5 comments about Sibelius: The Complete Symphonies & Tone Poems.

1. I will preface this review with one single caveat. I love Sibelius. His music is beyond that which was being produced by the average turn of the century composer; and his output was vast, varied and complex; just like the man himself.
   Jean Sibelius is, perhaps, one of the most underappreciated compers of all time, but most certainly Finland's finest composer.
   The fact that his works are so complex, so layered and so problematic for listeners only serves as a glaring sign of how truly wonderful his life's work has become.
   Surprisingly, he remains absent from even the most audacious audiophiles' collections.
   Why?
   Well, he suffered from depression (perhaps understandable considering the the beautiful country of Finland which remains dark many months out of the year), obsessive compulsive disorder (which seems to be a hallmark of any truly great mind, in my ever so humble, and sympathetic opinion, as I also suffer from such -dis-orders of the mind, not that I consider myself a great mind, but I have my moments; but again, I digress), and a haunting perfectionism (noted perfectly in his statement, "It is strange that something has become of me, because I have done so much in my life quite the opposite of what should have been done"). To think that such a genius should suffer so greatly is proof that we can seek to impress ourselves but even in greatness, fail ourselves miserably
   Sibelius struggled to create music that would not only inspire pride in a cold and dark country, but also to draw attention to all that is beautiful about his native land. "Finlandia" of course is his crowning achievment in this venture, followed by tone poems that focus upon characters that littered the landscape of Finland's massive historical value to the world.
   "Kullervo", the "Karelia Suite", and "Svanwhite" (Swanwhite) are all a testament to a rich and varied liturgical and spoken tradition that became legend as the stories where passed from Father to Son, Mother to Daugther and so on. Such is the history of the people of the North; the Norsemen; the Vikings (one of my favorite subjects).
   Perhaps most telling of Sibelius' depression and darker side is his Symphony No. 4, a dark and ominous piece that some people find too depressing and far too clouded to be appreciated. I, on the other hand, feel every note of this symphony as a teardrop falling from a genius/quasi-madman's pen. His ability to convey emotion is unmatched by many and exceeds most.
   In stark contrast, his Fifth Symphony is a bright and airy piece that has a melody that can be described as magical and translucent. The move from the Fourth to the Fifth Symphony is an experience in musical bi-polarisam and it should be celebrated for conveying emotion beyond music, beyond the man, beyond his nationalistic pride; it should be celebrated as an example of how one's life can be clearly displayed in the music that is produced at any given time in a composer's life.
   Sibelius often complained that no one could truly understand the darkness with which he lived; this would be best summed up by his statement about his beloved wife, Aino, who did not understand his darker side when he said of her, "This terrible depression - which Aino cannot understand and which I have inherited from my ancestors. Because I'm so thin-skinned or lacking in confidence Aino and the children will never receive proper support in life." What a heavy burden to carry for such a talented and misunderstood giant of composition.
   Many people complain that his music is unapproachable. I would argue that anything worth appreciating is worth working toward. Thus, here you have a monstrous collection of Symphonies and Tone Poems that sum up the pride, madness, and genius of a composer that lived a real life; pained, paniced, manic, misunderstood and, tragically, unfulfilling (sound familiar; we've all been there, so I know you can relate).
   His symphonies broke new ground in their makeup; from the six punctuated, off tempo closing bursts of his 5th Symphony, to the sheer joy of his favorite and final composition, the Seventh Symphony.
   
   The Helskinki Philharmonic, led by conductor Paavo Berglund, perform these pieces with a respect and adoration for Sibelius' genius. The performances are near perfect, with excellent recording and beautfiul arrangement.
   I won't move piece through piece (as I have already rambled for quite a while), but suffice it to say that the work presented in this collection of 8 CD's is staggering, breathtaking and well worth every dollar that I spent.
   I listen to these discs often and still, after quite a while, find myself in awe of how perfect the orchestra works together to create the emotions of a man who, although struggling with interaction with people ("I haven't heard an orchestra for nearly a year. Nor have I really met a single person...Everything is greyer than grey. - My whole life has been wasted"), obviously did not struggle with the concept of music as a conduit for emotional release.
   
