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 Haydn: The "Sturm und Drang" Symphonies.

1. Trevor Pinnock is a great Haydn interpreter, and this attractively priced release contains excellent performances on period instruments of some of Haydn's stormiest, most experimental works. Written during the period of German art and literature called "Sturm und drang," these symphonies are consistently interesting and show Haydn's great inventivness perhaps more sharply than many of his other works. He may have written greater symphonies later, but there are none so striking as these, which show the influence of J.C. Bach and his older brothers while boldly going off into the future. This is a set to have for any music lover.



2. As I type this review, I am listening to the recording of Symphony #52 from this set.
   
   Earlier today, I listened to these recordings of Symphonies 51 and 43 as well. I have owned many of these recordings since they first came out. In fact, this is the first recording of 43 I had ever heard, but the symphony never grabbed me until I heard a different recording (conducted by Aadland on Imp classics, hard to find). Pinnock races through it and misses a lot of the character and the sense of inevitability that this symphony has to offer. The recording of 51 is better with Derek Solomons, more character in the horn solo slow movement (though I have some reservations about that set as well!).
   
   Overall, it seems that Pinnock just doesn't dig deeply enough into these wonderful symphonies. Yes, they are fast and lively. But there's not enough articulation, oomph, depth to make this the set to own.



3. This recording is one of my "desert island discs". I have listened to it over and over again over the last four years and I am still finding new and exciting things in this music. Haydn's symphonies are very important to me and I feel very at home in this music. Why? I am not sure. This is musical music - music which celebrates music. I realise that this doesn't make much sense. Mozart's symphonies are always very clever and always full of Mozart's brilliance and superb sense of style and form. Haydn's symphonies aren't "obvious" - they require a little more effort for someone like me to appreciate, and this is their strength - once this music is appreciated, it stays that way!
   
   Mr. Trevor Pinnock, directing The English Concert [on period instruments] from his harpsichord, provides us with a wide window into these works - 19 symphonies, over 6 CDs. The playing is very attractive and colourful. The wind and brass players are in fine form, particularly the horn players. The strings have that transparency and incisiveness which period violins, violas, 'cellos and basses and original styled bows bring to 18th century music.
   
   I can imagine a different approach and interpretation of some of these works, but I cannot imagine anyone doing it better than Pinnock and his ensemble.
   
   If you're a fan of the "Sturm und Drang" style, although much of this music is far from stressful or stormy!, you will probably enjoy comparing these symphonies with those of Carl Philipp Emanuel Bach.



4. Note added later: I now urge potential buyers to consider as an alternative the Nimbus set with Fischer, symphonies 40-54. Wonderful performances with recording that goes much further in capturing some of the beauty of a violin - without the disadvantage of earlier harsh digital sound.
   Amazon does us all a huge favor by allowing us to voice our thoughts away from the endless commercial shilling of the music industry. Yes, not everybody agrees all the time, but it is not difficult to determine if reviewers hate an artist and just have it in for her or him, or simply find fault with a performance or its engineering. I happen to admire and respect both the conductor of this CD issue and his band.
   Since what I heard put me in a minority of one - to judge by those who took the time to read my review - I replayed several sides of this CD again the other day on a friend's far superior system. I should add that together we have over 100 years of listening to recorded sound, and my collection goes back to the 1890's. So we have some fair grasp of this medium. After less than a minute of the first CD, he turned to me, and winced. Moreover we could not find any improvement in the sound on any of the other sides.
   As for the other reviewers glorious reviews - be open-minded; trust yourself to take a few minutes and compare Pinnock's band in the opening to Symphony 48, Maria Theresia, to Janigro's group on Bach Guild, ATM-CD-1495. Afterall, it's your money. One performance sounds imperial, and the music sounds most appropriate for an Empress.
   Original instruments do sound very nice - as anyone who has heard live one of the better Cremona masterpieces can attest. And those violins were built long before Haydn was even born! Don't believe all "original violins" must sound like they do in this recording.
   Again, for a far better sounding CD issue do yourself a huge favor - try the budget priced Bach Guild CD of the Sturm and Drang symphonies conducted by Janigro. Again. ATM-CD-1495. It has a superior performance of the Maria Theresia, #48 in a robust C Major.
   And just to be fair - Janigro's recording of the Boyce symphonies is disappointing, whereas Pinnock's is excellent. Perhaps there is something to leading in music of your own culture.



5. I didn't buy this boxed set, but aquired these wonderful discs one by one. I love the whole set, but I bought the one with symphonies 35,38,39,59 first. It is my favorite of the six. That one is really one of those desert island discs. There is such a rhythmic drive and electricity in volume one that I hardly ever hear in classical music. If you're kind of feeling down, these symphonies by the English Concert, will definitely bring you out of the doldrums. Volumes 2-6 are equally as well played, but I personally enjoy Volume one better. Trevor Pinnock is superb as usual. He's definitely one of the greatest conductors of the baroque and classical periods. I would like to see him venture into the romantic period to see how good he would do with that style. The sound quality of this set is just superb. Everything sounds crystal clear in these recordings. If you don't like these performances, check your pulse because I think your dead.

