the slow movement, which he makes sound charming and flexible. The finale is fairly low-key but nicely articulated by both pianist and orchestra. Rubenstein is again full of little expressive touches.
   
   I remember liking Rubenstein's individuality when these performances first came out in the mid-Sixties, and I still do, especially on CD, which has much improved sound over the Dynagroove LPs.



2. The recordings on this CD are from Rubinstein's second of three complete sets of the Beethoven Piano Concertos (there is also a separate Third Concerto, with Toscanini, recorded live in 1944).

   These recordings, made in 1965-67, demonstrate Rubinstein was just as "on top" of these works technically as he was in the earlier set with Krips (1956) and much more "into" them musically. In addition, the playing is notably more alert and straightforward than in his later set with Barenboim (1975). To be sure, purists will quibble with Rubinstein's use of rubato and approach to ornamentation, (not to mention his use of Busoni's editions of Beethoven's cadenzas) but these performances are a joy from the first bar to the last. Leinsdorf, with the Boston Symphony Orchestra, are to be credited for a fine accompaniment, far more detailed and sensitive than in the earlier set with Krips.

   All three sets of Beethoven Concertos from Rubinstein are worth having, but for those only able to obtain one--this is the one to have.  The sound, which was pretty good to begin with, has been superbly remastered.    

5 comments about Alexander Scriabin: The Complete Piano Sonatas.

1. Over the years I have heard live or have procured various pianistic performances of Scriabin's music played by the likes of Hamelin, Ashkenaszy, Horowitz, Richter; yet I have always preferred Ruth Laredo's sensuous, broad,subtle approach to Scriabin's masterpieces. I still believe her "Vers la Flamme" performance is the best for its unique passionate,even erotic persuasions. To be frank, I'm primarily interested in Scriabin's "late" period and have absorbed the beauty and "sensuosity" of sonatas 6 through 10. Listeners and critics vary in their recommendations, their approval or otherwise of the increasing performances of the sonatas now available to the interested listener. Almost all the masters have dominated the bravura format,as Scriabin's works are developed within extraordinary technical demands and exigencies. Hamlin probably reigns supreme, at least,according to most of the reviewers I've read. Opinions will vary, to be sure; reviews may be tendered by professional, musical critics; or, they may simply be reflections, opinions, and reactions of individual listeners intensely focused on Scriabin's inordinately complex music. A problem with the Laredo recording unfortunately, is that it's a"carry over' from an earlier performance recorded in the 1970's. Despite the audio problems, I still love the Laredo dedication to the inordinate, complex virtuosic demands. Her playing remains faithful, to a large extent, to the ever mysterious, subtle, if not lascivious, voluptuous, qualities which all too often haunt those demonic Scriabinesque harmonies. The performances are smooth and not overly percussive,as I have noted in later recorded performances.



2. This set is mostly valuable for being comprehensive as the performances are somewhat wan. Laredo also experiences technical difficulties here and there. Finally, the sound quality of the performance is below average. That said, I'm glad to own it because it includes some unusual pieces and brings all of these wonderful sonatas together.
   
   Not to throw stones, but I really have to wonder whether any of the reviewers giving this set 5 stars are familiar with Scriabin and the many excellent performances of his piano works that have been made. This is a fallback CD set.



3. I have the following complete sets: Laredo, Taub, Ashkenazy, Hamelin, Mikhailov, Szidon, Ponti, and Ogdon. I have two discs of Glemser and Horowitz, and one disc of: Sofronitsky, Pletnev, Kocyan, Bogdonov, Florentino, Coombs, Trpceski, and Richter.
   
   Here is my list of suggested performances of the sonatas, taken from those I've heard. They are ranked from left to right:
   
   G#m posthumous: Hamelin.
   
   Ebm posthumous: Glemser.
   
   No. 1: Kocyan, then Ashkenazy, then Taub. Kocyan tells a story. Ashkenazy is passionate. Taub is darker.
   
   No. 2: Kocyan, then Glemser or Sofronitsky, then Ashkenazy. Kocyan's fluidity takes it, but Sofronitsky is artistic. Glemser's first movement is beautiful.
   
   No. 3: Laredo or Horowitz. Then Glemser or Taub. Then Ashkenazy or Sofronitsky.
   
   No. 4: Taub or Sofronitsky. The latter has more artistry, the former a more coherent and appropriate tone.
   
   No. 5: Horowitz or Taub. The former has electric genius, the latter has wonderful refinement. Hamelin's is excellent (definitely his best Scriabin performance). I've heard that Richter's is great, but I don't have it.
   
   No. 6: Richter (genius but bad sound quality), then Taub. Hamelin's is athletic and precise, although not mysterious.
   
   No. 7: Glemser, then Laredo. The former brings out all the complexity with precision, the latter is sharp and clear. I have not heard Richter's.
   
   No. 8: Ashkenazy. Then Szidon or Laredo. I've read that Sofronitsky's is good, but I don't have it.
   
   No. 9: Sofronitsky, then Horowitz (all versions), then Glemser, then Szidon and Taub.
   
   No. 10: Horowitz or Taub. Same contrast of styles between the pianists as the fifth sonata. Like the fifth, this is Taub's other brilliant performance.
   
   Other pieces:
   
   Fantasy in B minor: Glemser
   Vers la flamme: Sofronitsky or Horowitz, then Laredo.
   Piano concerto: Ugorski/Boulez, then Ashkenazy/Maazel. Both are excellent, but I give the edge to Ugorski.
   Poem of Ecstasy: Maazel
   Prometheus: Ashkenazy/Maazel
   
   Regrettably, the posthumous sonatas are not included and not every performance is outstanding, but it does offer a top-notch third sonata, a great seventh, and solid performances of the first, sixth, eighth, op. 42 etudes, and Vers La Flamme. The 5th sonata is not well-performed here. The 4th has a bouncy feel in the second movement, and the 9th begins with no mystery. The tight (not spacious) analog sound should be braved by Scriabin aficianados, but those new to his music should stick with Taub's complete set (also missing the posthumous sonatas, regrettably), at least at first.



4. I have recently discovered the music of Scriabin. Rather, shall I say re-discovered, as I have up until recently been only familiar with his orchestral music and not his works for piano. This is a splendid recording of some of the most interesting piano music ever written.
   
   The first four sonatas are very much Romantic era music, with the 1st sonata being my favorite. The last six sonatas are extremely complex, yet moving and embody a great sense of mystery within them. It is clear to see how Scriabin was truly light years ahead of his time. These compositions beautifully illustrate the power of music to transfix the listener into experiencing nothing less than blissful paradise.



5. Alexander Scriabin was one of the last of the great Russian Romantic school who became a leader of the modern vanguard. This recording traces that musical evolution brilliantly. Many have associated Laredo with the Baroque or Classical genre but with this CD she proves that there are apparently no areas in which she is not proficient.

   The sounds produced here are nothing short of stupendous - from the loudest fortissimo to the quietest pppppp (that is a true marking). The technique is so completely masterful that one almost takes the devilish fingering, concorted chortds and fluttering dynamics for granted. The other outstanding feature of Scriabin's music is the continual "lift" as the music is in a constant state of key changes and transforming "rises".

   This is an important CD in that it traces the development of an enormously talented yet ultimately irrational artist. One item of note is that his son, who was remarkably gifted, drowned as a young lad. Otherwise we might have had a father-son musical continuum, the maturation of which we can only surmise. Liked other commentators, I enjoyed the dark, stark cover.

   To understand Scriabin one must understand the Sonatas and his reaction to them. One way to understand the Sonatas is by listening to this recording.