No comments about St Matthew Passion (Complete) (live performance in Symphony Hall, Boston on Good Friday March 26, 1937) - Koussevitzky.

5 comments about Bach - Matthäus-Passion / Prégardien, Goerne, C. Schäfer, Röschmann, Fink, von Magnus, Schade, M. Schäfer, Henschel, Widmer, Harnoncourt [with Enhanced CD-ROM].

1. The potential listeners should not be discouraged by some of the reviews posted here. After all, this recording won Gramophone Award in 2001 for best vocal baroque recording. And to quote from the "Gramophone" review: "This is another major recording [...]shining like a beacon in a fairly uniform era of recorded vocal Bach. [...]In short, this is the most culturally alert reading in years. A truly original and illuminating experience [...]"



2. Possibly interesting to the specialist, particularly in the treatment of dischord, but this is not a sincere rendition of the Matthew Passion. As mentioned by previous reviewers, tempos are too fast. What does it mean that to consider the initial chorus "Kommt, ihr Toechter, helft mir klagen" (come ye daughters, share my mourning) as a jig? Not what Bach meant! And this is an "authentic" performance! If you are looking for a "period" performance, I would advise Gardiner's, although I am sure there are others which also maintain due respect for the theme of the passion.



3. This one is a highly prised version (Grammy winner and classical magazine Grammophone winner as best baroque vocal for year 2001 records and also worth mention is that this disc is the most recommended version -EVER in that magazine) and it is easy too understand why when you listen to this fantastic disc.

   Now we go to what I think of it...

   A cast that has a better "line up" than this is hard to find because they are all among the best, especially from Germany/Austria as those people mostly come from, are high class singers -ALL of them.

   Prégardien, Goerne, Christine Schäfer (very good on THIS one), Fink and Schade is at their best on this disc/version.

   Music is SOMETIMES fast but I like it that way and it is NOT so "rushed" as some rewievers complains about in MY opinion...

   It is def NOT fast/rushed at all more in that way than it depends on if you like slow interprets or to have it a bit quicker. This is def. NOT "rushed" but I can asure you that those times it is "rushed" it is good for the drama (yes it is also "slow" SOMETIMES as a drama effect)

   I think Amazons review is QUITE good BUT about that so called some "sloppy engeering" at the last disc I MIGHT MAYBY hear that a LITTLE one or two times on the last disc but it is not anything worth complaining about -in my opinion- so I dont know if there is something wrong with that specific record the reviwer (and some others) own but mine is alright in that way and it is no interups att all worth mention.

   I have not listen to St Matthews Passion for so long, I mean to call me an "expert" but as a relatively newcomber to this piece I am highly satisfied with this version and both chorus (Wiener Sängerknaben and Arnold Schoenberg choir) is great, absolutly fantastic on this -as the rest of the leading singers as I mentioned before.

   Concentus musicus Wien play this LIVELY (not "rushed")and is not "sloppy" att all... they DARE and has the guts to feel the music, live in it.

   Harnoncourt has done an excellent work and he understands this piece well I presume because it IS really something extra and he had recorded it three or four times before.

   The sound is ABSOLUTLY STUNNING, great captured from a church so it was a good team working with soundengineering and a good idea too replace it where it belongs -to a church. Sound "breaths" and are crystal clear and warm.

   Bonus is a beutiful book with paintings of Jesus, text to follow, insight of the story and the last disc is ALSO at your use as a CD-rom showing Bach:s notes.

   At last... I am sick and tired about negative people about "definitive" versions and so on.. it is NO "definitive" version and I could asure that Harnoncourt CAN read notes. This is a drama MEANT to put "live", personal feeling in and in that way this is great.

   Also good is Herreweghes, Suzukis and Gardiners versions but this is for ME the ABSOLUTLY BEST and you could def. NOT go wrong with this disc (and not with those mentioned either.. but I like this more than the others).

   Enjoy.




4. The "enhanced CD" part of this recording ironically underscores the problem with the performance. Look at the score, by all means! There, in red ink, is Bach's gripping engagement with this story of stories: this is not only music, it is a total intellectual, emotional and spiritual response to the meaning of the text that is set. To mis-interpret the obvious musical gestures that Bach uses to reinforce that meaning does both him and the listener a profound disservice. No one wants Mengelberg back - but can we at least go with what's on the page?

   For example: when Bach sets the legato, tortuous threnody of "So ist mein Jesus nun gefangen" into motion, then shatters it with "Lasst ihn, haltet, bindet nicht!" how can the choir sound so languid and unconnected? Nor do the crowd's brutal shouts of "Barrabam" and "Lass ihn kreuzigen" have any real conviction. Again and again, the choir seems to be "just singing" - and their lack of connection with Bach's obvious dramatic intentions leaves the work half performed.

   All of this is by way of contrast to the magnificent and convicted solo singing, especially that of Matthias Goerne, whose Jesus rings with vivid, masculine life. Simon Heighes' review hits the high (and lesser) points on the other soloists as well - many of these arias are extraordinarily well sung.