5 comments about Recordings 1942-1944, Vol. 1.

1. Deutsche Grammophon pone a disposición de los melómanos las grabaciones del más famoso Director de la Berliner Philharmoniker, en 2 vols., que hacen un total de 9 CDs. Como toda grabación en vivo, siempre hay inconvenientes con algunos ruidos. Por ejemplo, en el 3er. movimiento de la 5ta. Sinfonía de Beethoven se escucha una tos; pero eso es poco importante cuando se tiene la oportunidad de disfrutar de las magníficas producciones de Furtwängler en la cúspide de su carrera.



2. My review will not differ one jot from the previous reviewers, although I would like to add that Furtwangler's performance of Beethoven's Corolian Overture is one of the finest pieces of recorded music, representing mankind at its creative pinnacle.



3. These live performances were recorded for broadcast during WWII in Germany, and while the sound is not up to modern standards it is surprisingly good for its time. The microphones in the concert hall were wired to a small, windowless control room, where they were primatively "mixed" and the signal sent via telegraph wire to the radio transmitter studio, where it was recorded on early Magnetophone tape recorders. The tapes were captured by the Soviets after the liberation of Berlin and transported to Moscow, where they languished for many years. Some performances were released by the Soviets, but the tapes were eventually returned to Germany and reprocessed in the 1980's.
   
   The microphones used were omni-directional and surprisingly sensitive, and while there is some compression of dynamics, there is a surprisingly good sense of hall spaciousness and resonance for the mono source -- along with the inevitable coughs, rustles, etc. And the sound quality varies, depending on the quality of the tape (some were recorded over several times, and the tapes themselves may have suffered some damage during their years of storage) and the alacrity of the "engineers" in the windowless "control room" in the old Philharmonie, who had to adjust volume both to capture soft passages and avoid overload in the louder ones. As a general rule, the performances with soloists suffer the greatest from congestion and distortion in the climaxes. However, the sound of the Berlin Philharmonic during the war years comes through surprisingly well. DGG has favored clarity above all, and has not filtered out distortion in the string sound, etc. In general, the more "analytical" your sound system is, the worse these recordings will sound. Those who, like me, prefer a more analog-oriented sound will fare better.
   
   The performances themselves are notable for their intensity of expression. Both conductor and orchestra seemed to be playing as though their lives depended on it (as indeed they did, considering how ofter the Nazis threatened to disband the Philharmonic because of Furtwangler's refusal to kowtow, and send all the musicians into the army). Furtwangler, living with the ambiguity of his decision to stay in Germany and minister to the spirit of the German people through music, and the inevitable compromises he made so he could continue his mission, conducted with a controlled fervor rarely matched.
   
   In this volume, the highlights are the Beethoven pieces: a mystical Beethoven 4th, an heroic and fierce Beethoven 5th, an almost maniacal Beethoven 7th with an intensely dramatic second movement and a finale nearly spinning out of control, and a lovely violin concerto featuring the Philharmonic's concertmaster as soloist. There is also a magnificent and dramatic Schubert 9th. All of these should be required listening, even if you already own Furtwangler's post-war recordings, because of the difference in interpretation. Post-war Furtwangler is more spiritual and detached; mid-war Furtwangler is more emotional and in the thick of things. Each has its virtues, but don't assume you know everything about Furtwangler -- or about these pieces of music -- until you've heard both.
   
   Highly recommended despite the variable and limited sound.



4. If you are looking at this item, you probably do not need to be convinced of the musical worth of these performances. So I'll refrain from commenting on the quality of the recordings here, and instead try to list details about them which might help you check for overlaps with other CDs.
   
   Please note that the Coriolan and the Beethoven Symphonies here are the same performances present on the Music and Arts 4CD set [ASIN: B00001W09Z]. I'm not sure how the quality of this remastering compares with that one.
   
