5 comments about Brahms: Works for Solo Piano.

1. While there may be recordings of individual works in this set that equal these by Katchen (by the likes of Richter, Michelangeli, Gilels and Arrau), you would be hard pressed to find any that clearly surpass them. In other words, Katchen plays Brahms like Rubinstein played Chopin - that is, better than everyone else. That, of course, doesn't mean these should be the only versions of these works you need, but it is the perfect place to start. Katchen does take the sonatas at a slightly faster tempo than Richter, but each line is still clearly articulated. Most box sets have their peaks and valleys, but this one is fairly even throughout. Also highly recommendable for Brahms fans are Katchen's violin sonatas with Josef Suk and piano trios with Suk and Janos Starker.



2. A British musician once said to me "American musicians don't understand European music." I was so stunned that I could only think to reply, "But what about Murray Perahia?" To which she responded, "Murray Perahia? He's British." I then explained that while Perahia may live in London, he was raised in New York City, where he attended the Mannes School of Music. She seemed sceptical. Of course, after we parted I subsequently thought of scores of American musicians who have performed "European" music with great understanding, but unfortunately, I never saw her again.
   
   All this to say that I have always wished I mentioned Julius Katchen that day. Although I don't suppose that she would have known about the remarkable recordings Katchen made with the great Czech violinist, Josef Suk, of the Brahms violin sonatas, or the equally fine recordings he made of the Brahms piano trios, with Suk and cellist Janos Starker. Nor would she have known about this set of the complete Brahms solo piano music, which is overall the best set that I have ever heard. Listening again to Katchen's utterly beautiful playing of the late Brahms Intermezzi Op.117, I am reminded of just how outrageous her comment really was. Katchen was a pianist of real intellect, who possessed a deep emotional understanding of this very "European" music, and he was from Long Branch, New Jersey. In fact, I can think of only a handful of pianists that I would put in his same class for the playing of Brahm's solo piano music: they would include Radu Lupu, Dmitri Bashkirov, Arturo Benedetti Michelangeli--whose "Four Ballades" surpass everyone, even Gilels--and historically speaking, Walter Gieseking and Wilhelm Backhaus. (Emil Gilels, Sviatoslav Richter, and Annie Fischer were all exceptional in Brahms solo piano works, but they didn't record much of it.) I also have a very special fondness for a double CD set of late Brahms piano music played by the Russian pianist Dmitri Aleexev on the EMI label. (Of the more recent crop of pianists, I have enjoyed Nicholas Angelich's recordings on the Virgin label, Ivo Janssen, Helene Grimaud, and I am very much hoping that Nelson Freire will get around to recording some of the solo works, after his brilliant recent recording of the piano concertos.) But as complete sets go, this Katchen set is definitely the one to get, and is essential for any lover of the music of Brahms.
   
   The sound is mostly analoque, and is generally very good. My only complaint is that it is a little recessed--although be warned that I have an earlier Decca Ovation release, and not this later release--so, mine may be a little different. There were times when I felt forced to turn the volume up in an effort to hear the quieter, more ruminative passages, which Katchen plays so tenderly--then, when he launched into the more thunderous passages it was a little jarring, and I had to jump up to turn the volume back down. Part of this is simply due to the wide range of emotions inherent in these compositions, and will be a problem no matter which recording one is listening to. But it is also partly due to the difficulty of transfering a very decent analogue piano recording from the LP days into a digital CD format. I am fortunate enough to have a Decca LP boxed set of these recordings from the early 1980s, and I don't remember ever having this sound problem. That set also included the violin sonatas with Suk, which likewise sounded more natural and life-like than on the various CD incarnations that I have purchased over the years.



3. There may be the individual recording made by others - Gilels, Rubinstein, Arrau - of a particular piece which might be preferred but as a collection of the Brahms piano works, this set has to take the prize.
   
   The quality of original recording is high and the digital transfer seemingly well done. One has to listen very attentively to detect which of the four Ballades were recorded monaurally; a strange anachronism in the 'sixties. Also, the piano is an unusually fine-sounding instrument and I wonder if it might not be the Bösendorfer which resided in Decca's Hampstead studios around the time these recordings were made.
   
   As another reviewer has suggested, the accompanying notes in french and german do provide interestingly different perspectives. But what I find inexcusable is that neither of these, nor the text in english, offers any biographical or other information on the pianist. The title is "Brahms, Works for Solo Piano. Julius Katchen". That's it - Katchen dismissed! Despite there being two blank pages in the accompanying booklet and two more of irrelevant other releases by London, that is the only mention made anywhere of the artist. I find this not only irritating but offensive.
   
