No comments about Yevgeny Mravinsky Vols. 1-10.

2 comments about Christmas with the Vienna Boys Choir.

1. I have listened to these CDs so many times, and have also given several sets away as gifts. The Coronation Mass is particularly fabulous. Heartily recommended.



2. WHAT ELSE IS THERE TO SAY THE CHOIR IS TOTALLY AWESOME. THESE BOYS FROM AUSTRIA REALLY SING THEIR HEARTS OUT. THIS IS REAL MUSIC THAT PUTS YOU IN THE TRUE CHRISTMAS SPIRIT. THE SONG WILL TAKE YOU BACK N TIME WHEN THE BABY JESUS WAS FIRST BORN. THE SOUND OF THE CHOIR IS LIKE NO OTHER.ID RECOMMEND EVERYONE BUYING THIS CD WHEN IT COMES OUT. IVE HEARD SONGS FROM THE CHOIR BEFORE AND TRUST ME PEOPLE WHO BUY IT WILL GET THEIR MONEYS WORTH.

5 comments about Tchaikovsky: The Complete Symphonies.

1. For those seeking the definitive recording of the Tchaikovsky cycle, look no further. Jansons brings us something fresh and new, a new spark into the classics and absolutely breathtaking masterworks that are Tchaikovsky's mature symphonies. I tend to think Jansons learned quite a bit from Mravinsky about Tchaikovsky interpretation, and though at the same time that the interpretations are similar in many regards, Jansons most apparently has a gift for presenting old ideas in new ways.
   
   Although the last three symphonies are perhaps some of the best recorded, the earlier three do not stand at the same level. The differences between the first and second three are subtle, though noticable. They lack the finesse, the pathos, and frankly the more Tchaikovsky-en nuances. Not to say these recordings are bad, but they are simply outshined by the other three.
   
   I've never cared for the Manfred, never understood it. Jansons and the Oslo Phil nevertheless provide us with a decent, though not entirely fantastic, rendition.
   
   A powerful set altogether, a staple for the Tchaikovsky fans out there.



2. This terrific box set of Tchaikovsky's complete symphonies (1-6) put conductor Mariss Jansons on the map. They are brilliant interpretations that are completely different from the older renditions by Karajan, Bernstein, Dutoit, and other conductors. This is the newest version on digital sound technology. Mariss Jansons is still an active conductor in Europe, and I dare say is a modern day Herbert Von Karajan. His eminence as a conductor has been proven time and again through his work with the Berlin Philharmonic, Vienna Symphony Orchestra, Oslo Philharmonic and various other European orchestras. He is a con
   The problem with the music of Peter Tchaikovsky is not in the music itself but in the interpretations of it by various conductors over the years. It is by neglecting the true intent of Tchaikovsky's original scores, that most people come to associate Tchaikovsky's music as overly sentimental, sickly, sweetly romantic (Romeo and Juliet Overture for example and his ballets)and emotionally overblown. But the truth is that Tchaikovsky was in the same league as his Romantic predecessors Beethoven, Berlioz and even Wagner. His music was deeply influenced by Romantic European composers outside of Russia. Yet he suffused his music with folk themes from his native Russia and did not lose the fiery intensity and fierceness of Russian music. The symphonies never sounded better. No. 1-3 are the work of a still budding symphonist, with a plethora of folk melody and lilting tones. He matured as a symphonic composer starting with his 4th, which he always claimed was music in homage to his patroness the Countess Van Meck who had finished supporting him financially about this time. The music is brooding but radiant and cheerful, especially the finale. The 5th is music that is entirely triumphant and bursting with Mendelssohn-style energy. Surely Tchaikovsky had a good year that year. But his final symphony, the 6th, was also his Requiem. It was the last thing he ever composed. He died of poisoning (some claim it was forced suicide by his homophobic and outraged peers). Tchaikovsky was rumored to have had an affair with a member of the nobility and this caused a scandal that lead to his death. The 6th is a long work of anguish, despair and turmoil. The music is harsh, the progression of music is like the progress of some fatal disease. It is brutal, fatalistic music that not even Wagner could have endured. The music quiets down at the end and takes a final breath, before fading away into nothing. It is powerfully moving and tragic. I highly recommend this set as it is the finest versions in our current time. The only past conductor that performed Tchaikovsky's symphonies with justice was Antal Dorati. Look for all his Tchaikovsky recordings and you will not regret it.