   
   1. Symphony no 39 in E flat major, K 543
   27m : 54s Staatsoper, Berlin 2/8/1944
   
   2. Coriolan Overture in C minor, Op. 62
   8m : 57s Alte Philharmonie, Berlin 6/30/1943
   
   3. Symphony no 4 in B flat major, Op. 60
   35m : 29s Alte Philharmonie, Berlin 6/30/1943
   
   4. Symphony no 5 in C minor, Op. 67
   33m : 8s Alte Philharmonie, Berlin 6/30/1943
   
   5. Symphony no 7 in A major, Op. 92
   37m : 34s Alte Philharmonie, Berlin 11/3/1943
   
   6. Concerto for Violin in D major, Op. 61
   43m : 26s Alte Philharmonie, Berlin 1/12/1944
   
   7. Concerto grosso (12), Op. 6: no 10 in D minor, HWV 328
   17m : 29s Staatsoper, Berlin 2/8/1944
   
   8. Symphony no 9 in C major, D 944 "Great"
   50m : 16s Alte Philharmonie, Berlin 12/8/1942
   
   9. Der Freischutz, J 277: Overture
   10m : 51s Staatsoper, Berlin 3/21/1944



5. the performances in this box present music making in the highest and most sublime sense. This is music making for all seasons and for all music lovers. These performances, alongside those in another DG Furtwangler box-set of the war period, are among the most heartfelt interpretations of great masters I have ever listened to. These are not exercises in mere aesthetics or searches for a beautiful sound for its own sake.In these recordings music is presented naked, as the deepest expression of the human mind and human feelings. A must not only for Furtwangler collectors, but for all music lovers.

5 comments about Beethoven: The Piano Concertos.

1. As an admirer of both pianist and conductor, I purchased this inexpensive set with high hopes. Ashkenazy's passionately involving cycle of Beethoven sonatas and Solti's heaven-storming cycle of Beethoven symphonies would seem to augur well for their collaboration in the piano concertos. Alas, this was not the success that it might well have been.
   
   The main problem is the recording, which places the orchestra on top of the listener while the pianist tinkles away in some distant room. Moreover, the tone of Ashkenazy's instrument, as captured by the microphones, is distinctly sour (what one can hear of it); this is not the robust sonority one encounters from this pianist in the concert hall. For comparison's sake I auditioned the original LPs, and found that the balance, though still unduly favoring the orchestra, was much more natural. One wonders what went wrong in the remastering process. Was someone asleep at the controls?
   
   As for the interpretations, they are not quite what one might have expected either. Solti is predictably volatile, if overemphatic at times, while Ashkenazy seems intent on adopting a "Byronic" stance throughout--hearing or overhearing the music as from the midst of a poet's reverie--so that Beethoven comes out sounding too much like Chopin (in slow movements) or Schumann (in fast movements). This juxtaposition of temperaments does not, on the whole convince--except in the slow movement of the Fourth Concerto, where--predictably-- Ashkenazy's dreamy Orpheus is effectively played off against Solti's furious furies. The "Emperor" has its effective moments, too--thanks to Solti's unbuttoned vigor and Ashkenazy's poised, unrhetorical playing. But there are greater "Emperors" in the catalog (try Solomon/Menges or Fleischer/Szell for starters) as well as many better-recorded fourths with equally effective dialogic contrasts in the slow movement (try Barenboim-Klemperer or Kempff-van Kempen). As for the first three concertos, better integrated interpretations abound (try Fleischer-Szell for no. 1, Kapell-Golschmann for no. 2, and Haskil-Markevitch for no. 3--among a host of others).
   
   So, regrettably, and with due respect to two artists (and an orchestra) whose work I have often enjoyed, I must give this set a "thumbs-down." You can do much better-- both sonically and interpretively--in this price range. Recommended sets: Fleischer-Szell, Kempff-van Kempen, Katchen-Gamba, Barenboim-Klemperer, Solomon-Menges, Arrau-Davis, Perahia-Haitink.



2. This CD set is a digital re-mastering of the original "Stereophonic" London recordings from 1973. The sound is crisp and clear, and enhances the masterful technique of Vladimir Ashkenazy and Sir Georg Solti's well-paced leadership. You would never know you were listening to an ADD rather than a direct digital recording. The dynamic range of this digital re-mastering is far superior to the original LPs... the pianissimos are very soft and vibrant, and the fortes take your breath away. The recording engineers obviously took great pains to 'lift' the sound of the piano up a notch or two above the orchestra, and I was greatly pleased to discover that I could now hear much more of the solo instrument than I could on the original LPs. Although Ashkenazy's technique is not as free and dynamic as Bernstein's, he is very accurate, and hits every note in perfect sync with the orchestra. Solti was at the peak of his career here, and the Chicago symphony plays wonderfully in compliment to Ashkenazy. At $14.97 for three disks, and several bonus tracks (including Fur Elise) which were not part of the original LP boxed set,this recording is a great buy. Highly recommended!



3. the article was in good condition and i had a smooth and prompt delivary



4. All I can comment right now, is the performance of the Beethoven piano concerto 1 with the Chicago Symphony Orchestra was poor. The playing was stiff, the orchestra was below what they should be. I thought I even heard some off key notes from the band! Disappointed. Maybe I am just so used to how Martha Argerich plays it... However the rest of the discs are fantastic, what a contrast!!!!!!



5. Ashkenazy is more sweet in his playing than profound, Solti and the CSO are on fire, and the Decca sound is excellent! Good job!

5 comments about Mozart:The Complete Piano Sonatas and Variations.