   ... However, it is in the area of tempo that I find Harnoncourt really adrift. The tempos are absurdly fast in places where the music cries for breath and breadth. This reaches unfortunate levels at the cross itself, with the sublime alto aria, "Sehet Jesus hat die Hand," moving so quickly that neither oboes nor choir can possibly sound their parts adequately. And the tempo of the fabulous bass aria, "Mache dich mein Herze rein" turns it into a jolly, oversung ditty - totally missing the mixture of resignation, joy and bitter pain conveyed by the major key, compound meter and rich scoring.

   All these criticisms come together at what ought to the emotional climax of the piece, the penultimate "Nun ist der Herr zur Ruh gebracht", in which each soloist offers Jesus their personal farewell. The solos are fabulous - tender and resolute - but the choir flips it off: "Yeah, yeah, good night already." I don't know what Harnoncourt was thinking, but it's quite clear that Bach had something much more profound in mind.

   All this begs the old question: to what extent can strictly historical understandings of performance practice dictate interpretation? The answer all to often these days is "totally" - and Bach's masterpiece suffers for it. Three stars for the soloists (especially Goerne) and the enhanced CD, but look elsewhere for the depths this work demands.




5. With the music of Bach, Harnoncourt is the conductor people will either love or hate. He was the first to record the complete Bach cantatas and, love him or hate him, his renditions are always different. I have not always been a fan of his work with Bach. I will love some of his recordings, and be compeltely repulsed by others. I find his renditions to be a bit "wooden," archaic, percussive, lacking in the elegance and "suave-ness" one gets from conductors like Ton Koopan, or Harnoncourt's own protogee Philippe Herreweghe.
   
   Harnoncourt's recorded the St. Matthew Passion twice before. But I must say, this record, with all its idiosyncracies, is a pleasure to listen to. It is unpolished and imperfect, and indeed the forces seem unbalanced at times, but I think this is what adds to this recording's allure. The imperfections (not due to "mistakes" but due to some odd technique of the playing and odd artistic choices of Harnoncourt) are not jarring, but immensely interesting.
   
   I wouldn't go as far as to say this is the best record. This record may have won many awards including a Grammy, but in my opinion, the award for the gold-standard of St. Matthew Passions goes to Philippe Herreweghe and his second recording of the Passion for Harmonia Mundi. I'm impressed with Harnoncourt's soloists. Pregardien is gripping as the Evangelist, although not as lithe as Ian Bostridge. I am thrilled at the presence of Dorothea Roeschmann on this recording, as she never fails to impress me. There is not one weak link in Harnoncourt's cast.
   
   The orchestra and the choirs do not always balance evenly, and I feel Harnoncourt has misjudged how dramatic Bach's score could be. The interjections especially in the opening chorus and in the soprano/alto duet at the end of part one are simply not strong enough. Some of the turbae choruses are seriously lacking in conviction and power. There are some odd sforzati in "O Mensch, bewein dein Suende gross" as well as a few other odd licences taken by Harnoncourt and not indicated by Bach in the original score. For this, I would give the record 4.5 stars if I could. But on the whole, with all Harnoncourt's quirks, it is like listening to the St. Matthew Passion for the first time- a totally different listening experience from what we are used to. This is a recording you can't help but listen to all the way through.
   
   The sound quality is excellent. Although it may be too good at times (traffic noises can be heard at certain points, but it's very minor). However, the true ambience of the church in which it was recorded is captured in its full majesty.

5 comments about Plácido Domingo - Verdi ~ The Tenor Arias.

1. Placido Domingo's magnificent voice scarcely needs any introduction or praise or comments, as it is a splendid vehicle that speaks for itself. Not only is the voice - a strong, wood-grained, ringing tenor of a richer and darker sound than a pure lyric tenor - an amazing thing, a gift of God, but Domingo is himself a master of the technical demands of music (in addition to being a master of the technical demands of singing - not the same thing at all!) and a truly great singing artist.
   
   That is, he is never content to sing without becoming the character, without expressing the emotions of the character.
   
   The size, colour and drama of the voice make him an ideal Verdi exponent. Who could ever forget his magnificent performances in "Un ballo", "Don Carlos", "La Traviata", "Il Trovatore", and a host of other Verdi tenor roles? And the consistency of Domingo's vocal quality is something of a phenomenon. This man has had an enviable career - and it's his superb vocal technique that has carried him through it.
   
   I particularly love the way that he varies the outpourings of that golden tone. At one moment it's all fire and blazing intensity, and the next it's a thing of restraint and tenderness. Is there anything at which to cavil in Domingo as a Verdi tenor? I do not think so...
   
   The world has been fortunate to be gifted with such a tenor. If music itself adds meaning to our life and to existence itself, it finds an ideal servant of itself in this man who is certainly one of the finest tenors in the world.
   