   Julius Katchen was an American pianist who moved to post-War Paris at the age of twenty. He was the consummate musician with a broad performing repertoire; a very highly regarded soloist in his time - a time which included Rubinstein, Backhaus, Gilels, Horowitz, Moiseiwitsch and Solomon - and a very empathetic accompanist but whose achievements like those of Witold Malcuzynski are not so well remembered today. This set serves to redress the balance a little and introduce Katchen to a new generation who surely will appreciate what in my view is the best available recording of the fiendishly difficult Paganini variations. His recording of the Brahms Opus 24 Handel variations (which are up there with Bach's Goldbergs for sheer breadth of musical invention) also is one of the best.
   
   I recommend this set very highly.
   
   As an unconnected aside, some fifty years ago and quite by chance, I found myself sitting next to Katchen on an aircraft. I remember he had unusually expressive hands; a useful attribute as the noise level of the DC3 cabin militated against easy conversation! At the time, I was wrestling with the G minor Rhapsody and he was very generous with his advice (and a free ticket to a recital the following evening!). A charming man who died prematurely in 1969.
   
   Buy this set - I can't imagine why you would regret it.



4. I was disappointed by this set and would not recommend it. It's great that all of Brahms' piano works are included here and the boxed set includes some difficult to find works (like those Op. 21 variation sets) as well as the better known and wonderful later piano pieces and the Op. 39 Waltzes.
   
   The problem is that Katchen's performances are flawed and often unpleasant. The worst problem is that he bangs the keys a lot. Fortissimo passages are ideally not supposed to be noisy; they are intended to be loud and forceful without being unpleasant. It's a key distinction that Katchen fails to realize. I also think that Katchen's technique is a bit patchy. He blurs the passagework and there is a lack of both accuracy and delicacy in the fast passages. To take an example, the Op. 76 set is marred by both of these problems: a lack of accuracy and a tendency to bang on the keyboard. I also found many of the passages that didn't suffer from these problems to be interpretationally uninteresting (the slow parts of the Paganini Variations, Bk II are undistinguished, to take an example). Big thumbs down.
   
   I did some direct comparison of sets to the Katchen performances and in every case Katchen was far inferior.
   
   Take the Op. 39 Waltzes: Leon Fleisher's old recording is wonderful and much more sensitive and interesting than Katchen.
   
   I also listened to Radu Lupu's recording of the Opp. 117-119 pieces (THAT is a wonderful recording - if you are looking for a superb recording of Brahms piano music, get that one and save yourself the aggravation of the Katchen set) and it's simply no contest.
   
   I also sampled the terrific Op. 79 Rhapsodies and the Paganini Variations as played by a favorite pianist of mine, the lesser-known French pianist Nicholas Angelich, and Katchen's sloppy and undirected interpretations pales before the versions by a "non-superstar" pianist.
   
   So while I admit I haven't listened to every portion of the Katchen set, I found every reason to avoid it when compared to some alternatives available.



5. It's a good thing I waited to write this until I'd heard these CDs a few times. I would have been guilty of understatement. Katchen's work grows on me in much the same way Brahms' music itself does. It is rich in nuance and insight, and never fails to please.
   
   I'll confess, I bought this set to fill the gaps in my piecemeal collection. What a delightful surprise to find my "stopgap" set more than holds its own against recordings by the likes of Richter, Rubinstein and Gilels. To help the reader overcome any reluctance I offer a few comments on the few "downsides" mentioned by others:
   
   Yes, Katchen does play fast, but not always, and certainly not out of inability to hold the listener's attention through more artful means. Katchen's track times are often slower than Rubinstein's or even Gilels'; but where the spirit moves him, he can go like a rocket. He's generally fastest in the earlier works, where a case can be made for playing them with youthful ardor; Katchen does this to a T. This applies to the first 2 sonatas, the Paganini variations (why would anything associated with Paganini lack splash and dazzle?) and to a much lesser extent, parts of the Handel variations. The main thing is, it works. The very few places where I felt Katchen was rushing the music are heavily outnumbered by places where the added energy seems to "fit" like a glove.
   
   Yes, in an exhaustive set you inevitably endure the "bottom of the barrel." I'm surprised how little of this 6-CD set strikes me as anything less than indispensible. Every track is worth hearing. Katchen has been surpassed here and there, but he doesn't put in a bad performance in the whole batch.
   
   Yes, the recordings are more than 40 years old. They will not satisfy the most jaded audiophile (there's not quite the "presence" of a good recording today). But they are amazingly clean and lifelike for their age (even the 3 tracks that are mono). They sound noticeably better than the popular Rubinstein recordings of equal vintage. At first I thought I heard a touch of bass-heaviness, but now I just think Katchen gives us a strong, clear bass line. Once again, it works. The sound is simply not a problem for a normal listener.
   
   Finally, there's the small stuff. Getting the CDs out of their tight-fitting sleeves without putting your fingerprints on the playing surface is well-nigh impossible, unless you give in and apply a letter opener to solve the problem once and for all. Is that any reason not to get this much wonderful music at such a low price? London has even revived the old practice of offering different program notes in different languages, so that multilingual readers can benefit from more than one set of comments. All around it's a winner!

5 comments about Andrés Segovia: A Centenary Celebration.