1. I love classical music. I've learned to listen without being hyper-critical; just lsitening with my heart. Barenboim is a gifted muscian, and this performance is yet another example of Daniel's control of the keyboard. Endless hours of great musical listening.



2. i had to wait a while for this CD set, but it arrived in good condition & the seller kept in contact frequently



3. As an amateur pianist and Mozart lover, I own the complete piano sonatas by three different artists: Uchida, Maria Joao Pires, and Barenboim. I have listened to each set hundreds of times, and after buying Barenboim, side by side. For me, this interpretation is so far above the others (though much more so compared to Uchida than to Joao Pires), that I have only listened to Barenboim for the past year. One reviewer below points out that the 3 CDs of piano variations are not necessary, and I agree. However, the price is very reasonable, and I simply omitted the last 3 CDs when I loaded this into my iPOD.
   You will treasure this performance each time you listen.



4. It is something near to a cleansing experience to listen through the Mozart piano repertoire as performed by Daniel Barenboim.
   
   For starters, Mozart achieves his sparest, cleanest, most limpid lines when writing for solo piano. Then comes Daniel Barenboim, whose reading of Mozart is crisply and unemotionally classical. Not for him the drawn-out keyboard soliloquy. On the contrary, Barenboim gives us Mozart, only Mozart, and nothing but Mozart, clean and shimmering as sparkling mineral water.
   
   This is not to say that Barenboim as pianist is unfeeling. On the contrary, the Fantasia in C Minor - to choose just one example with almost random lack of care - is quite moving. But not with a flourish. Rather, with almost sinewy restraint. The presentation represents a fine grasp of the master composer, nurtured with discipline across the length and breadth of the voluminous sonatas.
   
   Indeed, the sheer volume of the Mozart piano sonatas is intimidating. It is astonishing to imagine one man having mastered it as Barenboim has. EMI Classics has done us the favor of collecting these two gentlemen's asynchronic collaboration in one set, affordable at that.
   
   If Mozart is a musician for the ages and Barenboim a performer who left a formidable imprint on the twentieth century, their collaboration as represented in these recordings is a watershed that will need to be referenced by students of classical piano for at least another hundred years, or until people can only remember as far back as the Dixie Chicks.
   
   Buy Barenboim on Mozart before that happens, and so stick your thumb in the dike against the evil day.



5. Daniel Barenboim played this whole set with an interesting approach to WAM . The notations about classical , beethovenian style are always hazardous.
   When you are a musician you must avoid in the cliche , and you should feel the music as a whole and the playing must be the consequence of a overlong process that begins in your soul , then your inner mood , your intellect and finally your fingers. I remark the aspect when you are in front of Mozart, Beethoven Wagner, Bruckner, Bach , Schubert and Bartok , because these composers are in a highest level than the others and the music itself is merely a device for expressing deeper issues.
   That's why this set is superb. Barenboim plays a Mozart rich in expresiveness , he gives to Mozart presence .
   Barenboim plays music as Vegh or Furtwangler did it , always seeking the landscape far beyond the score . That's why they are so original in their performances . The rapture is not a device for exhibite his skills , it''s the final product of a long process.
   Acquire this set. It's an unvaluable treasure.

5 comments about Aaron Copland: The Essence of America [Box Set].

1. Michael Tilson Thomas has long been known to have had a happy and fruitful relationship with the great Aaron Copland. His intimate knowledge of Copland's music and heart are evident in these recordings. The second symphony and the Appalachian Ballet(! as opposed to suite, which leaves out a very gorgeous, mysterious movement) are gorgeously rendered, as is the inimitable Fanfare for the Common Man. Billy the Kid is always a delight, of course. The Orchestral Variations are so invigoratingly different from what most people think of when they think of Copland, and this rendering is lively and precise. If I had one complaint, and it is a small one, it would be that I had a hard time with this interpretation of Rodeo, which didn't seem to find it's rhythm and gallop the way I'm used to. Still good, but I've heard better.
   
   But for me, an aspiring composer, the thing that puts this set over the top is the absolutely delightful commentary on the contents of the set by MTT. Not only do you get to hear a wonderful history lesson, but MTT obviously has a light, joyous love of music, and particularly that of Copland, that is infectious and inspiring. After hearing the commentary, I found myself much more deeply involved in the second listening of the set. I must disagree with the reviewer who compared MTT with Bernstein, not that one has more "quality" than the other, but that such a comparison has any merit or point in the first place. They are two very different people. MTT's commentary makes this set a must-have for Music lovers and especially for Copland aficionados.



2. Tilson Thomas flirted briefly with trying to be the next Bernstein but luckily has gone his own way. He is not a fiery or driven conductor--one can't say of him that he is possessed by music, a phrase Bernstien used about himself. In these Copland recordings he certainly conducts well, but the spirit of Copland seems lost among the careful detailing. This should be simple music to conduct but somehow only Bernstein catches the rollicking joy, the democratic dance rhythms, and the underlying sophistication at the same time. These readings strike me as too sophisticated by half, although they are in great sound.



