5 comments about Andrés Segovia: A Centenary Celebration.

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



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



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

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

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




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



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

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

5 comments about Beethoven: The Nine Symphonies.

1. It is my by far most loved rendition of Beethoven. It is so well perfoemd, easy on ear and top notch recorded. It is not boring and over-hyped "standard hysterical Karajan" version of force-fed Beethoven.
   You also may like Beethoven Symphonies 1,2,3,4,5,6 and Art Galleries of the Time, 2DVDs+3CDs Ultimate MosaicDVD Collection
   I really liked the balance and comprehensive integrity of this set.



2. This is absolutely a gorgeous recording. It is uplifting and some of the softer sections of the 9th Symphony are so beautiful it brings tears to your eyes.
   
   The Karajan Beethoven Symphonies of 1963 which many rave over is a casualty of not transferring from analog to digital well. Though Karajan's interpretation is wonderful, it is overpowering to the point of speaker overload in the stronger parts and too weak in the softer parts which is typical of old live analog orchestra recordings transferring to digital.
   
   I think Sir Georg was the last of the conductors of his time and style, which is very sad. There will never be a kind like him or Karajan again.



3. Although there are some great moments in Sir Georg Solti's last Beethoven Symphony cycle, recorded 1986-89, there are generally better recordings available.
   
   First of all, Sir Georg's tempos in Symphony I: IV and Symphony 2: IV are break-neck, and almost reckless, so much so the Chicago players have trouble staying together!
   
   The recording job throughout is acceptable, but the orchestra does not sound that realistic or immediate, and Decca's usually rich bass and midrange don't come through as in many other Solti recordings. The record level is low, and one has to boost the volume quite alot to get any sense of presence.
   
   I don't think as highly of this set as some listeners might, as I have other recordings of Beethoven I turn to more often: Karl Bohm/Vienna Philharmonic (DG, rec. 1970-72) especially for Symphonies 2,3,4,5,6, and 8; Bernstein/Vienna Philharmonic (DG, rec. 1977-9); Szell/Cleveland (Sony Essential classics, rec. 1959-68) for Symphonies 1,3,4,and 9;
   Karajan/Berlin Philharmonic (DG, either the 1961-2 or 1975-77 cycle, both available as complete sets); Bruno Walter/Columbia Symphony (Sony: Symphonies 2,3,4,6, and 8); Ormandy/Philadelphia Orchestra (Sony: Symphonies 5,6 and 8 - may be hard to find in April, 2007) or even Solti/Chicago Symphony in an earlier analog cycle (London, rec. 1972-74) which has sound with better presence: more defined bass, than this recording. Those who are Chicago Symphony fans and MUST have one of their recordings could seek out any of the Fritz Reiner/Chicago Beethovens: Symphonies 1,3,5,6,7 and 9 are still available (RCA).
   
   In light of the competition, I'd pass on this one.
   
   If you like Solti/Chicago, consider their recordings of the Brahms Symphonies (London, 4 CD set). And for SOLTI fans, he recorded the Beethoven Symphonies 3, 5 and 7 with the Vienna Philharmonic (Decca, 1958), a recording I have not heard, but have read is very good, better than either of Solti's Chicago Beethoven Symphony recordings.



4. This is a broad, powerful, heavy-duty Beethoven symphony cycle, free of idiosyncracy, that can stand as a benchmark to measure against more unconventional interpretations, a kind of golden mean of Beethoven. Decca's spacious sonics foregrounds Solti's attention to orchestral detail; all the sections, particularly the low strings and the winds can be heard to beautiful effect. Solti's tempos are expansive, and as befits a great opera conductor,incident rules over architecture. The decade from the late '80's to the late '90's was a stellar period for Beethoven symphony cycles. The four best, each completely at odds with the other, are Gardiner (period performance practice, Beethoven as French revolutionary, martial, manic, zealous); Barenboim (Wagnerian, deep orchestral colors, expressive tempos); Harnoncourt (raw,fusing Barenboim's personal expressiveness and Gardiner's small forces and fast tempos --Beethoven as untamed avant gardist, somewhere between Bach and Schoenberg); and this set, where Solti utilizes a Wagnerian orchestra with strong on-the-beat phrasing (Toscanini to Barenboim's Furtwangler). This conductor was the last of the old-school Middle Europeans in the field, and one of the only members of his breed to benefit from a first-rate band recorded with clarity in digital sound. (Karajan's late Beethoven cycle is to be avoided at all cost). If you like your Ludwig Van straight up, technocratic, without weirdness or surprises, then this set is for you (I mean that as a compliment...)