3. A musician friend of mine once said that eventually everyone "gets" Tchaikovsky. I didn't know what she meant by that: "gets" in the sense that eventually everyone "gets" a cold, or "gets" in the sense of "understands"? On the surface the question seems laughable: how can anyone not understand Tchaikovsky? He was the man who wrote emotionally overblown music with the gorgeous melodies we berate ourselves for liking. But, as these performances show, he was so much more...and a good deal less: a fine symphonist (maybe not of the very front rank, but fine nonetheless) who could write emotionally honest, intellectually stimulating works whose seeming histrionics may be more the doing of the music's interpreters than of the music itself. What sets these performances apart from countless others are a sense of emotional "cleanliness" with no sacrifice of genuine, barn-storming excitement.

   A few notes on the numbered symphonies (I have never been an admirer of Manfred or the Capriccio Italien and so will withhold comment):

   No. 1. Superb; a magnificent introduction to the cycle. Jansons' performance has all the delicate poetry and high drama one could want but shows the piece to be structurally more sound than critics have been able to notice for as long as it's been written about.

   No. 2. To my ears, the first movement of this finest of Tchaikovsky's early symphonies is the only disappointment in the cycle: it simply lacks the requisite sense of tension. The middle movements (especially the second), however, are superb, and the finale again combines strength and poetry in just the right degree.

   No. 3. Thrilling and irresistable, my favorite of the canonic six (and the symphony generally believed to be Tchaikovsky's weakest) literally lifted me out of my seat. Jansons' performance highlights the work's affinities to the baroque suite with a faster-than-usual second movement. The third movement has never sounded so deeply moving.

   No. 4. Perhaps a tad more straightforward in the first two movements than I would like, this is, still, probably Tchaikovsky's symphonic masterpiece and here sounds it in every bar. The finale's coda generates enormous excitement without sounding hysterical; quite a feat!

   No. 5. A now-legendary performance, this one just seems absolutely "right" in all its particulars: dark and brooding in the first movement, simple and touching in the second and third, and joyous in the finale where Jansons somehow manages to cap everything that came before it and make the piece an organic whole.

   No. 6. Until I heard this interpretation, I'd never understood the Pathetique (and I began by writing a term paper on it in college): it's not a piece about loss or suffering, but emotional numbness. The closing bars in this performance left a chill that I absolutely could not forget. A major statement.

   Throughout the sound is excellent and the orchestra plays incredibly well (the wide vibrato in the horns even bringing a Slavic flavor). You might not "get" Tchaikovsky, but you should certainly consider getting this set.




4. Great and wonderful music that is put into this great collection. The beautiful music of Tchavoisky in this CD set is wonderful, beautiful music from the classical era. I would definately recommend this to music lovers, classical music lovers, or anyone!