1. Segovia was and always will be The Maestro. He was, as other reviewers say, the pioneer of modern classical guitar. To say that he has been somehow surpassed and passed by, as one previous reviewer seems to think is pure rubbish. To say that others have followed in his footsteps and become greats as well, is fact.
   
   Music is always open to interpretation. Segovia was a great player and to understand the history of the classical guitar one must have listened to Segovia. He created the yardstick by which others are now measured.
   
   This set not only includes great works played by the Maestro, it also includes Segovia speaking of his own life with the guitar. It is worth having along with other, more modern, gifted players such as Williams, Bream, Parkening and others who followed in the Maestro's footsteps.



2. Okay, my classical experience is highly limited, having been raised on a healthy diet of Hendrix, Stevie Ray Vaughan, and other blazing rock guitarists. But that doesn't mean I can't recognize a powerful guitarist when I see it, and Andres Segovia is just that. Sure you'll find your share of faster, more energetic playing, but you won't find any guitarist (Robert Johnson probably. George Harrison, maybe) in blues or rock that plays with as much melody, texture, and sheer, tear-jerking, beauty. And even if you have, guess what? They weren't the first to do it, and they weren't doing as far back as the 1920s. (Kicking it until the grand old age of 104) He is one of the first truly great guitarists, a virtuoso long before Satriani and Vai, playing classical on guitar long before anyone else, and playing it better then anyone else. This is him, completely solo and absolutely out of this universe in his playing. If you want to play guitar like the greats, then you can't go another day without this in your collection, deserving of a spot on your wall with Hendrix, Stevie Ray Vaughan, Robert Johnson, and all the imitators that followed him!



3. Musically, it's not just guitar music that he is offering: note the exquisite emotion patterns, the languor and the nostalgia and his sighs...it's most soothing and consolating.

   Technically, the subtleties and the phenomenon could partly be attributed to his insistence on the use of the fleshy part, instead of the hard part of his thumb. Like Arrau and Horszowski on the piano or Menuhin on the violin: they always stuck to the hardest way aiming at the best result.

   The remastered sound is wonderful. I'm not particularly keen about the narrative part though.




4. Segovia was the greatest classical guitarist that ever lived and always WILL be the greatest that ever lived, for he was the ROCK on which the classical guitar was practically founded! These 3 CD's of his most treasured pieces cut straight through the heart with GREAT brilliance and virtuosity- Words cannot express his mastery of the instrument. I especially liked the autobiography on the fourth CD- VERY thrilling to hear the maestro's voice- In Spanish AND in English. This is a MUST HAVE for the serious classical guitarist-



5. I totally agree with the fact that every classical guitarist
   owes great respect to Segovia, but the reason I gave this recording such a low rating is a simple matter of evolution. Unlike instruments like the violin, the classical guitar as we know it today is a very young instrument (+-1 century). It also didn't get the recognition it deserved untill segovia came along. From that moment on, the classical guitar's popularity increased immensely, actually it is still growing. As a logical result of this growing popularity, the quality of the technique improved and interpretations were refined.
   Though Segovia was incredible guitarist in his time and situation (he was the ONLY international preformer that played this instrument), it would just be irrational to claim that the dozens of great preformers later on never improved compared to segovia. It's like denying that einstein's theories are more accurate than those of Isaac Newton, because Newton was the rock on wich fysics were mostly build.

   These recordings are interesting for those who would like to do some historical research on the classical guitar, but for those who just want to listen to a good preformance, I would really recommend the more recent recordings (Russel, Fisk, Sollscher,...).

5 comments about The Mario Lanza Collection (3CD).

1. I don't know how this could be any better. Mario sings like an angel and I love most of the selections. I have thoroughly enoyed listening to my cd's, over and over.



2. Mario Lanza was, arguably, the greatest tenor and greatest singer of this and the last century. It is difficult to appreciate him without listening to a variety of selections. This collection has some of his best recordings and exhibits the versatility and variety that he possessed that permitted him to "crossover" from opera to popular music with a ease.
   
   I recommend this for those who already know Lanza to some extent but want to go into more depth and understand his marvelous skills.



3. I had forgotten what a beautiful voice Mario Lanza had. This collection contains opera and pop selections that exhibit the power yet sweetness of his voice. Fortunately, we have his CD's and videos so we can remember and listen to his gorgeous, vibrant voice and personality. I highly recommend this collection along with his wonderful movies, especially The Great Caruso.



4. I had forgotten just how beautiful a voice from the past was. It is a wonderful collection



5. extract from most important LPs. Brilliant sound quality from RCA. Also included are soundtrack recordings from some of his movies. The are several reissues from Mario Lanza but this one is a collection you should have.

5 comments about Switched-On Boxed Set.