   Here we stand, over 50 years after his death, and we still struggle to understand the genius of a man who was so much like a lot of us, so flawed and self-loathing, so sad and desperate for accomplishment, not recognition; perhaps Sibelius' greatest quote was made about the people that seemed to dog him wherever and whenever he blessed us with his work. When he said of music critics: "Pay no attention to what critics say. No statue has ever been put up to a critic", he acknowledged, at the least, that he saught only personal satisfaction. How true; and now Sibelius has an astounding repetroire of beautiful music that deserves the monument that was erected in his honor.
   
   Suffice it to say that I highly recommend this box set as a must have. And furthermore, I would go so far as to say that if you have not truly listened to Sibelius (highlights would be his Symphony No. 5, The Oceanides, Finlandia, The Karelia Suite, Symphony No. 3, Symphony No. 4, Symphony No. 7 {the piece that he said he could not out-do, resulting in a permanent hiatus from composing for the last 30 years of his life}, and Serenades 1 and 2 {Op. 69a & 69b}), and by listened I mean played the pieces until they speak to you, you are missing out one of life's finest pleasures.
   
   Buy this collection and you will provide yourself with the opportunity to open you mind and ears to an entirely new perspective on life and music; whether or not you suffer from depression, OCD or perfectionism.
   Do it; I think that you will be pleasantly surprised and ultimately uplifted by the beauty and grandeur of Sibelius' work.
   
   Truly a wonder for the classical lover that needs something more than the turn of the century impressionsists (which I love, but this is so different) and the run-of-the-mill compositions of conformists.



2. with the Helsinki
   3 Stars for the Bourgemouth on the poems.
   But truth be told, no matter how EMPHATIC statements that his syms are not programmatic, that is fall into a logical step by step order, they are just that, very predictible.
   I've given these syms 30 yrs, and lately I've lost interest.
   While Schonberg, Berg, Webern, Varese were scoring creative new atonal/poloytonal works of new genius, here was Sibelius struggling with old forms, that fail to deliver anything really new. And he knew it, and bothered him to no end.
   I feel there is way too much Beethoven/Bruckner(I like neither) influence in the syms for me to become a fan of the syms. I like the 1st sym "somewhat" that is I never listen to it, and small parts of the 4-7 syms. But I'm afraid I only like Sibelius pre 1905, the Kullervo, VC, tone poems. Here is where the genius of Sibelius truly lies.
   The syms long ago held some interest, but lately i've moved on to Schnittke and Pettersson.
   I also much prefer Vaughan Wialliams syms to all of Sibelius.
   Sibelius was a genius in his element, that of representing the folk ideas of his land. His syms are like a string of ideas that lack the connective passages. IOW the whole is less than the few interesting parts.



3. For me, this has been the year of Sibelius. Previously, I had listened to (and enjoyed) Finlandia. I also had a couple of the symphonies but hadn't listened too them but once or twice. After listening to Finlandia again, I decided to seek out more SIbelius to sample. After some searching through reviews, I settled upon this compilation of works because it offered a large variety of Sibelius and seemed to be well-received. I have been very happy with this purchase! Not only have I spent countless hours listening to each of the 8 disks in this set, the enjoyment of the music has led me to many other wonderful performances of Sibelius by other worthy conductors such as Ashkenazy and Vanska. Still, this boxed set will always be fondly remembered as the one that introduced me to the wonders of so many of these pieces.
   
   I was immediately captured by the haunting clarinet solo that begins the first symphony. All of the symphonies, performed by the Helsinki Orchestra, are recorded in very clear digital sound -- so the solo and the pecussion accompanyment were perfectly captured. I was hooked by the first symphony, but all of the symphonies are presented clearly and with outstanding interpretations. The Helsinki Philharmonic has always had a strong affiliation with Sibelius's music, and Paavo Berglund is a renowned Sibelius conductor who has recorded three separate symphony cycles (once with the Bournemouth Symphony orchestra, the 2nd time with these recordings, and a third time with the Chamber Orchestra of Europe). The commitment felt by the conductor and orchestra comes through in these performances.
   