5. In 1984, the Oslo Philharmonic recorded (on their own time and without fee) the Tchaikovsky 5th Symphony. The gurus of the music world chortled, saying "Who wants another recording of that old war horse?" For a while it seemed that they were right, as record label after record label refused to release it. However, just as hope was diminishing, Brian Couzens, the founder and chief recording producer of Chandos Records was so convinced of its merits that he not only offered to release it, but put Mariss Jansons and the OPO under contract to record the whole cycle. The rest as they say, is history. This symphony cycle is rightly regarded as one of the best ever recorded, both in terms of performance and sound. Each of the symphonies has something to offer the listener. There is not one bad recording in the set. All show Mariss Jansons's tremendous ability to choose correct tempi and to allow just the right amount of excitment without letting the performance get out of control. I personally think the Fourth, Fifth and Sixth Symphonies in this cycle are arguably the best ever recorded. The fourth has a taste of the manic energy necessary to that particular work (listen to the finale); the Fifth has a sense of inevitablity to it that feels just right, and the Sixth has the right amount of pathos and warmth of feeling without getting syrupy. Orchestral performances are superb on all three. Likewise with the first three symphonies. The First has a dreamy-like quality so appropriate to the sub-title "Winter Daydreams" (listen to the second movement), while the Second is full of vim and vigor. The Third Symphony is in my view, the weakest of the lot, but Jansons, with his penchant for clarity, well judged tempi and controlled excitement manages to convince even me. Manfred is also well played and conducted, though I could use more repose in the inner movements. The Cappricio Italien is a first rate filler and is well played. Kudos to both Mariss Jansons for his excellent insights into the music of Tchaikovsky, and to the Oslo Philharmonic for their dedication and skill. Let me not forget Brian Couzens, whose initial enthusiasm made the project possible and to the Chandos Recording Team and the late James Burnett for their superlative work in preserving these performances on tape.

No comments about Forever England (Box Set).

5 comments about Beethoven: The Complete Symphonies.

1. Highly recommended - best recording of the symphonies that I've ever heard yet. Truly captures the essence of Beethoven.



2. I'd liken these performances to the "Joy of Cooking" cookbook. They're something everyone just has to have. You get consistent, unadulturated Beethoven, and listening to them 1-9 really shows you how the composer evolved. The musicianship is impeccable, and the pacing is definitely on the brisk side, which I think is a good thing for these symphonies. There are times where the sound was a little thin, but that's a nitpick. Go put this set in your collection.



3. This Beethoven set, symphony by symphony, is simply one of the very best ever recorded. Christoph von Dohnanyi gives a powerful and translucent performances throughout this entire cycle. I agree very much with another reviewer that Dohnanyi's strength is in what seems to be his unwillingness to engage in "musical editorial" upon Beethoven. But perhaps in that regard Dohnanyi has so very much more to say about Beethoven than many other conductors. The music is vibrant, punctuated, lyrical, epic in scope and dynamically beautiful. As for the recorded sound, it is slightly unimpressive at lower volumes (perhaps because of Telarcs desire to avoid overprocessing the recorded sound, and thus preserving the musics natural dynamics). However if you love masterfully played Beethoven, you will want to turn this set up loud. And when you do, the sound, by nature of the performances, is thrilling and very natural sounding. This set was recorded in the mid to late 1980's at the height of the Cleveland Orchestras recording legacy. They are precise and powerful in execution of each symphony. There is not a weak moment in this set anywhere to be found. The cost is a little more than some (less than some newer sets) but worth every last penny!



4. I think another reviewer put it best: This is the only Beethoven symphony cycle in which I can listen and just hear Beethoven. All the other Beethoven conductors I've heard have, to varying degrees, let their egos get in the way of the music, to the point where I'm not sure how much of what I'm hearing is really Beethoven and how much is (insert conductor's name here). Dohnanyi, on the other hand, is a superb interpreter of what Beethoven intended his music to sound like, mainly because he keeps things direct and honest: there are no weird tempo variations, no out-of-place dynamic changes... no "ba-ba-baaaa-BUMMMMMMMMMMM"s for him, as someone else mentioned. He's just conducting what's on the page, and doing it extraordinarily well. The Cleveland Orchestra backs him up with a precision I haven't heard anywhere else. I use the phrase "tightly controlled" power a lot to refer to this particular orchestra: they don't try to blast a continuous wave of sound at you; rather, they snap it out in bursts. In addition, the orchestra plays with a polish, precision, and almost perfect balance for which I haven't found a match. The result is a Beethoven symphony cycle that's both powerful *and* precise, something I haven't found anywhere else: all other conductors err too far toward one side or the other. I do have to demote this cycle slightly for Telarc's sound, which--although very well done--does allow the brass to overshadow the other instrument groups slightly, most noticeably in the "Eroica." Fortunately, Dohnanyi is keenly aware of what every instrument family is doing and when each should be prominent, so the orchestral balance in each of these symphonies is well maintained anyway. I just can't say enough good things about this symphony cycle: listen to the whipcrack of a last note at the end of the first movement of the Fifth, for example, or the awesome, majestic second movement of that same symphony. Listen to the regal power of the entire "Eroica" as recorded here. Check out how jubilant the Fourth symphony (normally something of a throwaway) sounds under Dohnanyi's baton. Listen to the unusually boisterous peasants' dance in the Sixth. Note how hypnotic and woeful the slow movement of the Seventh becomes, or the lush, tender slow movement of the Ninth, or how awe-inspiring the Ninth's finale is, with its chorus just exploding out of the speakers. I could extend this list on and on, but I'm just babbling now. The point is, this sadly-underrated Beethoven symphony cycle is my cycle of choice. I won't go back to other interpretations now, and I bet if you try these interpretations out, you won't return either.