3. Having heard MTT perform Copland live and with astounding impact I was delighted with this set. MTT's perfomances are exciting and have alot of insight. The 'Modernist' CD is perhaps a little dry compared with the 'Populist' one but the two compliment each other well as a result. MTT's comments as an interpreter and friend of Copland are invaluable and provide an accurate and lively interpretation of the composer's music. He delivers his words with great enthusiasm and clarity and his 'scat' singing on the disk is not to be missed!.. All in all this is a great box set and every Copland fan/student should have it. I hope it's not too long before MTT releases a recording of the 3rd Symphony - if it turned out like this set then we would have another definitive Copland recording.



4. This set contains 2 music CD's: One CD has Copland's earlier more chaotic works, and the other CD has the Copland's more famous works: Rodeo, Billy the Kid, and Appalacian Spring suites. The third CD is a commentary on the works on the other two disks, and also contains "Fanfare for the Common Man".

   The Appalacian disk is the greatest of the set. All three works have a new fresh interpretation, and the Appalacian Spring suite includes a section that is usually cut in most performances. (When I first listened it definitely took me by surprise!) MTT is perhaps the greatest living conductor for modern music and he does not disappoint.

   I did not care much for the CD containing Copland's modernistic works. The early works are very aggressive and "in-your-face" with irregular rhythms, which some may prefer, but they are a bit too modern for me.

   The commentary disk is delivered in a somewhat dry manner, but is worth listening too for some insight about the music. The commenary for the Appalacian Suite (where he explains the restored "Preacher" section) is good, and it is necessary to listen to the commentary to even hope to understand the modern works. (Actually, it helped me to appreciate the "Orchestral Variations" on the first CD -- perhaps the only modernist work in this set that I really enjoy.)




5. Michael Tilson Thomas' boxed set of these Copland tunes are supberb. What's even more exciting than the music itself, is the way Thomas talkes about these pieces and his own experiences with working with Copland. He is insightful, knowledgable, and makes the pieces easy to understand. He cares about the music and shows it in his conducting and explanations of the pieces. No one does copland better except for the man himself.

5 comments about Bach: Well-Tempered Clavier.

1. The quality of the recording is very bad indeed. Above all there is a terrible resonance effect, and also the timbre is awful. But it isn't only this. There is something else for me, very important. It seems to me that the piano sustaining pedal is used very much, almost always. When Richter take away fingers and feet, the sound "aura" that remains is by far much less, and not only at the end of the peice, where could came into the work of sound engineer. That's also typical of the romantic school that Richter represent... And that, playng Bach, would be really unbearable! On the other hand, otherwise, he would had never approved this recording for issuing. The recording I'm talking about is the Salzburg 1970 one of the first book of the work (that I bought fotunately low price with a classic music magazine) and I'm sure enough is the same of this cd set.
   
   Post Scriptum: And the torn, destroyed and burned score on the cover what is it? A freudian slip (lapsus), a provocation (they are "screwing around" us) or what?
   
   If you don't like Glenn Gould Bach, listen Martha Argerich Bach (Toccata BWV 911, Patita BWV 826, Englishe suite No.2 BWV 807, last two in particular) or Dinu Lipatti (partita No.1)... And learn.
   
   Ah... RICHTER SAID HIMSELF in an interview that the best Well tempered clavier is the Glenn Gould one.



2. This interpretation of WTC should forever reinforce the notion of Bach's piano music as the most sublime integration of musical intellectual vigour and sheer poetry. It took player of Richter's genius to achieve such task. A desert island piano playing.



3. While some of the criticisms made of this set are valid (the sound can be a bit distant here & there,)overall, this is one of the finest recordings of Bach's Well-Tempered Clavier currently available. Richter is extraordinary in these pieces. I expected the precise virtuosity, but have been even more taken by the emotional depth the Russian master shows on this four cd set from RCA. Many perfomances of these works can be technically perfect, but quite dry, revealing little feeling (Gould comes to mind for me.) Not so with Richter. This is a wonderful set to add to your cd library, even with the very minor imperfections in the sound quality. What an exceptional performance by one of the greatest pianists of the 20th Century!



4. I love the way the Russian school plays Bach (Richter, Gilels, Nikolayeva, etc.), and particularly this Russian, and these performances. The opening Prelude and Fugue I of Book I is one of most magical keyboard works that I have ever heard, and Richter's playing of it is other worldly--it is incredible. Too many notable Bach pianists--Edwin Fischer and Wilhelm Kempff among them--simply rush through this piece, destroying it's profound inner beauty. I have never understood why they do this. Perhaps they are trying to approach the music from the standpoint of a harpsichordist--in order to sound less romantic, but even on a harpsichord it works better at a slower tempo, at least, to my sensibility. Suffice it to say that Richter just gets it right, and more so than anyone that I have ever heard.
   