5. Reviewers would tell you that Karajan's first Deutsche Grammophon recordings is the Beethoven cycle to own. While I believe that Karajan's string-rich virtuoso view of Beethoven's score is refreshing, a quick comparison of the score and Karajan's music shows that he often takes a very Wagnerian (rubato) view of the score. Most people believe that Wagnerian entails a brassy, loud "heavy-metal" handed interpretation of the music. This, however, is a misconception that needs to be erased. Unlike Wagner, Beethoven had metronome markings in his score that a conductor needs to interpret to music to make the music sound right. Also, the development in the symphonies' musical and emotional structure are aided by these score markings to make it easier for the conductor to bring forth the composer's message. Karajan took a Wagnerian style of conducting in the sense that he changed some of the tempi to his liking. Solti, however, follows Beethoven's score in a German Romantic tradition. This means that there is a transparency to his conducting, but not to the degree that Szell takes with his Beethoven. Every musical detail is heard, and the strings are very well accentuated too. Karajan's recording emphasized the strings too much and drowned the other instruments. I find that although his Beethoven symphonies can be rather ravishing, it does not offer a very complete vision of the music.
   
   These Chicago recordings (recorded by possibly the greatest symphony in the world at that time, the CSO) are undoubtedly the work of a conductor who knew the intentions of Beethoven very well and respected them. I highly recommend this set for anyone who wants to listen to Beethoven as it should be performed.

4 comments about Schubert: The String Quartets.

1. While Hadyn is my personal favorite regarding string quartet pieces, I am open to listening to others - Schubert being one of them. This package is sublime - the playing is excellent! It seems to me that the true test of music is to carry the listener away-immersing he/she in the moment. This box set does this from beginning to end. I am very pleased with this purchase! If you enjoy string music, this set is sure make you very happy.



2. I read, in a book on string quartets, the statement: "More than half of the best string quartets had been written when Schubert died in 1828". I agree, but would put the percentage at more like 75 or 80%. The author went on to include all of Schubert's, even those that he wrote as a teenager. I was surprised by this comment, but now, having now heard his complete string quartets, I have to agree. Even his early ones are superb!

   To the recordings: I was just a bit disappointed. The sound seems a bit harsh in places, not as warm as sets I have by the Quartetto Italiano (Beethoven), Melos Quartet (Mozart) and Aoelian Q (Haydn). No doubt they are technically very correct, and show real liveliness - the violins just sound a bit scratchy in places.

   The only other complete set seems to be the Auryn Quartet recording, highly recommended by the Penguin guide, but twice as expensive. Naxos offers 12 or the 15 quartets on 5 separate CDs. I'd liked to have heard the Auryn recording before I'd made the decision to purchase this one - who knows, I might have made the same decision anyway.




3. I agree with the other review, but there is an alternative to this set, by the Auryn Quartet, and it is also excellent. So, buy this set for the right reasons, whatever those are, such as: the sound quality of this Chamber Ensemble (extremely warm)
   or the overall feel of their playing (caring, respectful). Buy the set from the Auryn quartet if you care more about the sound quality of the recording (it is noticeably better) or if you happen to like a younger, slightly more aggressive approach.
   Frankly I have both sets, and love both.



4. I bought this set in Dec. '01 and it has since become a favorite in my collection. Schubert is a great composer and in my opinion, the quartets are where he really shines.
   
   Sadly, it is hard to find recordings of all but the last four. In total, there are fourteen plus two fragments- one incomplete and one lost. They are all here and at such a good deal!

   The first two discs (first five quartets and a fragment) really stand out. These were quartets Schubert composed as a student and they capture well the energy of youth and have a beautifully simple quality that always makes Schubert stand out. The middle discs track his early career with a more mature motif development revealing a taste of the boldness to come from his later quartets. Not as melodic as the first quartets in my opinion, but a treat nonetheless. Then ah! the last three discs. "Rosamunde," "Death and the maiden," Quartettstatz and C 703. Can you possibly go wrong? Don't answer that. You know it doesn't get better!!

   Now we come to recording quality. Well, the Melos Quartet recorded these in the mid 70's. They've been digitally touched up and well done. Still, not convincing enough to sound like new. Treble and Mid is alright but the Bass is really lacking and overall, it still lacks the full sound of recordings from the Emerson and Tokyo quartets. Still, with touchup, these recordings sound more like late 80's- Not Bad!

   This is a great deal for a great price. For better quality, I also picked up Emerson's recording of the late quartets, but you will be hard pressed to find a recording of the early and middle works...and what works they are!!!

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 Mozart: The Piano Concertos.