1. I just happened upon this set of reviews on Amazon (although I had reviewed the original SOB separately years ago), and was delighted at the multitude of very favorable reviews by others. But then came the weeds amongst the fruit, namely those few reviews by people who just did not 'get it'. The Amazon 'editorial reviewer' should get an award for the most ignorant and condescending review ever given a classical album...."wacky and goofy" indeed...what a fool. Then there was a review that dismissed the entire set of recordings because the music was 'mechanical'. My God, Carlos' performances are anything BUT mechanical...the main reasons that Wendy's performances outshine the competition are that she skillfully orchestrated the original music to sound best given the limitations of the non-polyphonic, primitive, analog synthesizer, AND her great efforts to give the musical performance life and expressiveness. I can only gather that the reviewer must have been having a bad day. Finally, I can understand why someone might find Carlos' lectures to be annoying or an interruption to their listening enjoyment. However, there are a few things to remember about this boxed set:
   - the same recordings are available individually without all the commentary...this is mostly a bonus found in the boxed set version...you can have it either way.
   - a large part of the buying audience consists of people who have been Carlos fans since 1968, or they are devoted synth-heads (aka synthfools) who love Carlos's work, and these people have been waiting for years to hear these descriptions...dislike the additions if you will, but it is very unfair to dismiss the entire set because of it.



2. I have been looking for these albums for a long time but never wanted to purchase them individually because of the cost. This is the perfect box set and the included book really gives insight in to the difficulty Wendy had and the hard work she put in to these albums. Recommeded!



3. Year 2008 is the 40th anniversary of Switched-On-Bach. I wanted an special edition release in honor of the ocassion, BUT this edition was released for the 30th anniversary (1998). Perhaps, I got the bug too early and we may yet see a 40th anniversary edition.
   
   As far as the music itself...This was and is a HISTORIC RECORDING. And this is a great remaster and a tricky digital conversion of ANALOGUE computer music.
   
   When you consider HOW this music was created (analogue systhesis) and how it was recorded (track on track with analogue recording equipment) it is absolutely AMAZING. I truly love it!!!



4. One of my favorite cd sets Ever! Its hard to describe, but I'm so glad I found this.. Huge fan of her work.. The music is timeless.. If you have never heard this, do yourself and pick it up, worth every penny..



5. Switched-On Bach I sounds better than the ten year old CD I have (better engineering?). The Well-Tempered Synthesizer (my favorite from the days of vinyl) features Scarlatti, Monteverdi and Handel as well as Bach. SoB II is a masterful extension of the original. Each of the above has its own Brandenburg Concerto (3, 4, and 5 respectively). The remaining three concerti are on the fourth disc. Extensive printed materials and a few extra cuts fill out this exceptional set. A must have for anyone who enjoys Bach and/or Electronic Music!

4 comments about Vivaldi Concertos.

1. Excelente calidad de grabación. Buena colección de los mas famosos conciertos del maestro de Venecia



2. Many people still erroneously believe that Vivaldi's conceti all sound the same. What nonsense! If you still think this way, then what you need is this superb set to set you straight. Trevor Pinnock and his great English Consort perform some of the most tuneful and toe-tapping concerti of the Red Priest.In fact, this is a great release. Great sound. Excellent production all 'round. Bravo again to Pinnock and his band!



3. Violins, harpsichords, basso continuo, what can I say.
   Vivaldi ROCKS ! ! ! !
   Excellent selection of his music and as usual flawlessly performed by the english consort.



4. This budget-priced, slim paper-sleeved box set of various Vivaldi Concertos on the DG/Archiv label is quite excellent. Trevor Pinnock, directing from the harpsichord and organ, leads the English Concert (an all-star cast including Roy Goodman and Simon Standage, both of whom have graduated to the podium in recent years) in digital recordings from the late 80s. Since the track information is not abundantly clear above, allow me to mention that the first two discs of this set feature various Concertos, discs 3 & 4 contain the complete "L'estro amonico" op. 3, and CD5 six Flute Concertos op. 10. While I have never been a big fan of period-instrument recordings, there is nothing I can complain about here. The performances are warm, spirited, and thoroughly engaging, and certainly not academic. In fact, my only complaint is that there is not more to listen to. I popped this set in my 5-disc changer over the Holidays, and was disappointed to find it end so soon, being that four of the five CDs log in at the mid-50 minute mark and one only at a whopping 45:08. By my calculations, there is easily room for an additional two hours of material here! Alas, it is the only problem with an otherwise stellar set.

5 comments about Donizetti - Lucia di Lammermoor / Sutherland · Pavarotti · Milnes · Ghiaurov · ROH Covent Garden · Bonynge.

1. What Pavarotti does here is totally amazing. For me, the highest point of the opera is "Tombe degli avi miei" and "Fra poco a me ricovero". It is a riveting scene, when Edgardo sings next to the tomb of his ancestors his love and inevitable sacrifice to Lucia, who, unknown to him, was already dead. Sutherland is a joy to hear too. Pavarotti and Sutherland made various records together for Decca in the 70s and this one is by far the best of the lot.