   This collection of Verdi arias represents not only the recordings of Domingo in the roles he's tackled during his long career (with some of the finest fellow singers you could imagine), but also some earlier Verdi that he'd not performed, and which he recorded specially for this multi-CD set. The result is a triumph. One can see the difference instantly between various characters - not an easy thing to do.
   
   I would also like to recommend another set - "Der junge Domingo" (The Young Domingo), a 5-CD set released by BMG. I cannot find it here on Amazon, so I can only suggest those who are interested try alternative sources. It's a quite stunning collection - admittedly it contains "Svegliatevi nel cor" which I think is a mistake, but then it was recorded before the Handel revival and was thus less historically informed than one might wish. But really... it doesn't matter. The great beauty and intelligence of Domingo's singing shines through even that, and it's followed by a lovely "Il mio tesoro" from Mozart's Don Giovanni. Things get even better - there's a Donizetti aria from Il Duca d'Alba, the famous tenor aria from La Juive, the "Quando le sere al placido" from Luisa Miller, Lenski's aria from Eugene Onegin, some Gounod (including arias from Faust and Roméo et Juliette), the love duet from Madama Butterfly with Leontyne Price, and much more...



2. This is Placido Domingo's best recording to date. His greatest and strongest repertoire was Verdi, as he himself claimed, and this recording is a lovely tribute to Verdi himself. A plethora of arias from such operas as La Traviata, Il Trovatore, Aida, Don Carlos, Otello and such earlier works like Il Foscari, Jersualem, Nabucco, Stiffelio and Ernani. In Placido Domingo, the opera scene found the heir to Enrico Caruso and successor to Franco Corelli. Originally trained as a baritone, Domingo had opera in his blood. His Spanish-born parents were Zarzuela singers. Placido's voice is dark, rich, full lyric, but dramatic and compelling, the perfect voice for Verdi and Puccini. Domingo mastered a number of operatic languages including French, German and Russian. His charisma, good looks and dramatic prowess was all to his credit and he appeared in Zefferelli movies (Traviata in 82 and Otello in 86. Many detractors and critics have taken a while to praise Domingo, and it wasnt until he sang Wagner that they came around. He has always been "outshined" by Pavoratti with whom he had a real rivalry with. But unlike Pavoratti, Domingo has more dramatic integrity in his characterizations and is the more cerebral singer. His voice is more beautiful, less brassy than the overweight showy Pavoratti. This is his best recording and I urge all fans to own it at once.



3. This set is a recorded testimony to both Verdi's genius and Placido Domingo's versatility. Through 70's, 80's, and 90's, Domingo recorded with three major labels -- DG, RCA, and EMI. Out of these three, DG captured the most Verdi recordings, so it only was right for it to combine what they already had with newly recorded material, mostly early Verdi arias (Chung & Gergiev conducting), plus some licensed material (e.g. Giovanna D'Arco) from EMI.
   What impresses right away is how little has the voice changed over the years. Yes, some freshness heard on Ingemisco is lost now, but there is much greater insight gained, as displayed in such heroic pieces as "O magnanima, e prima delle città lombarde". Through numerous performances (Domingo has long ago broke Enrico Caruso's record for opening nights at the MET) and numerous recorded recitals, Domingo managed to keep the powerful, ringing spinto tenor mostly intact. What's most intriguing is HOW did he manage it. He did not pick and choose the roles (as Bergonzi, for instance), he sang Otello since the 70's, and recently has even recorded some of Wagner's extremely demanding roles (see EMI's catalog). Domingo's voice is not typical for an Italian tenor, e.g. he does not have the squillo (or the "ping") on top notes, but what's amazing is that it is able to produce bronze-like ring on all notes. During the mid-eighties, the voice had a fascinating baritonal quality; Domingo has even recorded Il Barbiere. On this CD, the selections with Guilini reflect that period the best.
   Deutsche Grammophon chose to alternate the new-recorded material with old one. As a result, those who have been devoted fans of the tenor for, say fifteen-plus years, will notice some difference, but those relatively new to his art would not.
   The set, albeit not a bargain, has many delights. In addition to featuring selections from out-of-print editions (e.g. Luisa Miller with Maazel) the newly recorded material is targeted at paying homage to early Verdi and his lesser-known works. For instance, "Ah, toi que j'ai chérie" from French version of I Vespri siciliani is a great aria, makes one wish for a complete opera to be recorded some time soon. The French selections in particular show how attentive Verdi was to highlighting the beauty of language with his music. This really explains why Italian translations done later did not fare as well as the originals, and vice versa.
   The selections from complete operas impress with starry casts. We hear the voices of Price, Cappuccilli, Ghiaurov, Milnes, Jo, and most wonderful choruses. And most of world's greatest conductors are present here -- Karajan, Gergiev, Kleiber, Levine, Abbado, just to name a few. Each brings his own distinct style, some controversial, some debated, all exciting, but none simply conventional.
   Many have noted Domingo's chameleon-like ability to "become" the character. I would just like to add a note that he is now added the ability to infuse his characters with subtle sensuality. Granted, a tenor aria is written to be appealing and engaging, but it takes a great artist to make it "glow."
   We are indeed very lucky to share a time frame with Placido Domingo. For years to come, he will be the idol for aspiring singers and a source of wonder for the numerous fans of great vocal performances.