   In addition to the complete symphony cycle, there are a number of other treasures. A fine version of Finlandia is accompanied by a number of truly delightful tone poems such as Tapiola, the haunting Swan of Tuonela and Lemminkainen's Return (from the Lemminkainen Suite). These tone poems were inspired by the Finnish Kalevala. Other tone poems such as the Oceanides and Spring Song were inspired by Sibelius's love of nature. All receive strong performances by Berglund conducting the Bournemouth Symphony (in analog sound that is still quite good). The violin serenades (especially no. 2) were unexpected delights. The version of Kullervo is magnificent, as is the singing in Luonnotar and Oma maa. This set is a treasure trove of Sibelius treats!



4. This box set includes Sibelius' all symphonies, with Kullervo and his almost complete tone poems. The Symphonies are performed by Helsinki Philharmonic Orchestra, Kullervo and tone poems with Bournemouth Symphony Orchestra. All of them conducted by Paavo Berglund, who always a champion on performer of Sibelius.

   Even so there are his incidental musics: Pelleas et Melisande, Swanwhite, Kuolema and King Christian II.
   Especially Pelleas and Kuolema (which includes ever famous Valse triste) are the most beautifuls. Pelleas et Melisande is a very impressive music, and the best "Pelleas" music with Debussy's Pelleas (opera).

   Kullervo is symphony-cantata for two soloists, men-chorus and orchestra, which be constitued in 5 movements, comparable in artistically with Mahler's 2nd Symphony "Resurrection". Especially the last movement "Kullervo's Death" is very effective, pathetique.

   And one more a vocal work, a tone poem for soprano and orchestra: Lounnutar. This is based on Kalevala again, and Luonnotar is creator of nature in this poem. It is a very radical work, like his darkful 4th Symphony and The Bard. I think, The Bard is one of the best works of the composer, with it's harmonis, dark colours, contemplative mood. Still, this was written in tragic E-flat minor. It is based on a mythologic creature which plays an harp, like lyre in Greek mythology. And in the last minutes there is a dramatic climax and then music slowly fades out.
   
   And there is the best Tapiola recording, I've ever heard (with Petri Sakari's version at Naxos). This is based on Kalevala, again. Tapio is the name of the forest god, according story. There are very impressive contrasts between hypnotic, a little hesitated, light colours and dramatic darkful colours. The orchestration is marvellous again. Especially, in last minutes there is a terrific storm scene and it's very spine chilling. Climaxes (which played by brass) are very powerful...
   
   This is a very good addition to collectors of Sibelius fans and any classical music lovers. Highly recommended.




5. Jean Sibelius is one of those composers who I feel that even on his off days he did well. While I certainly can't say I enjoy all of his music enough to buy (Sacaramouche for instance), most of his music is highly pleasureful. All of the pieces on this set, conducted by Paavo Berglund, save maybe one or two, are part of the later catagory.
   
   
   This set consists of most of Sibelius's major orchestral music, with the notible exceptions of Night Ride and Subrise, the first two sections of the Lemmenkainen Suite, and the Violin Concerto. It also contains such rarities as Origin of Fire, Our Own Land, and excepts from Swan White.
   

   
   Berglund, I believe, was the first to fully record a complete cycle of Sibelius symphonies. The recordings here are not from his first set (which I have not heard), but the second cycle recorded in the mid-80s. The symphonies and two canatas mentioned above are recorded in digital, while the rest is analog. It's all in very good sound, though not perfect. That they wanted to keep the D and A recodings on seperate discs is the only possible reason I can see for why they left out the Violin Concerto (there's plenty of room on disc 4).
   
   Now of course, contents are one thing, but what really matters is performance. And suffice it to say, they for the most part shine. This has easily the finest Symphony 1 I've heard, and the finale of Symphony 5 (truly one of the greatest works of the 20th century) shines with brillance. Symphony 3 makes its mark nicely, and Symphony 2, while perhaps a bit on the fast side, is certainly up to par. The only disappointment is Symphony 7, which falls totally flat compared to Davis/BSO.
   
   The two cantatas are wonderful rarities, but its disc 5 where the choral aspect is full played out -- Kullervo. If you've never heard this piece, it's a 75 minute long programatic symphony (to use to term losely) with many ups and downs. This was the first ever recording, and most say it hasn't been topped.
   

   
   The final three discs contain shorter works. Especially noteable are the absolutely beautiful Serenade #2 for Violin and Orchestra, the hauntingly lovely Luonnotar, a very rousing version of Lemminkainen's Return, and a passionate Pelleas and Mellsande.
   