2. This is probably one of the top versions of Lucia di Lammermoor, one of Donizetti's greatest works. The cast displays such stalwarts as Sherrill Milnes, Nicolai Ghiarov, Luciano Pavarotti, and--of course--Joan Sutherland. Richard Bonynge did much background research to create a Lucia more consistent with the composer's vision of the opera; he also conducted.
   
   Some representative segments of the opera. . . .
   
   A very nice ensemble scene, "Cruda, funesta smania," features lively singing. Sherrill Milnes' rich voice is well displayed. The ensemble sings with great spirit.
   
   A nice aria, "Regnava nel silenzio" is followed by a wonderful cabaletta, "Quando, rapito in estasi." This is one of Joan Sutherland's signature pieces. Here, she is at the "top of her game." The aria is smoothly sung. She shows agility and some nice trills. Although her voice is heavier than some other coloratura sopranos, she is most effective and deploys excellent technique and skills. In the cabaletta, she displays nice florid singing the first time through, replete with some nice trills. She also has some fine runs and hits a series of high notes with ease. On the repeat, she sings a trill off a high note (nicely done although not perfectly done). Her technique is excellent and she hits the final high note with ease.
   
   "Chi me frena in tal momento" is one of the all time great ensemble pieces in opera. Pavarotti's rich and youthful voice sounds splendid. Sutherland's voice soars above the ensemble. All manner of emotions and thoughts are displayed by the various singers. The voices meld well together for an effective ensemble "feel."
   
   One of the top cabalettas in all of opera has to be "Spargi d'amaro pianto." Sutherland sings it well and cleanly. The first time through, her voice and technique are rock solid. She shows off some nice trills and some well executed runs. The repeat is iconic. Good technique, a trill off of a high note, and a well executed final high note. All in all, Dame Joan sparkles.
   
   This is one of the top versions of "Lucia di Lammermoor," and it stands up well after the intervening decades.



3. Sutherland's first recording of Lucia was terrific but the second beats it on all counts.The supporting cast is superb. Pavarotti in his youth singing a very stylish Edgardo. Ghiaurov brings his beautiful voice to the bass role. Sherril Milnes is wonderfully evil as Enrico and his Act 1 duet with Sutherland is sensational. As for Sutherland she is generally superior here to her first recording, with the exception of her first act aria. The famous high notes are here in their glory; the high D at the end of the first act and the E flat at the end of the mad scene are among her best on record. Her interpretation has deepened, especially during the mad scene. At the point where "Alfin Son Tua" begins to the point of the flute duet, she delivers some of the most moving singing I have ever heard - reaching a heartbreaking level that I normally asoociate with a Billie Holiday not an opera singer. In conclusion this is one of Bonynge's better conductiong jobs and the RHO orchestra and chorus are excellent. The sound quality is very good.



4. As someone who is a relative newcomer to opera, although I find Dame Joan's sound and coloratura breathtaking, it was Callas's perfomance that really drew me into this story and made it a more cohesive allround experience for me. And I think I can say this of their Normas as well. That being said this is an amazing perfomance and "Chi Mi Frena" sounds exquisite with all these marvelous singers joining their talents.
   Ultimately I love both the Divas for very different reasons, but if you need to be drawn in by the plot of an opera, no one nails characterization like Callas, utterly rivetting and convincing and I might add vocally beautiful as well.



5. I purchased this recording just recently, and I'm certainly glad I did. Sutherland sings a glorious Lucia, having no problem whatsoever with all the coloratura runs and clarion high notes. I'm getting tired of listening to people talk about how poor her diction was. Does it really matter if she took the time to enunciate every last little detail of a word? She is one of the best singers the bel canto repertoire has ever seen and she has a beautiful, large, rich voice. And it's not as if the majority of Opera listeners can understand the words anyway. Just listen to the beautiful singing and be happy (and besides, her diction wasn't as bad as people make it out to be.) Anyway, Pavarotti is his usual glorious self, and his powerful and beautiful singing here would make one want to swoon.He always excelled at the bel canto roles and all the bravura passages that they held. Milnes probably has one of the most enormous voices ever. One example of this is in one of his duets with Sutherland where he ends the duet with a full throated High A (a note that even some tenors find taxing). By the way, Sutherland launches a stunning High E at the end of that duet as well. Ghiaurov has a beautiful, melodious bass voice. Huguette Torangeau has an extremely beautiful Mezzo voice. I'm surprised she wasn't more well known. Her voice has an utterly beautiful tone quality, a lovely vibrato, and a nice even range. So if you want to hear some truly "Bel canto", beautiful singing, then buy this set.

5 comments about Masters of Classical Music (Box Set).

1. I think that this is really one of the best values you're going to find anywhere in the world of classical music, especially for beginners. You're getting 10 CDs, each filled almost to capacity, with the most famous works from the most famous composers in the history of classical music. The sound quality is excellent on every disc.
   
   While I would have made some replacements on the list of who was included, I feel that this collection is a must-buy for anyone interested in exploring classical music in depth. Quality is high, quantity is high, you really can't go wrong.