4. What a voice and what a power. Here we have a combination of a beautiful music and a perfect voice. What else would you need to enjoy it.



5. Pure,absolute satisfaction!That's the onlypossible feeling I could possible have after having listened and cherished this fabulous set of CD's. It is a tribute to this magnificent master of fine singing,as well as a monumental homage to the mythical Giuseppe Verdi!Placido Domingo is the perfect, harmonious combination of acting, passion and singing. He is always powerful and crystal clear in his high notes. Maestro Domingo knows every time where and when to adjust his divine voice in the appropriate tone and volume.He is never too loud(too forte!) or too low, and never croons. Although there are some trivial flaws as far as the sound quality of specific tracks is concerned e.g. the last high note from "O mio rimorso!", this CD-set is a real tresure and an excellent value for money for anyone who wishes to call oneself a "real VERDI - addict" as well as a fan of this glorious artist, a dramatic, a heroic,a lyric,a mature,a perfect singer. HAIL PLACIDO DOMINGO, TENOR OF THE TENORS!

5 comments about Bach: Cantatas Volumes 1-5 (75 Cantatas for Sundays and Feast Days of the Church Year).

1. Whether you are a fan of Karl Richter's interpretation of Bach's music or not, these Cantatas are worth listening to.
   
   There are so many great solists that we can consider these recordings as historical.



2. We may only have 75 cantatas in this set, but I tell you that they are the best recorded, best performed and best interpreted. Unforgettable cast and famous historical series, full blooded sound and playing...but sadly incomplete due to Karl Richter's death :(
   
   Beautiful packaging, in-depth liner notes and complete libretti inside each volume.
   
   A remarkable achievement and enterprising endevour.
   
   I don't need any other cantata cycle though...I consider it complete nevertheless.



3. These performances may not get high grades from the professors, but Richter makes glorious music here. I owned most of these recordings on disc decades ago, and upon hearing them again was surprised at how deeply I was struck not only by the magnificent beauty of the interpretations, but also by the heartfelt commitment of the superb soloists. I have a zillion recordings of these cantatas, so go ahead and scoff, but Richter gets me closer to this music than anyone else. And what music it is! I hope I live long enough to listen to these 26 discs a thousand times.



4. I believe I owe it to the period performance movement for making me feel like I am committing a sin when I don't listen to Gardiner's or Hogwood's Bach (or Handel, or any Baroque composer for that matter). If, say, I put in Shaw's recording of the B minor mass, or most certainly Klemperer's recording of the St. Mathew passion, I feel that I should somehow be ashamed for what I am doing. There may be some type of Freudian truth buried deep within my being ashamed; however, there has always been an exception to my modern instrument guilts. This is, of course, the Bach recordings of Karl Richter; and more specifically, Richter's immortal survey of the sacred cantatas (well, 75 of them anyway). I received this set as a gift when I graduated from college, and I have been constantly listening since. The music of Bach has meant more to me than any other composer, and the Richter recordings show Bach's true genius at full speed ahead.
   
   Don't get me wrong, I love Gardiner's recordings of the B-minor mass and the St. Matthew Passion; and I do believe that period performance practice reveals a totally new dimension of Bach which can sometimes be overlooked (or, "glossed-over" as the case may be with Klepmerer and others of the like). However, any academic arguments favoring Gardiner over Richter are simply meaningless to me. As Glenn Gould said, its not the type of instruments used that count, but rather, a deep respect for the innate structures of the music; this is what's important,and to accomplish this he believed that we must get rid of the incorrect and outdated notion that by "glossing over" these structures, it somehow improves upon them. I think Gould is absolutely correct in saying its respect for the musical structures that counts most; this is the only duty incumbent upon interpreters of Baroque music (and especially Bach). With this in mind, how can Richter not be the supreme interpreter? Richter gives us Bach in the Bach tradition, and I believe that this is in no small part due to his deep understanding of the same Lutheranism which was in the mind of Bach when he wrote this glorious music. To quote yet another Bach authority, Albert Schweitzer once said "Only he who sinks himself into Bach's emotional world, who lives and thinks with him, [...] can rightly bring Bach's music to the listener". I can think of no one who fits the description quite like Karl Richter.
   
   Well, all arguments aside, the music on these 26 [!] discs are absolutely unsurpassed. I was a bit worried before I received this set, as I knew that in Richter's latter years, he did seem to take various liberties with the scores (more specifically, a slowing of the tempi to the point that it takes us out of the Bach tradition). However, I can safely say that these rumored liberties are nowhere to be found in this set, just pure Bach. I wont dare try to single out notable performances of this massive set (I would be here all night, and I am sure you are becoming tired of reading this anyway). However, one cantata specifically stood out for me during my first few hours with the set (and has since stuck with me); this being BWV 132 (4th Sunday in Advent cantata). This specific cantata, can speak for the entire set in terms of the soloist supremacy above all other Bach cantata recordings (how can you go wrong with Edith Mathis, Anna Reynolds, Peter Schreier, and Theo Adam - with Ursula Buckel and Dietrich Fischer-Dieskau elsewhere on the set).
   