   As for the rest of the Well-Tempered Clavier--it is some of the most towering and influential keyboard music ever written, and essential in any collection. Beethoven loved this music so much that he took the pains to copy out the entire two books by hand--all 48 pieces!
   
   And now for the bad news, the recorded sound here--despite the high quality of Richter's playing--isn't all that great. However, if you can find a 2002 Japanese/ RCA release, it sounds better than this. There is also a more recent 2007 Japanese release, but I have not heard this yet. (But be warned that a Japanese issue from approximately 8-10 years ago is terrible, with the piano sounding as if it was recorded in a tunnel--and no, it is not all due to Richter's use of the pedal). If you can't locate a current Japanese release (try Cd Japan), I would alternately recommend trying to find a long out of print issue from the French "Le Chant de Monde" label. This is probably the best version of all soundwise, and is far superior to the RCA effort.
   
   (EDIT: I recently saw a picture of the 2007 Japanese release mentioned above, and it had the same identical cover as the Japanese set that I bought some 8-10 years ago, and was so disappointed with--in other words, it may be the same release, and if so, I would stay away from it. However, I also noticed that there is a new Japanese release scheduled to come out in October, 2008, which will be a remastering of the original recordings using the new SHM technology. Thus far, the few CDs that I have bought which use this technology have been excellent, and hopefully, this 2008 release will be the new version of choice sound-wise. Check out Amazon.co.jp or cdjapan in October, 2008, or pre-order now.)
   
   If I could give these performances more than five stars I would; certainly this level of pianism is so rare that it deserves many more. People who think that Richter is overrated should have a listen to these performances; I think they will see what all the fuss is about.



5. Having listening to more than a dozen recordings of WTC played with piano,
   I have to say Richter's rendition is one of the few I love best. Technical virtuosity, melodic fluency, contrapuntal precision, and musical depth are perfectly combined here. Even the tempos could not be better handled. The only thing I find not so good about this rendition is that Richter seems to have used too much petal, making the sound blurring at times. Even so, I stronly recommend this recording on grounds of its artistic value and relevation.

5 comments about Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore.

1. Furtwangler's wartime Beethoven is the only truly important music recording made, and stands as one of mankind's greatest achievements. Warning: Your sanity may be at risk. The peak of the set for me is the 2nd movement of the 5th. Words fail. If you have a soul, buy this. You will never be the same.



2. I am a big fan of Furtwangler and a lover of Beethoven. This set, while not perfect, is really special.
   
   For me, music is an emotional experience, not intellectual. What counts is whether a performance moves me emotionally. These performances clearly do, but some more than others. If a performance is less than perfect metronomically, or in some other way deviates from original scoring,that is not important to me, as long as it is emotionally moving.
   
   The 3rd symphony is a great performance. I also have Furtwangler's performance on EMI from 1952 with the VPO. I would consider them comparable, with a slight edge to the one in this set. A great and moving performance.
   
   The Coriolan is, as another reviewer said,"extraordinary;" Unquestionably, in my view, the best performance ever given this overture. The Leonore is also great, although not quite the best ever. You will not be disappointed with this Leonore in the least; a great performace.
   
   The 5th and 6th are the weakest parts of this set in my opinion. I prefer both the 1950 VPO performance of the 5th on EMI (Also containing the 7th, and at $5.99, the biggest steal that I know of) and the 1947 BPO performance on Bellaphon. That is not to say that this 5th is poor; it is extremely good and superior to that of most other conductors. I merely make the point that I prefer (slightly) two other performances by this conductor. But this fifth is a fine one.I would put it on a par with the performance by Kleiber.
   
   The 6th has always been Furtwangler's weakest Beethoven symphony. The one in the set is not bad; the 1947 BPO is far worse. But the 6th calls for a light touch, which Furtwangler lacked. If you want a good 6th, you should get Bruno Walter's performance.
   
   The 4th and the 7th are both the best performances of these two symphonies that I have ever heard. The opening movement of the 4th is just unbeleiveable. I also have the Furtwangler 4th from 1952 with the VPO on EMI and this one is much better.
   
   I also have the 7th with the BPO in 1953 on DGG and with the VPO in 1954 on EMI. While I love both of those performances, I think this one better. It is a hair-raising performance.
   
   Yes, I have the Furtwangler performance from 1951 in Bayreuth. It has been one of my "desert island" performances for years. It is legendary. This ninth is better in almost every way. It has an intensity and white-hot emotional fervor that few performances have. This entire set is worth the price just to hear this performance.
   
   I noticed a couple of reviewers complained about the sonics. They have to be kidding. The sonics on these recordings are great. They are as good as you will ever find on mono recording from performances in front of a live audience. There is literally no hiss, hum and the audieince noise is minimal. The engineers who did this transfer really did a superlative job.
   