2. I have heard only 3 out of the 10 CDs yet - Mozart, Beethoven and Tchaikovsy - and I think I like it. I give full marks for the selection of music. It has the pace and type of classical music that I was looking for. (I like and appreciate classical music but can't stand, nor understand, a lonesome violin screeching away for 55 minutes).
   I think this set is a great gift and/or as an introduction to classical music especially to younger audiences.
   As for the sound quality - it sounds like...well..a regular "Digital Audio" CD. Nothing to write home about. Its not the audiophool quality recording you might be looking for. Some tracks are recorded better than others. But if you think MP3 sounds freakin' awesome, don't worry about what I said about sound quality.



3. I am a college student who was looking for some classical music to study to, and wanted a decent amount of it so I would not end up listening to the same concertos or overtures time after time.
   
   The reason I gave it only 4 stars and not 5 is for one simple reason that doesn't pertain to anyone that will just listen to the cd's on a cd player. My grievance with this set is that only a few of the cd's are listed on iTunes, so if you want them on your iPod or on your computer for playlists, you have to manually enter the information (album name, track names, artists).
   
   For the price, it is absolutely worth it for this box set. Only one of the discs is under an hour, while most of them almost hit the 70 minute mark, so there is no deprivation in the collection at all. And the audio quality is superb. A fantastic set for the money and quality that you get out of it.



4. I ordered The Masters of Classical Music Box set as a Christmas present for someone who was just getting into the classical repertoire, and wanted to expand their library of music. What a great way to start! As soon as I received the set from Amazon, I thought it was the perfect primer to build upon with some wonderful selections included in the 10-disc set. There were the "tried and true" pieces associated with each respective composer, and there were some additional musical gems that made me wish I ordered a few extra sets to give to the classical music lovers in my life. Sometimes people get put off by the classics because the music is too "highbrow". Not in this case...the pieces are wonderful and very "classical friendly." It's one of the finer building blocks in putting together a comprehensive classical music library.



5. This is an extraordinary collection by the most influential composers and they're very well-performed. My only disappointment is with the recording quality of quite a few of the selections. They sound as if they were converted to CDs from badly scratched records with lots of annoying popping. However, for variety, this set is a great value.

5 comments about Scott Joplin: His Complete Works.

1. i never received this cd - please advise how to search - thank you
   phone 480 837 7910 / cell 480 861 5918



2. These renditions of the Joplin rags and other pieces for solo piano are not only complete, but they seem to this Jopin fan to be faithful in spirit and (for the most part) in letter to the originals. The tempos are appropriate and the amount of elaboration (always a temptation for a skilled pianist) is kept to a minimum. Thus the spirit and genius of Joplin is intact and the music is a joy for the listener. Several works that were unfamiliar to me are now on my list of Joplin sheet music to find for my own playing pleasure.



3. May I offer a suggestion to those who feel that the music is trite and all the same? Do not listen to this collection or any other collection (e.g. John Arpin's or Joshua Rifkin's) of ragtime in the order the pieces are recorded on the CDs, especially if you're not very familiar with ragtime. The pieces are often given chronologically or in alphabetical order. Also, don't listen to too many pieces all at once. Pick two, three, or at most four to become acquainted with first. This way you'll be able to appreciate the individual characteristics of the pieces. Try these four pieces first:
   
   1. Gladiolus Rag
   2. Weeping Willow
   3. Solace
   4. Magnetic Rag
   
   Later you'll discover other gems on your own. When you're first getting to know ragtime, it's probably best to avoid listening to pieces that have been done to death (and often done poorly or played way too fast), like "The Entertainer" or "Maple Leaf Rag."



4. Richard Zimmerman is one of the best interpreters of Scott Joplin. Zimmerman avoids the pitfalls many others have taken by playing Joplin's music too fast and/or too flashy. Zimmerman's tempos are moderate and his ornamentation/improvisaion is tasteful. By not trying to be a "show off", Zimmerman keeps to the original spirit of Joplin's music. Although the original recording itself may be close to 30 years old, it has transferred well to CD. I highly recommend this disc to anyone who is interested in Ragtime and American music.



5. Excellent collection - but there are re-sellers listed here that are selling this for as much $50 or $60. Yikes, most major retailers are selling this complete set for $18 - so beware.

5 comments about Johannes Brahms: The Symphonies.

1. One generally tends to think of Georg Solti as a sensationalistic conductor--going for spectacular orchestral effects even at the expense of line, structure and mood. Whether this generalization is in any sense apt is an open question, but it certainly doesn't apply to Solti's remarkably cogent Brahms cycle.
   