   Of course, it's almost impossible to have this big a set without some disapointments. Beyond the aformentioned Symphony 7, there's also not overly convincing Finlandia, and a WAY too slow Karelia Intermezzo. Thankfully, the rest of the set makes up for it. It's a great deal at only about $7 a disc retail, and if you're like me, on you'll keep coming back to.

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.

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).

5 comments about Mahler - The Complete Symphonies / LPO, Tennstedt.

1. I am almost as enthusiastic about Klaus Tennstedt's Mahler as any of the reviewers below. Since his death, the conductor's reputation has grown steadily -- his Mahler cycle was inevitably overshadowed during his lifetime by bigger marquee names like Bernstein, Solti, and Karajan. As a bargain set, Tennstedt's Mahler contains as many original ideas as Kubelik's on DG, and for sonics and orchestral execution it's probably a few degrees better.
   
   Yet EMI's studio versions aren't really a match for Tennstedt live. He became more spontaneous and inspired in concert (one can't say quite the same for Kubelik, whose live Mahler on the Audite label sounds essentially the same as his studio versions). To test this out, try and find the live Teenstedt recordings on the Memories label. (Because it's an Italian pirate, Amazon doesn't carry Memories, but you can go to www.berkshirerecordoutlet.com.) A good place to start is the 2-CD box containing Sym. 1 and 2, both with the adequate NDR orchestra of Hamburg. The concerts date from 1977 and 1988, and both symphonies are capturd in excellent broadcast stereo, full and rich enough to mistake for studio work.
   
   In these readings you will hear the truly great Tennstedt. Mahler was as emotionally complex and technically intricate as any composer in history, and it takes a lifetime to plumb his depths. Tennstedt belongs among the charmed handful of interpreters who can find a strong personal viewpoint in the midst of Mahler's whirling universe -- what he achieves with the first movement of the Second, for example, is breathtaking and utterly unique. Other enthusiasts have made the same claims for Jascha Horenstein, but to my ears Tennstedt rises to another plane altogether. I may be overly influenced by Horenstein's habit of ignoring the need for good orchestral execution.
   
   If you find yourself bowled over by the First and Second, as I was, Symphonies 3 - 7 can be found in another Memories box set. I haven't heard it yet, but the orchestras rise to a much higher level (Boston, Cleveland, New York), so I can't wait.
   
   P.S. - In time I did hear the Memories box set of Syms. 3 - 7 and remain enthusiastic about all the interpretations. However, some of the braodcast sound is tubby and/pr shrill. Try the earlier set of Sym. 1 and 2 before taking the plunge.



2. Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.
   
   Some comments of each recording.
   
   Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.
   
   Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.
   
   Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).
   
   Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).
   
   Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.
   
   Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).
   
   Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).
   
   Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.
   
   Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.
   
   The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.
   
   Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.



3. Tennstedt has his unique ways and skill of engeenering the sound of Mahler's symphonies.
   
   Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9



4. I can say, what sound quality and performe of this symphonies is on top,best i ever heard. I'm professional musician,so this is not just a mere words.



5. Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.
   
   On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.
   
   My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.
   
   The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).
   
   So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).
   
   Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:
   
   #1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.
   
   #2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).
   
   #3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).
   
   #4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.
   
   #5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.
   
   #6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).
   
   #7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.
   
   #8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.
   
   #9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.
   
   #10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.
   
   Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).
   
   This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.
   

4 comments about The Ultimate Aria Collection ~ A Passion for Opera.

1. Probely this is a good buy for someone who is gest getting into the world of OPERA.Still a very good purchaes with fimiluar songs.



2. If you love opera - this collection of some of the lovliest arias ever sung by artists from Caballe to Freni, from Delibes to Puccini - will inspire you. It is a wonderful gift for friends or for yourself.



3. In my small operetic mind, this set of Cd's has completely captured me for the Opera. I was a young and upcoming musician in my youth. I'v been around the block "as it were" with the Classics. This collection is indeed, the benchmark upon which all others would hope to aspire.

   Congradulations EMI for an incredible vision of the greatest opeatic moments recorded.

   Gosh what's next?