   So, finally, this set has exactly what I want in a survey of the cantatas - that is, the genius of J.S. Bach is in the driver's seat, not the conductors. While Gardiner has his moments (and when he does, they are fantastic), and Klemperer did at least get everyone talking about Bach again, I believe Richter's interpretations are the standard by which this music should be played and heard. This set is a landmark in the history of Bach recordings, and although quite expensive, it really should be in the collections of all lovers of music.
   
   
   - By the way, the set comes in a large slipcover (as shown above by Amazon), with the five original fold-open cases inside; each made of an extremely sturdy, glossy-coated cardboard (as shown above by me [hopefully]). Each disc is in a paper sleeve.



5. I treasured these recordings as a music student in high school and college in the '70's. Although newer, 'historically correct' recordings were emerging, Richter's musicality, if one will, still attracted me to these Archive recordings. This set is a bargin considering all the music there is to digest. DG's remastering is excellent-the warm analog sound does not suffer what can sometimes be a strident digitized reincarnation. DG's engineers and hardware were always on the cutting edge and these recordings speak to that fact. Say what one will about the oddities of interpertation, there is music in evey bar. Before I began listening, I though that I should prepare myself to forgive Richer for his position in history and look the other way when so called historically inaccurate idioms presented themselves. Yes, they are there, but, the younger listener will be quite astonished to find amazing vitality and sweep of phrase and articulation. Richter's tempi are often suprisingly brisk. The roster of soloists speaks for itself. If you are a musician interested in the genesis of Bach interpertation, this set is a must-have. It is often said that many Bach conductors after Richter took up where he left off. This group of recordings is a testament to his influence. Bravo DG !

5 comments about Béla Bartók: The Six String Quartets.

1. These are great pieces of music and the Juilliard Quartet performs the slow movements beautifully. The fast movements are accurate, but lacking impact. The recording quality is fairly good. Bela Bartok: The 6 String Quartets - Emerson String Quartet does a better job of the fast movements, but not as well on the slow movements. I would recommend the Hungarian String Quartet Bartók: 6 String Quartets recording instead.
   
   P.S. I saw the Juilliard String Quartet perform Bartok's 5th string quartet in 2005 and it was phenomenal. I'm just reviewing the recording here, not today's quartet!



2. It is a shame that the 1981 Juilliard cycle has been the only available Juilliard cycle for some time, because it is by far the weakest of the three. Sure, it is a relatively cheap CD set, but I don't really feel it is worth the money. The playing, compared to the Juilliard's incomparable 1963 recording, is positively anemic. The sound quality also leaves a lot to be desired. Overall, this is an unsatisfying listening experience.

   If you want the 1963 Juilliard version, good luck. It is available only as an import, and is generally a challenge to acquire. The same can be said of the Alban Berg Quartett cycle. Probably the best domestically available version would be the Emerson Quartet's cycle.

   Some people may be thinking that they are getting the 1963 version with this CD set. Don't be fooled --- this version is significantly inferior and should definitely not be your first choice.




3. It has been said that Bartok's string quartets together are the best thing to happen to classical music since Beethoven's string quartets. There are many wonderful quartets out there performing these quartets, but this recording by the Juilliard Quartet just doesn't rank up there. I swear by the Emerson Quartet's rendition on Deutsche Grammophon which has wonderful recording quality and an amazing performance. I've heard the Takacs Quartet live and they indeed have their own wonderful way of interpreting the music that's different from the Emerson Quartet. I'd recommend either quartet's work heartily over the Juilliard's version, which is thin, lifeless, and simply unsatisfying. Don't think you're saving money -- you'll just end up buying one of the better versions anyway!



4. There are better interpretations of these seminal works available -- Takacs Quartet and Emerson Quartet do excellent versions, I'm told -- but for someone on a budget who would love to hear six great, innovative string quartets, you can't beat this disc.

   A two-disc set recorded in 1981 by the famed Julliard String Quartet, this collection takes what are considered by many to be the finest string quartets ever written and gives them a clear, beautiful interpretation. While the first two (and last) quartets are quiet and contemplative, things get really exciting in the middle portion, with 3, 4 and 5 bristling with energy and tension. This is "modern" classical at its finest.

   Julliard shows why Bartok was such a revered composer. If you want to go all out and get the aforementioned Takacs or Emerson versions, I'm sure you'll be sonically rewarded. But two excellent discs for under $15 is a great deal.




5. Bartok composed the great string quartet cycle of the early 20th century. Of the various available recordings, this Juilliard from 1981 has one obvious advantage -- it's cheaper. By all means, listen, it's a fine version, but you'll never know what you're missing if you don't hear the Takacs Quartet's "gypsy" version!