   Surprisingly, the performances in this box are closer in style to Klemperer than to Stokowski or Bernstein. That means slow and steady rather than febrile or opulent. The First begins grandly with a hugely powerful and perfectly paced introduction, and thereafter tends to sobriety. Even in the finale Solti favors structural cohesion over dramatic incident, though the big moments (such as the return of the chorale in the coda) are undeniably effective. The Second is more upbeat, as it should be, but the emphasis once again falls on majesty rather than visceral excitement. The finale brims with energy, yet everything is under control. The Third is quite magnificent, with an evocative ramble through the slow movement and a particularly haunting (and daringly slow) treatment of the third movement. I have heard more effective balancing of the triumphal and the troubling in the finale, but otherwise Solti does well in holding this difficult movement together. The Fourth is monumental, at times even marmoreal, with the tragic impulses held in check by a certain stoicism. The two overtures evince similar virtues: neither the rambustiousness of the *Academic Festival* nor the *Sturm und Drang* of the *Tragic* is overdone, though there is plenty of warmth in the CSO's playing of both pieces. Indeed, the CSO acquits itself splendidly throughout Solti's Brahms cycle; the winds in particular convey the long line with just the right amount of expressive pointing. The recording is rich and full, though somewhat bass-heavy as others have noted.
   
   Altogether, this is one of the finest Brahms cycles I have auditioned, though as regards interpretation I wouldn't put these performances ahead of those by such great historical figures as Furtwängler, Walter, Klemperer--or even by the sadly neglected (and currently unavailable) Steinberg. At least as far as Brahms is concerned, Solti emphasizes majesty over sonic thrills, and that speaks well of this sometimes maligned conductor. The one disadvantage is that Decca/Universal didn't see fit to include the *Haydn Variations* which could have been easily accommodated given the skimpy playing time on a couple of these discs.



2. What is it about Brahms's orchestra music that makes it a favorite of mine? The melancholy, the autumnal sound, the lovely sadness, particularly of the 2nd movements. Brahms is not just another Beethoven. Some orchestras and conductors just don't get it. My favorites are Toscanini, Furtwangler, Munch, Walter, Karajan, to mention just a few. This same lovely sound is also available to you by way of the Clarinette Quintet with Oppenheim and the Budapest, the Alto Rhapsody, the German Folk Songs with the Roger Wagner Chorale, the Song of Destiny. Just one music nut's opinion. 50svinyl



3. I purchased this cycle with eager anticipation but was frankly disappointed when I opened up the set and popped it in my stereo. I love the CSO/Solti sound (esp the brass section) as much as anybody but I am disappointed with the energy, balance, and precision of entrances and note lengths. If you want a great set, buy the HSO/Eschenbach!



4. I'll make this simple. If your interested in a great set of the four Brahms symphonies pick this up immediately. Great sound(late analogue warmth), terrific performances(Solti and Chicago are sturdy as always), and an extremely low price.
   
   This set has several distinct advantages over some of the others out there. For starters each symphony occupies its own cd. Sounds simple enough but I'm quickly tiring of sets that split up symphonies under 80 minutes long just to pack each cd to the brink. Nothing's worse than having a complete symphony and half of another on one cd and the other half of the second symphony on disc number 2. No sense switching discs to listen to one work unless that work is over 80 mintues long(ie- Mahler). I'm also getting sick of sets that couple insequential symphonies together to fill up discs(ie- symphonies number 1 and 4 on one disc). I like to listen in sequential order.
   
   This set allows that. One symphony per disc. Discs two and three each have an overture to fill up some time and that's fine since both are after the symphony. How about Abbado and others putting these overtures and other 'bonus' works _before_ the main attraction? What's that about?
   
   I mentioned it early but the price issue is also huge. Sure, you could buy Abbado's Berlin set which is great but be ready to shell out over $120(!) on Amazon. You'll get a couple of additional short works with that set but come on. Is it worth another $100 or so? Your call but I'd say no way.
   Pick this up for around $20 and be assured that your getting quality Brahms at a great price.



5. It's sloppy. Interpretation not well thought through. Solti is a well known name, but I wasn't impressed. It sounds uninspired. Check out a different set of the Brahms' symphonies.

5 comments about Bruckner: The Complete Symphonies.

1. The words of praise I have about this set are innumerable. It was my first Bruckner cycle...I grew up with it. It accompanied me in all my times...and it changed my life.
   
   Jochum completely understands Bruckner, and his love for him shines out of every Symphony in this incredible set.
   
   Here's a few things of why I think Jochum's 2nd set surpasses all others:
   
   1) His answering to Bruckner's many spiritual questions.
   2) His searching and quest like feeling he brings to the music.
   3) The meaning, weight and believablility he gives to Bruckner's vision.
   4) The consistency of dedication throughout all of the symphonies.
   5) The recorded sound is warm, clear and sumptuous.
   6) The orchestral playing shines splendorously throughout.
   7) It seems from the magic aura these recordings have, that it wasn't just Jochum who loved Bruckner but also the players, the engineers and even the producers who all worked on this production.
   
   I set this bar above Karajan's recording, Celibidache's, Haitink's, Masur's, Chailly's, Wand's, Eichhorn's, Skrowaczewski's, Furtwangler's, Knappertsbush's, and also Jochum's first set.
   