   Ralph Hassman




4. If you don't like the idea of buying whole operas, or if you're a newcomer to opera - this is an extremely good collection / introduction, worth every single cent. The collection features many of the worlds greatest singers, giving their interpretations of some of the world's greatest arias. The compilation itself is very tasteful and covers a wide range from Handel to early 20th century composers. You won't miss any important stuff from the history of opera, except maybe Wagner and the most modern operas - I'll come back to that fact later. The compilers have actually put some lesser known, although no less beautiful, arias here, that oftenly are neglected on ordinary opera-collections, why the name `ultimate collection' is more than correct in that aspect.

   EMI have a enormous archive to pick their recordings from, and that of course makes it easy to find first rate interpretations of all the arias included in this collection, and I do think that almost all of the arias are wonderfully sung here. It may be possible to find better performances of single numbers here and there, but I've not yet heard a more complete, wellmatched, and so thrillingly sung collection.

   Well then, is there nothing wrong with this compilation? You might find it a little odd that there are so many soloarias and so few duets, terzettos a.s.o, especially since the drama in operas oftenly is greater in numbers with more than one singer. You might also wish that some of the recordings had been a little more modern (most of these recordings were made during the 50's, 60's & 70's) giving place to younger performers that still are singing on the stages, but those are minor objections when the over all quality is so high.

   The maybe strongest objection to this collection is that there is not one single part from any of Wagner's operas, and not any number sung in german, nor is there any parts from modern or russian operas. That may be a miss if you're interested in Wagner, russian and modern opera - on the other hand I think you should watch Wagners, russian and modern operas before listening to recordings of them - and if you've seen them and liked them you will probably buy the whole opera anyway. Therefor I still think that this is a extremely strong and complete compilation - the best I've run into so far. Easy to listen to, yet never banal.

5 comments about Handel - Solomon / A. Scholl, Dam-Jensen, Hagley, Bickley, Gritton, Agnew, Harvey, Gabrieli Consort and Players, Paul McCreesh.

1. I struggled as to wether I should purchase "Solomon" with either Michael Chance of Andreas Scholl singing the title role. This is a frequent difficulty, because they are two of my favorites, but often sing the same compositions. The Mcreesh version with Scholl won out, mainly because it is the entire score. It is interesting to note that Paul Mcreesh opted to place the choral piece, "Praise the Lord" in its proper place, instead of changing it to a finale role, as is typically done, thus avoiding a possible Romantic imbellishment, as opposed to Baroque. The choruses are many and magnificent. All Scholl's arias are angelic. There are also three duets, with three of four of the sopranos, and Scholl. One aria by Solomon's Queen is a little strange. She refers to being led to the nuptial bed, and, being sung in English sounds a little odd. All around, a gem. No-one overpowers another. The orchestra is amazing. And Paul Mcreesh directing. Need I say more?



2. I bought this because Alison Hagley was in it. None can match her pure and innocent voice. What more can I say? Alison Hagley is just a beautiful woman with a beaurtiful voice!



3. Unlike the other reviewers here, I'm a newcomer to Handel's oratorios. Operas like Ariodante, Rinaldo, Orlando, and Giulio Cesare made me fall in love with Handel as a composer. And now, his oratorios have made him my favorite composer, after Verdi.
   
   Handel's oratorios can be even more thrilling than his operas. For example, there are practically no choruses in his operas. You are lucky if you get a duet or two. The arias from his oratorios are less ornate than those of his operas, but on the other hand they are not just vacuous, florid displays, either. Also, for those whose native tongue is English, there is there is the joy of hearing how music sung in English can be as beautiful as that sung in other languages.
   
   Anyhow, if you aren't a religious person, don't let the sacred themes faze you. Any lover of finely composed music will be in a state of absolute bliss.
   
   I bought this recording of Solomon because of Andreas Scholl, one of my favorite singers. Another reviewer here lambasts him for being in love with his own voice. So what? I'm in love with his voice, too. Sure, a couple of arias move rather slowly. But his next oratorio for McCreesh, Saul, proves that he can be more dramatically engaged, if he wants.
   
   Speaking of Saul, I suppose that I like that oratorio more than Solomon, only because it is a continuous narrative, instead of a series of vignettes, like Solomon. Still, Solomon is still a glorious work of music. I find myself listening to the second disc the most. The opening "Happy Solomon" chorus thrills me every time. McCreesh's powerhouse chorus is sheer perfection, and the orchestration is dazzling. Again, another reviewer criticized McCreesh for conducting each chorus as if it were an anthem. Well, I for one love anthemic choruses! Some people just don't like thrilling music, I guess.
   