   For anyone who loves Beethoven, for anyone who loves Furtwangler's performances, for anyone who finds great music perfomed greatly as emotionally uplifting, this set is mandatory and quite phenomenal.



3. This one disappointed me. My reference is the Abbado (not that it's the Holy Grail either) and this was quite mannered by comparison. Not to take away from its genuine importance to historians, completists and fans of this style. For me - and probably only me - the problem is the phrasing and rhythm. I can hear its era, the innocent syncopation of the day. It reminds me of Snow White. (Kill me)
   
   The performance must have been impressive, judging by the zealous reviewing going on here, but it didn't speak to me that way.
   
   No loss. I am always interested to hear how music evolves over the decades. Recording technologies are not the only thing to advance.



4. This set belongs next to Schnabel's piano sonatas and the Busch's string quartets as one of the great Beethoven sets in recorded history. There certainly is no better monetary value for Furtwangler's Beethoven. The 3rd, 4th, and 9th are especially definitive. Compared to Furtwangler's later performances, these are tighter, more intense, and faster-paced. It is mainly in the 6th and 7th that you miss the warmer Furtwangler of his later recordings.
   
   No. 3 is intense, concentrated, and perfectly proportioned. I differ with some who consider the 12/8/52 to be Furtwangler's greatest 3rd. While the sound of that one is fantastic, to my ear it is just the slightest bit more slack in concentration when compared to the '44. In any case, these are easily the two best recordings of the work available, and they are both essential. Listen to the '52 for beauty of sound and phrases lengthened to their max, but the '44 would still be my desert island 3rd.
   
   No. 4 is simply the greatest performance on record, giving a whole new level of emotional depth to this symphony.
   
   No. 5 is for many Furtwangler's best. It is certainly well-played and perfectly proportioned. There are several Furtwangler recordings of No. 5 that are deserving of attention, and choosing between them is a matter of strong debate. For me, the two that arise above all others are the 5/23/54 and 5/25/47. The '54 is simply astounding. It is a perfect performance in fantastic sound for its time. It really knocks you out of your chair. This is the recording for people who want to know what all the fuss was about Furtwangler's Beethoven. (How on Earth did the man conduct like this just 6 months before his death?) The '47 is also special for its edge-of-your-seat spontanaity. While not as good in sound quality as the '54, it is more fleet and rhythmically free. The rousing coda of the finale has to be heard to be believed - Furtwangler at his most magical. There is also a deleted DG recording two days later in better sound, but not quite as inspired. The '44 is still a great performance, but for me Furtwangler reached greater heights in these two later recordings.
   
   No. 6 is one that perhaps misses some of the warmth of Furtwangler's later recordings. It is still a great one, particularly in the storm, and the playing of the Berlin Philharmonic is magnificent. You really get the sense of the storm slowly subsiding and sunshine peering through the clouds in the final movement. Like the 5th's with which they are paired, the 5/23/54 and 5/25/47 are the performances that show Furtwangler at his best. The '54 is pretty definitive and in great sound.
   
   No. 7 is exciting and dramatic. Though it has much to recommend it (listen to the beautiful tempo fluctuations in the scherzo), I sometimes miss the more patient pacing of Furtwangler's later recordings. The '53 DG recording is probably his best, with excellent tempo transitions and a rousing conclusion to the finale. The sound is also very present and clean for the period. The '50 EMI recording is not far behind.
   
   No. 9 is simply the greatest orchestral recording ever made of anything. Yes, some will say it is too intense, but what else do you want with this symphony? You simply cannot go back to other interpretations after hearing this one. Only the '51 Bayreuth performance comes close. That one is a good alternative for hearing cleaner sound and some strong brass playing. The '54 Lucerne is by far the best-sounding. However, it does not have the same intensity as the other two. By comparison, it almost sounds tired. Of course this is all relative: The '54 Lucerne still puts every other recorded version after Furtwangler in the shade. And then there is also the '37, which is dimly recorded but still exhibiting Furtwangler's unique intensity.
   
   And let us not forget the overtures, particularly the '43 Coriolan. Along with the '42 9th, this is also one of the greatest orchestral recordings ever made. Astounding drama and concentration. Unfortunately, Furtwangler's definitive '47 Egmont on DG is not presently available.
   
   In short, run out and grab this set while also complementing it with a few of Furtwangler's later recordings. My desert island choices for Furtwangler's Beethoven symphonies would be:
   
   3rd: '44 and 12/8/52, 4th: '43, 5th & 6th: 5/25/47 and 5/23/54, 7th: '53, 9th: '42 and '51



5. This set collects some of the greatest and awesome Beethoven interpretations in world history. Their classical status is unmatched: at the conductor's rostrum, we have Wilhelm Furtwängler at the height of his exceptional understanding of Beethoven's music. The context of the recordings is WWII, mainly in the wartime Germany (of course, Vienna belonged to Germany after the 1938 "Anschluss", but I choose to see Vienna as the capital of Austria). Like some other great artists and intellectuals, Furtwängler decided to stay in Germany during the Second World War. But unlike disgusting opportunists like von Karajan, he never joined the Nazi party - in fact, he even refused to shake Hitler's hand.
   