   The 3rd, 4th, and 5th quartets are sheer modernist genius. The 1st and 2nd are less innovative -- the 1st is in the romantic tradition. The 6th is calm and tragic, written as Bartok prepared to leave Hungary for the USA.

   Here are some comparisons between the Juilliard and Takacs recordings -- an advantage of the Juilliard is that the quartets are in order, while the Takacs changes the order. The resulting disadvantage of the Juilliard is that #4 is split. The Juilliard has perfunctory liner notes, while the Takacs has superb, extensive liner notes describing each piece and how it was written. As for the music, these are very different interpretations. The Juilliard Quartet sounds quite neoclassical -- light, even thin, restrained, and emphasizing the ensemble more than individual lines. In dramatic contrast, the Takacs Quartet sounds rougher, earthier, "gypsy" -- they are heavier, thicker, more passionate, and sound more like four individuals playing together than a unified ensemble. So far, a matter of interpretation. Both are valid, and the differences highlight the rich potential of the scores. BUT, there is a serious problem with the Juilliard, and that is why I give it only 4 stars -- the recording seems to slight the bass end, with a faint cello. The Juilliard recording of Carter's quartets doesn't suffer from this problem, and so I have to conclude that the problem is in the recording, not the playing. The recording of the Takacs disc is superb and balanced, and is probably partly responsible for the sound of four distinct lines.

   If you enjoy these quartets, listen to the great string quartet cycle of the late 20th century by Elliot Carter!

5 comments about Rubinstein Collection, Vol. 28.

1. One reviewer rated this recording as his best Rubinstein recording. I think he really meant performance, not recording. The recording is supposed to capture the performance as close as possible to life like. The sound on this recording is a little disappointing, especially tracks 1 to 6 where the piano sounds a bit harsh. The piano sounds much warmer on the last 3 tracks, but on these there is just a tad of background tape like hiss noise that does not spoil the performance. I enjoyed the first 6 tracks more on my second and third auditions as my ears adapted to the sound.
   
   Certainly the early 60s stereo recordings of Rubinstein's performances of Chopin's waltzes, ballades, scherzi, etc. are far better recordings (recording engineer sound wise) and the performances are just dandy. If all the early 50s mono recordings were sooooo great, why did just about every classical artist and orchestra and their mothers go back into the studios in the late 50s and early 60s and record again in great sounding stereo all of their 50s mono stuff?
   
   Rubinstein lived long enough to experience all of improvements in analog recording and, with each improvement, he was back in the studio. Piano rolls, recording onto 78s, 12 inch 78s, recording onto magnetic tape, mono long play records, and then stereo long play records.



2. 1 star is too much for the price even.bad OLD recording.bad interpretation of the music.definately not definitive.this is in my opinion simpleton's music.go for chopin on naxos.



3. I have heard Chopin's Polonaises performed live by Van Cliburn and recorded by no less than Horowitz, Perahia and Ashkenazy. Nothing I have heard -- no performance I can imagine -- surmounts these readings by Arthur Rubinstein. No, not even his 1964 stereo recording (Volume 48). Do not be discouraged by this mono recording. The sound is clear, brilliant and alive -- and the performance is unsurpassed in technique and passion. From the powerful Op. 40 No.1 in A (Military) and Op. 53 in A-flat (Heroic) to the delicate, moving Polonaise-Fantaisie, Rubinstein demonstrates not only his range and interpretive gifts, but also those of Chopin. The liner notes include an observation made by the poet Heinrich Heine about Chopin in 1838: "Poland has given him a chivalrous mind and its historical sufferings; France lightness, elegance and charm; whereas Germany, romantic depth... [Chopin] is not only a virtuoso but also a poet, capable of laying open the poetry of his soul. He is a poet of sounds and there is nothing to compare with the joy he gives us..." As much could be said had this been Heine's premonition of Arthur Rubinstein. My highest recommendation.



4. Chopin's mature Polonaises by Artur Rubinstein
   By Peter Dietrich, President of the Chopin Society of New England, Inc.

   Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
   This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
   The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
   The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
   The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
   The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
   Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
   Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?




5. Simply the best and unforgettable performance of Chopin polonaises I have ever heard...

3 comments about Original Jacket Collection: Vladimir Horowitz.

1. Vladimir Horowitz is, perhaps, the last example of the true last romantic russian virtuoso. His execution is always interesting by a musical point of wiev. The composers are many and of varied historic periods, but the execution is always very appropriated in style and musical analisys. Specially the works by Scriabine and Rachmaninov have here an equilibrated treatment that shows the musical qualities over the technical power. An indispensable for all piano lovers and piano players.



2. Despite having died over twelve years ago, Vladimir Horowitz remains a potent force in the ever-shrinking Classical music market. Since his death in 1989, Horowitz' complete recordings have been remastered and reissued, and a number of previously unreleased recordings have also surfaced.

   The marketing gimmick behind the Original Jacket Collection is a simple one: ten CDs, with the music duplicating the original LP release, with the original liner notes and bearing the original LP covers (albeit in miniaturized form).