   The scene with the two harlots is also compelling. The first harlot's plea of, "My cause is just, be thou my friend" contrasts strongly with the second harlot's cry of, "False is all her melting tale." The two harlot's music blends, with Solomon singing, "Justice holds the lifted scale." This is a very inspired use of counterpoint, by Handel. As an aside, Scholl is dramatically focused when he says, "Divide the child." That line gets me each time I hear it. The second harlot is deliciouly wicked when she sings, "Thy sentence, o king, is prudent and wise."
   
   In my opinion, no Handel collection is complete without Paul McCreesh / Andreas Scholl's recordings of Solomon and Saul.



4. For those who are drawn to artists who emphasize expressiveness and variability of interpretation in their work, this recording is definitely worth owning. McCreesh allows the performance of this very moving oratorio to be intimate and thoughtful as well as thrilling. Tastes differ, and I disagree that Scholl's performance is self-indulgent. He sings the recits at the appropriate speech-pace and treats them with as much consideration as the arias, which I find refreshing. Most of Gardiner's recordings lack the elegance and patience present on this disc and most often found in the work of Herreweghe, Leonardht and Robert King.

   The chorus is very well prepared and sings with a nice balance of liveliness and taste (in particular the enchanting chorus "While nightingales lull them to sleep" is enough to make you forget where you are). All in all this is an excellent example of a conductor bringing communication to the forefront and allowing musicians to be just that. For me that is what baroque music is all about.




5. This was a surprise recording for me. I've never considered McCreesh to be an opera conductor. Not that I'm a major expert, but I do own a number of his recordings, and I've always thought of him as a conductor most celebrated for his liturgical performances. Well, it turns out that the familiar McCreesh is equally at home in opera as in liturgy. In fact, come to think of it, McCreesh's extroverted ("congregational") renditions of church music made him just the conductor to tackle the drama of opera. His expressive conducting elicits the best out of each performer. And what a cast! Andreas Scholl turns in a wonderful performance as Solomon. I'm one of those people who sometimes find Scholl's singing to be beautiful without passion. But no such charge can be levelled against him here. His beatiful tone is combined with excellent phrasing, aided by McCreesh's judiciouly chosen tempi. I think this is one of Scholl's best performances on disc. Incidentally, I'm happy that McCreesh opted for a countertenor in the role of Solomon - I'm really not a fan of women in "pants" roles. Two other singers clearly stand out: Paul Agnew as Zadok (one of my two favorite tenors, if anybody cares) and Peter Harvey as a Levite. Luckily, Agnew's Zadok has more to sing that Zadok on the Gardiner. In Agnew's magnificent performance, no one can claim that some of the arias he gets to sing are the proverbial "deadwood!" The female singers, especially the bright-voiced Susan Gritton, are also memorable. Bravo, Paul McCreesh!

5 comments about Complete Piano Music of Scott Joplin.

1. ]I have loved Joshua Rifkin's [[ASIN:B000005IYF Scott Joplin: Piano Rags]interpretations of Joplin's Rags for (to date myself) decades, and love his interpretations. But it's just one one album. And I loved Joplin. And I saw this: all his piano music, price more than reasonable. And asked myself: How bad can it be?
   Answer: not bad. In fact excellent. I don't like a very, very few of Arpin's readings: Maple Leaf Rag, as some people have already reported, is done for speed. It was typical of the time, and I think Arpin did it as an exhibit of what people often heard. But Maple Leaf is an isolated example. For the most part, the tempos are leisurely, with beautifully orchestrated mini-hesitations and accelerations. Magnetic Rag is a test piece: it's one of the best pieces of music ever written by an American, and Arpin has it totally. Likewise Solace. Hesitater, go for it: you'll be glad you did. You may not like 100 percent, but you'll be very happy anyway.



2. The musical renditions on this CD will transport you back to another, simpler time and place. I enjoyed listening to this very much.



3. We love this collection and it came at such a reasonable price. Our ten month old also seems to enjoy it, especially "Maple Leaf Rag".