   Of course, Furtwängler's impeccable moral contributes to his greatness. Just listen to his magnificent ninth, with its humanist message. It's a breathtaking performance that should move everyone to tears.
   
   Here are the recordings dates of the performances in this box:
   
   Symphony 3: Vienna Philharmonic Orchestra, 19-20 December, 1944.
   Symphony 4: Berlin Philharmonic, 27-30 June, 1943.
   Symphony 5: Berlin Philharmonic, 27-30 June, 1943.
   Symphony 6: Berlin Philharmonic, 20-22 March, 1944.
   Symphony 7: Berlin Philharmonic, 31 October-3 November, 1943.
   Symphony 9: Berlin Philharmonic, 22-24 March 1942. (Solists are Tilla Briem, Peter Anders, Elisabeth Höngen, and Rudolf Watzke.)
   
   Music & Arts' remasterings (made by Maggi Payne) are very good. Of course, what we have here are old mono, live recordings, so don't expect HiFi quality. But what you can expect are recordings of the century, essential for any music collection.
   
   Strongly and warmly recommended!

4 comments about Mozart: Complete Solo Piano Works.

1. The sound quality is so poor in this recording that it is difficult at best to enjoy. I suppose if you play your music at extremely low volume, or are used to listening on a poor quality stereo (think victrola sound), then maybe you could get past the static noise. Quite a shame, considering what a masterfully performed, complete set this makes.



2. 
   There is an Amazon.com review (on Annie Fischer's Complete Beethoven Sonatas) which says Geiseking's Mozart are all "faceless and anonymous". As I don't really know when I will finish listening to them all, I am really in no position to say one way or the other.
   
   After having heard more than half of them, my first impression is, his playing is very disciplined, yet with a lot of grace and style. But contrary to what one may expect, Geiseking could also be surprisingly slow in tempo at times. Yes, he could be poetic too, but he hardly swings. His 511, for instance, could perhaps be a little more poetic. His left hand, perhaps rightly so for Mozart, never thunders. But when the drama of the music requires so, it could be very explosive. Otherwise, his left hand is always at least one step down if not two, be it harmonic or polyphonic...
   
   I don't refer to Geiseking's Mozart that often as I like his Songs Without Words better, and I like his Debussy even more. His Beethoven Piano Concerto No. 5 is one of the best that one could expect. Finally on the recording. For recording of the 50's with such a label concerning an artist of his stature, I'm afraid the sound quality is somewhat below expectation. All in all, I expect the price of these historic recordings to come down a bit for the benefit of all Mozart lovers.



3. While his piano sonatas and variation works are often recorded, I tend to have the most fun in playing the lesser known works that often give the most direct view on Mozart's genius. Looking through the catalogue I had little doubt that Gieseking's collection would give me the most bang for the buck (check out the German Amazon site) and good old Walter did not disappoint.

   In old mono recordings that are noisy, lack soundstage, yet sound surprisingly well, Gieseking offers us an almost complete edition of all Mozart's works for solo piano. His style that can best be described as clear, cool and very precise, approaches Mozart from a decidedly non-romantic, non-neurotic perspective. In short: a perfect Uchida antidote.

   Giesekings tempos in the Sonatas tend to be at the high side, but his exemplary technique -what a left hand!- prevents the interpretations from ever sounding stressed. Although I can pick some instances where a little more involvement could have paid off, e.g. in the small funeral march KV 453a or in the c-minor Fantasie KV 396, one of Goulds rare Mozart miracles, the playing throughout is exemplary.

   All those who claim that Gieseking would be too cold only need to listen to this version of the great a-minor sonata KV310. While it clearly stays within the boundaries of classicism it is on par with Lipatti's version in delivering a direct and profound dramatic statement.

   This classic has been in the catalogue for 50 years and for many more to come. I hope that more of Gieseking's Bach performances will find their way to the cd, since the clarity and drive that his Mozart interpretations exude must have resulted in some great Bach.




4. These interpretations of Mozart have been part of my library since I was 14, back in the 70's. Originally issued by Angel in the mid 50's, they were rereleased on Seraphim, which was then the budget label for Angel.

   Listening to these recordings, one cannot help but notice the attention Gieseking gives to the steady timing. He does not take the liberties that other pianists have been known to take with some music of this era.

   Is it any wonder that some musical purists consider these interpretations seminal? These CD's are a worthy addition to any classical library (although I can't help but reminisce about the fact that I paid $27.39 for the 11 record set when I bought it almost 30 years ago).

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.