1. On these recordings we have a "copy" of a primitive fortepiano recorded at a considerable distance. It sounds like someone backstage is plucking rubber bands.
   
   Can this be how Mozart expected to make his name and fame, playing a toy piano way off in the background somewhere? "Authentic", my ---.
   
   Later fortepianos (e.g. the Grafs from the 1820's) developed some tone and volume, but even these cannot hold their own against a full orchestra.
   
   If you are looking for a recording of the complete concerti, the recordings Geza Anda made with the Salzburg Mozarteum are still available and are very fine indeed.



2. Mozart was a Mason. A child of the Enlightenment. A believer in humanity's perfectability, who had the philosophical luck to die before the disappointments of the French revolution. He wrote music of tragedy and despair, but he never wrote a note of Gothic horror, of 'Romantic' reaction against rationality, a task he left untouched, shall we say, for the next generation. If you want your Mozart to sound like the art of someone who's been reading Schopenhauer, you won't like this set of piano concertos played by Malcolm Bilsen, with John Eliot Gardiner conducting.
   
   Bilsen plays a period keyboard fortepiano, an instrument of much lighter construction than the modern pianoforte, on which the 'decay' of note reverberation is naturally quicker, making a softer and more transparent sound. The orchestra of period instruments that Gardiner conducts is also smaller by far and more carefully tuned than the modern symphony orchestra, and emphasizes the polyphonic/heterophonic interplay of all the voices of the composition. The tempi chosen by Gardiner are often faster, more nimble, more witty than most post-Wagnerian conductors choose. The result is a Mozart who sounds as if he's passed Sarastro's "initiation" into wisdom as portrayed in the Magic Flute, rather than settling into the syphilitic gloom of 19th C Romantic pianism.
   
   There is no absolutely historically authenticized version of Mozart, and double-absolutely no "definitive" performance of these twenty-seven concertos. I recently made the tongue-in-cheek suggestion that a performance of them on harpsichord might be revealing, since Mozart grew up in a milieu in which harpsichords were far more familiar than pianos of any sort. The touch required to play the fortepiano, Bilsen's instrument, is closer in some ways to a harpsichord touch than that developed by Liszt and Chopin. It's the touch, as much as the specific instrument, that matters for performing Mozart. Bilsen has the touch. I like his sound, a judgement by ear alone, better than that of Derek Han or Melvyn Tan, two other historical keyboard specialists. And I admire Gardiner's spunk - his musical intuition - even when occasionally his interpretations are rash.
   
   But don't take my word for anything! Use the sample function; compare the same snippets from the same concertos on as many recordings as you have patience for. I'd suggest Concerto #20.



3. John Eliot Gardner and Malcolm Bilson are to be thanked for giving us such a superb release of all of Mozart's original piano concerti on original instruments of Mozart's time. These are brisk and bracing as well as dramatic and even dancing versions of these timeless classics. Bilson is an excellent fortepianist and Gardner and his band provide great performances of their parts, making this an essential set. There are other good and great performances of these works, either seperately or complete (such as those by Brendel, Uchida, Perahia, et al.), but these are special. Excellent sound and good packaging and notes.



4. Currently, I own 3 sets of the Mozart Piano Concertos (two modern instrument ones - Anda & Schiff; and the Gardiner-Bilson set). I must agree w/ the reviewers who rated this HIP set 5* - my main reason for posting is to help 'counteract' the ridiculous rating of 2* given, primarily because the CDs did not sound good on the highway in a car! I play a lot of CDs in my car, but rarely classical music because the dynamic range needed to appreciate these performances just will not work on a highway; if I wanted to hear a lot of classical music in the car, I'd probably 'burn' my CDs to CD-Rs using software in which I could compress the dynamic range, so 'lows' & 'highs' can be heard comfortably.



5. In what must be considered a triumph of performance and recording, the Bilson/Gardiner/English Baroque Soloists collaboration on the Mozart Piano Concertos cycle makes us understand anew what Mozart should really sound like. These are period instruments? We can't make ourselves believe that, and yet that is the case here, as remarkable as that may be. The sound that pours forth from these discs is rich, vibrant, full, and, powerful. Bilson doesn't miss a beat, and Gardiner and the English Baroque Soloists play throughout with their usual silky perfection. The recording quality is simply superb, and the balance between piano and orchestra is just right. And although the piano is the focus of this set of works, the English Baroque Soloists play with such great precision and rich sound that we appreciate all over again the important role in orchestral accompaniment in successfully pulling off compositions like these. This is certainly a set that most, if not all, classical musical enthusiasts should consider acquiring.
   