4. Complete Piano Music of Scott Joplin
   This CD collection of Scott Joplin's piano music is a treasure. I am a lifetime afficionado of Scott Joplin music, and this is the most enjoyable rendering of his piano works that I have found. John Arpin is superb in his performance. It seems obvious to me that he also treasures Joplin's compositions, because he plays them with great fun and expressiveness, and because he is true to and respectful of the original works. The occasional embellishments added by the performer are tasteful and completely in keeping with the originals. Listening to this collection over and over has inspired me to learn to play all the music it contains. Anyone thinking these pieces are redundant or very similar to all the others, has not listened to them enough. Perhaps this is a genre certain critics don't really appreciate. I admit, I initially had difficulty learning which song was which when listening, but as I learned each better I have come to discern the subtle and distinctive personalities of each. I was reminded by one critic's remarks of the line in "Amadeus" when the Emperor told the composer Mozart that his piece simply had "too many notes." I think each of Joplin's compositions adds something unique to the body of his works.



5. As a fan of ragtime since high school (I'm 53 now) I have to say that Arpin really understands Joplin better than most; he gives his interpretations that little extra "oomph" that ragtime needs. Unlike the classical types, Rifkin foremost among them, he realizes that ragtime was originally dance and dance hall music, and plays it with a consistent tempo and strong rhythmic conviction, which is something most pianists don't do. However, as a composer myself, I have to say I am sometimes dismayed by the liberties he takes with the actual notes that Joplin himself wrote! Playing a passage an octave lower or an octave higher than it was originally written may not seem like much, but it changes the whole character of the music. And that's not the least of Arpin's transgressions; if you look at the original sheet music you'll see just how much he changed in his "interpretation". Sure, you can go back to the original piano roll versions, but, given a choice, do you really want to listen to a machine? Great for historical purposes maybe, but . . .
   SO here's my question; is this the price we have to pay to get a decent
   version of Scott Joplin's rags? Maybe so.

5 comments about Classical Masterpieces of the Millennium [20 CD Set].

1. i can't believe this set is selling for $80 here. i bought this set years ago at circuit city for $35. last time i visited, there was still one on the shelf. *shrug* i would definitely try and find it cheaper, but even at this price you're not getting ripped off completely. all of the recordings are of good quality and the selections are actually pretty damn good compared to other "best of" sets.



2. The variety of composers on this compilation is great. From Bach to Stravinsky and quite a few in between. I am not a huge fan of classical music nor is my knowledge of it wide, but I enjoy popping one of the CDs and expanding my musical repitoire. My brother who is a classical musician agreed that this is a great introduction to those who want a wide sampling of classical music.



3. I have been trying to unravel all of the differnt types of classical music for years now.... Information is hard to come by and I thought I would give this set a try. I like that on the inside of each CD there is a brief life story of each artist. This is a wonderful collection of classical music.



4. I bougth this item to start my classical songs collection and I'm very satisfied with the product. It's a good overview of 20 of the greatest composers. The sound recording is excellent. The best buy I could have made to suit my purpose. I recommend it to anyone who want to start listening classical music.



5. I bought this set wanting an introduction to a bunch of composers, many of whom I have heard very little if not nothing at all from, and expected to enjoy about half of the discs in this set. What I did not prepare for was having my rear end rocked off by one great piece after enough, leaving me in a state of undeniable bliss. I'm not going to sit here and pretend that I know a lot about the composers in this set, and I can tell you nothing about the circumstances under which each piece was written. I also admittedly do not "know better," though I know enough to realize that what you get on these CDs are snippets of larger, greater works. This is just a great collection of enjoyable music for people who want to get their feet wet. Every CD in this set is great, and the performances sound superb to my ears. Yet the snots will undoubtedly still complain about omissions, poor selections, or buyers "not getting it." You gotta start somewhere, and I've yet to see a better introduction. Plus it's cheaper than your average four-CD box set of derivative rock from past-their-prime fossils. What are you waiting for? Shouldn't you whip out your credit card and purchase this, NOW?

5 comments about Bach: Cantatas Nos. 80, 140, 147; Motet.

1. Makes you wonder why Charles Murray in his book "Human Accomplishment" does not rate Bach higher. I would not recommend listening to anything that brings tears to your eyes while driving! It could cause an accident.