   Horowitz was in his late prime during his Columbia (now Sony) years, 1962-1973. The performances in this box are rightfully legendary. Highlights include: loads of Chopin including the Sonata, Op. 35 (1962), a brooding Poloniase-Fantasie, Op. 61 (recorded live in 1966), an electrifying performance of the neglected Introduction & Rondo, Op. 16 (1971); Horowitz' own transcription of Liszt's Hungarian Rhapsody No. 19; and the all Scarlatti, Rachmaninoff, Schumann, and Scriabin LPs. It is worth noting that most of these recordings were Grammy winners and have never been out of the catalogue since they were initially released.

   That's part of the problem. Horowitz fans with sharp ears will detect that these are not new remasterings, they are straight transfers from Sony's 1993 Complete Masterworks Recordings reissue. In a number of cases here, such as in Schumann's Kreisleriana, alternate takes were used, which differ from the original LP issues. While the performances don't suffer from the alterations, should not Sony have done their homework and checked the CD remasterings against the original LPs?

   Given that most of these CDs clock in at about 40 minutes, and that the potential CD playing time is twice that long, shoppers are advised to spend a few extra dollars and buy the 13-CD box of the Complete Masterworks Recordings, as they offer much greater value for the money. The 5-star rating is for performance quality only.




3. Vladimir Horowitz remains a potent force in the ever-shrinking Classical music market. Since his death in 1989, Horowitz' complete recordings have been remastered and reissued, and a number of previously unreleased recordings have also surfaced.

   The marketing gimmick behind the Original Jacket Collection is a simple one: ten CDs, with the music duplicating the original LP release, with the original liner notes and bearing the original LP covers (albeit in miniaturized form).

   Horowitz was in his late prime during his Columbia (now Sony) years, 1962-1973. The performances in this box are rightfully legendary. Highlights include loads of Chopin including the Sonata, Op. 35 (1962), a brooding Poloniase-Fantasie, Op. 61 (recorded live in 1966), an electrifying performance of the neglected Introduction & Rondo, Op. 16 (1971); Horowitz' own transcription of Liszt's Hungarian Rhapsody No. 19; and the all Scarlatti, Rachmaninoff, Schumann, and Scriabin LPs. It is worth noting that most of these recordings were Grammy winners and have never been out of the catalogue since they were initially released.

   That's part of the problem. Horowitz fans with sharp ears will detect that these are not new remasterings, they are straight transfers from Sony's 1993 Complete Masterworks Recordings reissue. In a number of cases here, such as in Schumann's Kreisleriana, alternate takes were used, which differ from the original LP issues. While the performances don't suffer from the alterations, should not Sony have done their homework and checked the CD remasterings against the original LPs?

   Given that most of these CDs clock in at about 40 minutes, and that the potential CD playing time is twice that long, shoppers are advised to spend a few extra dollars and buy the 13-CD box of the Complete Masterworks Recordings, as they offer much greater value for the money. The 5-star rating is for performance quality only.

5 comments about Rubinstein Collection, Vol. 61.

1. La interpretacion al piano de Rubinstein es magnifica el problema es la orquesta es bastante mediocre y el sonido es bueno para haberse grabado en los 60's, vale la pena tener este CD.



2. In 2 CD we have 5 MOZART' concertos played perfectly by
   Arthur RUBINSTEIN.
   Concerto n.24 with the great Josef KRIPS(1958)
   Concertos n.17,20,21,23 with Alfred WALLENSTEIN(1961)
   I had already these concertos by Rubinstein on 3 ninyls but on
   CD,in new remastering,the sound is better.



3. I listen to a lot of music.
   I have dabbled in performance, but, I am not a professional.
   With that disclaimer, I feel I must do everything in my power to
   promote this exceptional collection of exceptional performances.
   I have each and every one of these concertos performed by various pianists.
   I won't name names or compare one to another.
   I had one that I even particularly liked.
   For some reason I am continually returning to these hypnotic
   and enthralling performances.
   I can't put it into any sort of learned or academic terms.
   I am just simply captivated by the graceful force of Rubinstein's playing and the direction and sonority of the orchestras in these recordings.
   What else can I say ?
   Well, I have quite a few more of these discs from the Rubinstein
   collection.
   I heartily recommend them to any music enthusiast !
   Check out his Villa-Lobos.
   Yummylicious!



4. Although you may think of Rubinstein primarily as a Chopin interpreter, where he is unsurpassed, his Mozart can stand up to anyone in terms of tonal beauty and imagination, if not technical perfection. These are all classic performances of four of the very greatest piano concerti ever written, and Rubinstein puts his individual stamp on each of them, well worth listening to even if you already have a favorite recording (such as, in my case, Perahia). The great thing about this new release is that the sound quality is DRAMATICALLY improved and you would scarcely know that these are recordings from the late 50s and early 60s.



5. Despite his early reputation as a hell-for-leather virtuoso, Arthur Rubinstein, was in fact one of the first pianists to record a Mozart Concerto (K. 488, recorded in 1931).