5. the sound quality is very poor, so overbassed, muffled sound like this can be rarely heard....

4 comments about Georges Bizet: Carmen (Complete Recording).

1. A lot of people look for different things in Carmen. I know that this recording has zero French atmosphere, and virtually no Gallic feeling to it. I also know that a lot of subsequent Carmen recordings have these very elements that make "Carmen" truly a French opera. I am aware of such great recorded Carmens as Berganza, Troyanos, Callas, Price, de los Angeles, Gheorghiu ---- very few of whom actually performed Carmen on the actual stage. Rise Stevens, however, most emphatically made the role her own at the Met during the 1950's, and no one has really owned it since. Stevens' lyric mezzo soprano was beautifully colored, and she had the benefit of Tyrone Guthrie's "Carmen" stage direction at the Met in the early 1950's. All of this is evident on this recording, where there are moments when one thinks that Carmen is about to jump out of your speakers into your listening room. Jan Peerce is considerably less idiomatic as Don Jose, but his singing is strong, straight-forward, and always secure. He and Stevens bring off one helluva death scene at the end of the opera. Licia Albanese and Robert Merrill provide strong support in two rather thankless roles. Finally, it is Fritz Reiner who makes this recording so memorable. He paces it urgently and compellingly, if without the delicate inflections of Beecham or Cluytens. My dad bought this performance when I was a kid, and I've become so used to hearing "Carmen" done this way (which certainly isn't the only way!) that I guess I'm kind of a lost cause where new recordings this opera are concerned.



2. I love this 1951 RCA recording of "Carmen" for the type of performane it is. This was the first recording of this opera that I ever heard, and I've kept returning to it time and time again. To be sure, it is not the "french" and "authentic" reading which has become fashionable in recent years (in which one can hear most if not all of the original "opera comique" dialogue). Nor does it even have much Gallic atmosphere. What it does have, however, is a conductor and cast that sets the opera before us as it used to be performed before the opera comique version came into vogue. This is a "grand opera" Carmen, completely sans the dialogue, and conducted by Fritz Reiner in a bold and grand manner. His is not a subtle performance ---- quite the contrary ----- the whole thing comes off as something resembling a spectacular Broadway show, but the results are entirely enjoyable and fun. Rise Stevens virtually owned the role of Carmen during her Metropolitan Opera career (which spanned close to two decades), and what she accomplishes here is a good representation of her Carmen during her palmiest vocal period. An attractive and extremely intelligent artist with a fine lyric mezzo-soprano voice, Stevens lays what she has on the line and throws it right in your face. Her Carmen is alert, flighty, sexy, and sometimes rather nasty ---- a traditional interpretation, but one that still holds up. She does not have the charm and elegance of Victoria de los Angeles or Teresa Berganza, but for the artist she was for her time, her approach was accepted as the correct one. Jan Peerce had a solid and reliable tenor, albeit sometimes nasal in quality, and his Don Jose had real temperment (though admittedly, his particular type of temperment was more reminiscent of the Italian style as opposed to the French). Licia Albanese is a vivid and compelling Michaela, one who sounds truly frightened out of her wits in the third act. Robert Merrill is a strong and youthful Escamillo. The supporting cast is fine. The digitally remastered sound gives new presence and sheen to the original tapes, making it perfectly acceptable to hear. I cherish this recording for the type of style it represents. All the hit tunes are here, and all are sung with guts and grit. This performance makes no pretenses -- it is what it is ----- but it works, and it's a lot of fun to listen to. For whatever it is, I love it as much as ever. What more can I say?