2. Although I bought this CD for the Cantata 140, the entire CD has been a powerful source of pleasure and joy. The chorale prelude version of Cantata 140 was used as the bridesmaids' music at our wedding, and our best man sang the "Zion hoert" movement--so I already had a sentimental attachment to the music. But I'd heard it off and on for several decades before purchasing this CD. And my initial (as well as current) feeling was that 140 on these discs was almost obscenely too slow. And yet, on at least two occasions, I sat in traffic while tears filled my eyes as I listened to it. It's a magical performance, even if it is too slow.
   
   And the other cantatas (there are two sets of performers on the discs) are nearly as inspired. I especially like the "Ein Feste Burg," one of whose sort of Vivaldi-esque movement is so thrilling that, in spite of my moral objections to such practices (if you've read C. S. Lewis's "Perelandra," you'll know what I'm referring to), I've been known to play over and over and over again.
   
   I have bought this disc for several of my grown children. I recommend it without reserve.



3. Tempo is vital to excellent Bach Cantatas, and here Jones directs fine group of vocalists, choirs and orchestra in solid, stable yet passionate account of four cantatas as well as Jesu, Meine Freude.
   
   This is excellent balanced two CD recording, which is sensitive, informed and lively as needed.
   
   Especially attracted to dignififed offering of Cantata 80, with superb vocals by Emeling and Sotin.
   
   Nice price, combination and performance at reasonable price.



4. These somewhat older recordings of three of Bach's greatest cantatas deliver superb music making! Cantata 147 features memorably articulate, vibrant and focused singing by a young Joan Sutherland; the performance of the famous chorale, though taken perhaps a tad slow, richly serves the incumbent spirituality of Bach's music. Better the understatement found here than the racing tempi that ruin at least four other major versions I have. Gardner's tempi are acceptable, but the playing is not as focused as it is under these conductors. The orchestras here are pliant and attentive, partnering splendid singing with a devoted sense of intimacy. Altmeyer, Baker & Ameling are especially fine soloists in the other two cantatas. I've heard many performances of Bach's cantatas and consider these among the very best recorded versions. With so many recordings of the cantatas available, one would think there should be many musically fine editions from which to choose and be content, but memorable performances are rare enough indeed. Music making of this kind quashes an already notoriously thin controversy with respect to period instruments and style. This is music verily from the inside out, nothing less. It's a delight to experience from beginning to end. A separate chorale version of 'Jesu, meine Freude' (with slightly altered melodic cadence) is an unexpected additional treat. Don't hesitate, for Bach's sake!



5. I am a relative newcomer to Bach's cantatas, so this review might not carry much gravitas but anyone's free to contradict me. I thought this was an excellent recording of some of Bach's most loved and well known cantatas, and this double-disc offers excellent value for money. Cantata 147 was superb, and thankfully was not sung in English as I have heard before but in German obviously as it should be -I go crazy hearing "Jesu Joy of Man's Desire" in english the German sounds so much better and this version is a case in point, with a really vibrant orchestral accompaniment instead of a laboured organ which I have heard before. This chorus is so good, Bach included it twice in BWV 147 and it really is a joy.
   
   The second cantata on the first disc is BWV 227, the motet "Jesu meine Freude". I knew nothing of this beforehand and was delighted to find out that it contains all choruses and corales with no recititatives which I find to be a bit boring (queue sound of purists turning in their graves).The choir here is uniformly excellent
   
   The second disc begins with BWV 140 "Wachet Auf, ruft uns die Stimme". I have a particular love and interest for this cantata having sung it recently and this is how it's meant to be sung- the South German Madrigal Choir's execution is far better than our unbalanced amatuer one! The tricky "Wachet Auf" chorus is handled effortlessly and perfectly with the "alleluia" bit toward the end absolutley superb. The two soprano/bass duets are also brillaint but the undoubted highlight of this cantata comes with the final corale "Gloria sie dir gesungen". This contains such joy and sheer beauty it must be heard to be believed. Translated, one of the lines reads "With men's and angel's tongues" and this sounds like choirs of angels. The finale with the sopranos hitting strong soaring high notes is hairs on the back of the neck stuff.
   
   I know nothing about BWV 80 but to this amatuer it sounded excellent with the opening chorus a joy, punctuated with triumphant french horn throughout.The cantata is routinely excellent throughout.
   
   I would definitely reccomend this cd to classical lovers in general and to Bach lovers in particular

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.