   The early stereo recordings on this 2CD set were made in 1958 and 1961. Purists who are obsessed with certain details of ornamentation and embellishment will not enjoy these performances. Rubinstein does not embellish the slow movements, and he generally takes trills from the main note, in contradiction to current Mozart scholarship. For those who are obsessed with details, rather than totality, there are Alfred Brendel's numerous performances--in attaining scholarly perfection, they are perfectly boring.

   Rubinstein's performances are another matter entirely. This is a red-blooded, warm-hearted Mozart. There is a natural rise-and-fall in Rubinstein's phrasing and rubato which wears well, even after numerous hearings. Even Mozart's more overplayed Concertos, such as K. 467 (dubiously known as the "Elvira Madigan") sound fresh and new here. Incidentally, Rubinstein plays his own candenzas in this concerto, and they are very convincing. Wallenstein (and Krips in K. 491) draw fine playing from the pickup orchestra.

   The sound, which was rather grainy in the LP and earlier CD versions, is much improved here. The strings, in particular, have a silky sheen which is most welcome.

5 comments about Bach: The Organ Works.

1. Afer listening to these CD's I must say that Peter Hurford is number one playing the organ. He certainly is very gifted and he is absolutley amazing with his pedal technique. He is an organist that plays so well that he makes anybody else look sub par. The only piece I was a little dissappointed with was BVW 577. I thought he should have used different registration's instead of the softer ones he used.



2. Like another reviewer here I grew up on Helmut Walcha's DG set on LP, and was also familiar with a number of other "great Bach organ work" collections.
   
   One can cavil over the way Hurford takes some of the pieces, I suppose, but his flair, imaginative registrations, and sheer musicality are hard to beat, and the recording too is fantastic.
   
   It's quite easy to listen to three or four CDs from this set in a row, which says something about how fertile Bach's imagination, but also how absorbing Hurford's performance, and how willing he is to avoid generic and worthy church-like interpretations. This is music and music-making of the highest quality.



3. A lot of reviews rave about this set. I just wish they would say why it's so good and I hope they're, well, comparing it to something. Most seem to like the "choice of registration" which maybe one way an organist sizes another up.
   
   Preferences in interpretation generally reflect the emphera of a time, and not absolutes. Choice one for this guy is probably Walcha. Dignified and insightful playing probably much more in line with what was expected of, and provided by, Bach way back when.
   
   This set is flashier and lighter in some ways, more bombastic in others--very much a late Twentieth Century effort. Superficial. It suits a less thoughtful approach to the music which isn't a bad thing and isn't necessarily "damning with faint praise." I just doubt if this is really what the music should sound like and I don't mean that in the same way when I say that about Gould's playing. Gould was highlighting an intense part of Bach's craft, pointing the way into the music so to say.
   
   This is a good set for those who like to shake the timbers with organ music; when it was first released in the early digital era it was marketed that way. Bach's music is pretty bullet-proof so it can stand this kind of approach. If you're not a hyper-critical listener, a period instrument hardliner, or a professional organist with strong well thought out opinions this is probably the set for you as the Walcha will sound dry and academic. On the other hand, if you are a powerful admirer of rock and roll classical this might actually be way too much Bach for you. I generally play this set (or Stokowski transcriptions) when I'm in a brain-dead mood and I want Bach-like stimulation without any work on my part. It's really quite nice.



4. A poor, jumpy, amateurish and unimaginative rendition of the pedal exercitium in g minor is what sticks to mind. Although its only an exercise i think it's worth more than that. More interesting stop combinations could have been used here. The toccata and fugue in d minor was too 'fancy' and was a boring affair overall with a silly choice of stops. I expected more from Peter Hurford. If this is the first time you've heard organ music please don't run away beacause of this. It can be so much more intersting.
   
   Overall i dont think these performances do Bach Justice. Better versions can be found at virtuallybaroque.com (not my site)and better still competely free.



5. Peter Hurford's traversal of the entire organ literature for London Decca is truly one of the greatest recorded achievements. All of the performances in this seventeen-disc set are immaculately played and perfectly performed. His vision, technicality, and sensibility make him a sensitive and authoritative interpreter of J.S. Bach's organ works. The records are mostly digital, crystal clear, and quite powerful. Hurford's command of his technique is astounding. I cannot stress how important this set truly is. I HIGHLY recommend buying this compilation. At about 8 dollars a CD, this is most certainly a steal.

1 comments about Piano by Candlelight Favorites.

1. Wanna start with a "grab-bag" of familiar classical themes? Then, this box set is for you. Chocked full of selections that are known by the novice, as well as the experienced, "Piano by Candlelight Favorites" is a very good beginning set.
   
   With the seemingly unfortunate demise of classical labels in the music industry, it is hoped that such compilations as this one might cause an upheaval in interest in the much-respected musical genre.
   
   And with the dollar buying less than it did in the past, this presentation offers much value for the buck.