3. I grew up in the 70's and got to know Carmen through Solti's recording, one of his better non-Wagner recordings. Since then, my prefered version is the matchless Berganza/Abbado recording in DG, certainly the most beautiful and stylish of all. A friend recommended the Reiner recording and I was curious enough to buy it. This is an old fashioned Carmen, that takes us back to the 50's when Carmen was thought "a Grand Opera" rather than an Opera Comique with dialogues. To me, this sounds too much like Cavalleria Rusticana, loud and a little vulgar. For a more stylish 1950's Carmen, I much prefer the Victoria de Los Angeles/ Beecham recording.



4. I was raised on this recording, and in my teens listened to it so often that I wore the records out. I remember how I could almost "see" the action being played out. The years passed, and other recordings of "Carmen" emerged (with the likes of Leontyne Price, Maria Callas, Grace Bumbry, Regine Crespin, Teresa Berganza, etc.), and I somehow let this one fade from memory. I am not saying that the "Carmen" presented here is the only way to do the piece. Nor are most of the singers faultless. But it works! Rise Stevens made this role her own in her time and it's easy to see why. Her mezzo was ample, colorful, and very easy on the ear. She also had the ability to act with the voice, which is not to say that she delves very deeply into the character. Onstage, she certainly could be made to look the part, and so she was. Jan Peerce's articulation of the French language and style is, to say the least, inadequate, but he sings with such verve and compulsion that it doesn't matter. I have never been an admirer of the voice of Licia Albanese's voice, but she creates a truly memorable Michaela,who sounds scared out of her wits in her Act III aria. Robert Merrill is a sonorous matador and he sings his big song as only he could at the time. The conducting of Fritz Reiner is colorful, dramatic, and always compelling. This is a grand-opera approach to "Carmen" that may offend those who like a more opera-comique type of approach, but on it's own terms, it works and it works very, very well.

5 comments about Bizet: Les Pêcheurs des perles; Ivan IV.

1. Advice for the San Diego gentleman: listen to the recording first before sending in your comments. It's laughable to blindly defend Nicolai Gedda's singing in Nadir's role without even listening to the recording!

   While I gave this recording five stars for its glorious sound and very good performance from all stars including Mr. Nicolai Gedda, he does indeed sound a bit strained in the romance "Je crois encore entendre". This is not surprising since Bizet wrote this passage in extremely high notes!

   I highly recommend this recording to all Bizet fans.




2. Nicolai Gedda is my favorite tenor in the non-Italian repertory. He excelled in French, German, and operetta roles, both French and Viennese. Even though I have not listened to this recording yet, I am sure that he does a good job in this recording of Bizet's second most popular opera after the ubiquitous "Carmen". He was a great Don José, the best non-French one who ever recorded the role (no offense to Corelli, Domingo, and Vickers). It is fair to assume that he does a good job with the demanding role of Nadir. To say that he sometimes sounds a bit strained in this role is blasphemous. He excelled in roles that had high tessituras. He had great success in "Le Postillon de Lonjumeau", "Oberon", and "Benvenuto Cellini". This recording was made in October 1960. Gedda was only at the beginning of his glorious prime. Do not believe the person who said he sounds strained in this role. He is biased against Gedda, who happens to be one of his fellow countrymen. Gedda also was very committed dramatically to each and every role that he sung. To say that he sings Nadir's aria without any emotions is false exaggeration in the greatest sense. Gedda was a superb interpreter of French roles and it can be assumed, on my part that is, that he gives an above-average performance in this opera. Remember, I have not listened to this recording yet.