   A MUST in all households!



2. This box set a must-have. Actually, Eugen Jochum recorded all Bruckner twice. First one with Berliner Philharmoniker for Deutsche Grammophon at 60's, the second is that one with Staatskapelle Dresden for EMI, 70's. Well, it's a little complicated to choose one, because both of them have different qualities. But, I suppose, that Dresden version is more transparent, dramatic and intensive than Berliner version.
   
   Eugen Jochum is a master on the music of Bruckner. His reading way is totally opposite of Celibidache. Celibidache has the majesty, the sustaining of time in the manner of Zen On the other hand, Jochum has spontaneity, dramatic intensity. You will not bore in any little moment when you're listening Jochum's Bruckner. The Staatskapelle Dresden sound is so precise, clear in every minimal detail, you can hear all the counterpointal subjects and parts, very deep and satisfying bass sound, touching strings (just check the Adagio of 9th) and glorious brass section (check the complete 7th).
   
   The most interesting points that I shall say are: the 4th is really very interesting, I haven't listen any version just like that, it is not similar to any reading. One hour long that symphony moving on just like a few minutes. Especially the last movement has an enigmatique intensity. The 7th is one of the best available. The majesty of the firs movement, the solemn and desolate Adagio which is written for death of Wagner, the Shcerzo which will make your tension up and again, a majestic mood, Finale.
   
   The 9th! I think, this is the best ever! How Jochum make that music such dramatic, you can imagine a master composer now near to death and hardly working on finish his last symphony... The string tremolos at the very beggining sounds like nothingness. And then 8 horns coming just like the meaning of life. The sarcastic and devilish Scherzo, may be the best Scherzo of all Bruckner. And "farewell" Adagio, begins with full singing-strings, and time is now sustaining, there is nothing going on,just the end of everything and waiting for the last breath. And there is a huge climax includes a dissonant chord, just like the dissonant chord of Mahler 10th. But then, fade away...
   
   If you're searching for a really defenitive Bruckner performances, you should get that. Highly recommended.



3. Bruckner è sempre stato il compositore che mi affascinava di più sebbene
   fino a poco tempo fà avessi sentito solamente la nona sinfonia all'interno di una raccolta della Reference Recordings. Ho successivamente comprato la nona appunto (RR) e la sesta che ho trovato ad un prezzo stracciato (Edizioni Telarc diretta da Jesus Lopez-Cobos). Se la nona della RR è veramente superba sia dal punto di vista dell'esecuzione che dell'incisione la sesta della Telarc è sicuramente superiore in quanto dinamica rispetto l'incisione che stiamo analizzando della EMI ma la qualità della ripresa e l'esecuzione sono assolutamente sotto tono!
   Devo riconfermare ciò che ho letto più volte su Eugin Jochum e la sua maestria nel riprodurre il messaggio musicale di Bruckner.
   Sono rimasto veramente stupito dalla qualità generale dell'incisione EMI anche considerando il prezzo a dire poco incredibile, in Italia penso sia impossibile trovare un cofanetto di nove sinfonie di questo valore musicale ed artistico ad un simile prezzo. Assolutamente consigliatissimo!



4. I have listened to Bruckner for more years than I'd care to admit, but these recordings by Eugen Jochum are like hearing him for the first time. It is startling how good these recordings are, and what freshness Jochum brings to the more familiar Bruckner offerings...the 3rd, 4th, 7th, 8th and 9th. Electrifying is not too strong a word to describe them. In addition, these EMI recordings are an astonishing value. Buy and listen for yourself. I dare you not to be transfigured by the music-making.



5. Bruckner fans can find other recordings of certain symphonies that might reveal some aspect of the music that this set does not. But I think those recordings are far and few. I know there are Jochum fans (and I am one)who find his DG recordings to be superior. Except for the Fourth with the Berlin Philharmonic I have not listened to any of them.So they may be better. But it is a little hard for me to conceive of that being the case because I have found that Jochum has pulled off something nearly miraculous here.I first bought this set back in the very early Nineties when it first was released on CD. I was swept up in the sheer passion,exuburance and religous devotion that is on display. Like other reviewers I think a lot of the credit goes to Staatskapelle Dresden.I find them so involved with Bruckner's music and the thought world he inhabited that any point of criticism would be nearly useless. "The petty cavils of petty minds",as Samuel Johnson said of some of Shakespeare's critics.Yes this will be a set I could live with for some time( I already have!) And I would still recomend getting this remastered version because it is superior to the first version and the box takes up far less room. I don't have the same problem that some people have with the Nowak versions. I do prefer the 1877 version of the 3rd symphony to be superior to Nowak's. But I find Georg Tintner's recording on Naxos to be interesting but it is too ungainly and sprawling. So I would prefer the Nowak,though I don't care for some of the cuts. But even if you have reservations about versions I would still urge you to check out Jochum. I think he will convince you.Enjoy!