3. This is a perfect example of studio recordings with opera stars that ought to be very good, but somehow fails. There is nothing obviously 'wrong' with this recording, but it surely doesn't engage either.

   The voices are generally good - Gedda's Nadir is smooth and beautiful, idiomatic in style, if sometimes a little strained under pressure - and that's not strange - Nadir's writing is very high. The romance 'je crois entendre encore' is however a wonder of precision and smoothness, technically perfect indeed, but it's rather hard to imagine that he sings a romance when there's no trace of feelings there. Janine Micheau on the other side is as always rather dry in tone, but perfectly french in style, and her vibrato is not as wide as it sometimes could be - and her performance is, I think, the most 'felt' of the three main roles. Ernest Blanc as Zurga is also rather unengaged, although with a firm and effective voice. The conducting is also rather uninspired, and perhaps that's the main problem, cause an uninspired conductor can damage a whole performance.

   There are at least three better recordings according to my taste, and one of them stand clearly ahead of the other: the live recording from 1959 with Vanzo/Micheau/Baquier and Rosenthal as conductor, available here on Amazon.com. A typically french performance with all the positive effects of a live recording captured in good sound and hardly none of the negative ones, combined with wonderful singers in their prime. Vanzo, as Nadir, is alone worth the purchase (it's also budget priced!). Thereafter I think the two mono recordings from Philips (Simoneau/Alarie/Bianco/Fournet) and EMI (Legay/Angelici/Dens/Cluytens) are good. There are studio recording with more modern sound, but they all let you down in one way or the other - you might as well go for this one in comparission to them.

   Compared to other more modern stereo versions, this one has the great advantage of giving us highlights from the very rare Bizet opera 'Ivan IV' with an other conductor and different cast. For the real Bizet fans this alone might be worth the purchase, but if you just want a good version of this lovely opera, go for one of the three I've mentioned above.




4. Bizet wrote some of the most beautiful melodies in classical music, and this opera abounds with some of his best. Filled with breathtaking arias, the exotic setting of Ceylon and glorious poetry, The Pearl Fishers is more lush and visceral than Carmen. James Michener's The Drifters was my introduction to this opera; in the Winona Ryder version of Little Women, Gabriel Byrne as Professor Baehr takes Jo to a production of Les Pecheurs de Perles. This is a wonderful recording of a very accessible piece of music.



5. This wonderful piece of work by Bizet is not as popular as Carmen, and this is a pity, for the melodies and voice registers used by the composers are really talking to the soul. This version, although not recent, is the best I know by the quality of performers and sound recording. Definitely worth buying.

1 comments about Vladimir Feltsman- American "Live" Debut -Schubert op 120 D665; Messiaen Vinggt Regards sur L'Enfant Jesus; Schumann Etudes Symphoniques op 13 & poth; Rach Prelude op 32 No 12; Beethoven op 76 (2 CDs).

1. Image pictured above is for a different CD!
   Vladimir Feltsman, piano
   American "Live" Debut
   
   Disc 1 (Total CD time 38:14):
   Schubert:
   1-3. Sonata for Piano, Op. 120, D. 664 (A Major)
   Messiaen:
   4-6. "Vingt Regards Sur L'Enfant Jesus"
   
   Disc 2 (Total CD time 50:16):
   Schumann:
   1-17. Etudes Symphoniques, (Op. 13 & Op. Posth.)
   Encores:
   Sergei Rachmaninoff:
   18. Prelude, Op. 32, No. 12 (G-sharp minor)
   Ludwig Van Beethoven:
   19-25. 6 Variations on an Original Theme, Op. 76 (D Major)

No comments about Classics for Romance.

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.