   These discs, as virtually all of the Archiv/DG discs from the 1980's and 90's, were originally released as individual pieces. At that time, these discs were being sold at a much greater price, and collecting the entire set was a more difficult task. With DG's more recent "Collector's Edition" box sets, which consist of entire sets of re-issued recordings in a more economical packaging, acquiring these sets is now simultaneously much easier and less expensive. (In fact, building a comprehensive classical collection today using such box sets is now much more a feasible undertaking, and although we lose out on all the lovely artwork that once graced the individual Archiv discs, it is a small price to pay for making these recordings much more affordable and pre-organized into comprehensive collections.)
   
   Mozart's Piano Concertos, a form he essentially created, are some of the most delightful, cheery, and upbeat pieces in the repertoire, and even non-classical enthusiasts have difficulty avoiding their obvious delights. Nevertheless, even Mozart said that there were gems hidden among them that only the most musically talented individuals would be able to discern, and so these pieces hold something for everyone. Among the numerous recordings available, this set is certainly one of the very best, making it a prime choice for the collector. Take advantage of DG's "Collector's Edition" set to make it an even better deal.

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

2 comments about The Original Jacket Collection: Leonard Bernstein.

1. This mid-price "Original Jacket" set of classic Bernstien performances--most culled from the Sixties and all iwth the NY Phil.--could be put in a time capsule with a note: "These are the recordings that made Leonard Bernstien famous." I grew up with all of them, including the televized lecture on the Eroica. I have owned these performance since college, and this set includes some first-choice readings, basically all the CDs devoted to Copland, Gershwin, Sibelius, Haydn, Beethoven, and Stravinsky.
   
   Reviewers here never tire of propagating the canard that LB was chiefly famous for his Mahler. Actually, he had a broad repertoire that he excelled in (I particularly favor the Mahler Seventh in this set--one of LB's great achievements).
   
   The only problem with this collection is the price. It would be hard to find a music lover who doesn't already own several of these CDs separately, so instead of paying $100 for a new copy, one should search eBay or the used department here at Amazon.



2. This collection not only provides a fascinating overview of the art of Leonard Bernstein, it also provides one with a fairly comprehensive view of what Lenny and the controversy surrounding his music making were all about.

   All of the recordings here are with Bernstein conducting the New
   York Philharmonic, which for my money, is by far the more interesting part of his career. As he got older, Lenny tended to go "molto" more often, take tempoes slower and, generally,
   conduct with more self-indulgence than he did at this stage of things, when he was both more daring and more studious. The music contained here gives some idea of the range of Bernstein's
   scope, and it is remarkable: from Haydn to Ives, from Beethoven
   to Leonard Bernstein.

   To start things off, there is one of the best performances of Beethoven's "Eroica" symphony on record, a wonderful document of just how excellent an orchestra the New York Philharmonic could be when they wanted to be. Lenny's reading of Beethoven's milestone score is both meticulous and passionate. You couldn't ask for anything more.

   Disk 2 features two suites by the conductor as composer. The
   suite from "On the Waterfront" fares better than the "Symphonic
   Dances from West Side Story." It's hard to figure out why, but for some reason, the Philharmonic just refuses to swing through the overture ("Jet Song"), while handling all the other rythymic
   intricacies in the score with incredible aplomb. The mambo section ("The Dance at the Gym") is particularly intense. Go figure! Just one more example of what a tempermental orchestra
   the New York Philharmonic could be.

   NOBODY ever conducted Aaron Copland's music better than Leonard
   Bernstein. The "Billy the Kid" and "Rodeo" suites contained on Disk 3 provide excellent cases in point.

   The Gershwin pieces on Disk 4 give testimony to Bernstein's legendary self-indulgence. Bernstein's rubato is broad and generous, tempoes fluctuate wildly from fast to slow and back again. Lenny seems more intent in showing off his own virtuousity (as both conductor and performer) than in getting to the heart of "Rhapsody in Blue" and "An American in Paris." The
   odd thing is, for all their quirks and eccentricities, these performances "work." Sometimes they are charming and endearing, at others, they are off-putting. It all depends on the mood you are in.

   Disk 5 features two Haydn symphonies, # 82, "The Bear" and # 83, "The Hen." Critical opinion of Bernstein's Haydn is sharply divided: for some tastes, Lenny's Haydn is too dramatic, for others, Bernstein was an instinctively great interpreter of Haydn. Listen here and make your own call.

   While Bernstein often gets the credit for generating popular interest in Mahler's music in America (a credit which rightfully belongs to Mitropoulos), there is no question that he "discovered" Charles Ives for most Americans. Bernstein's radio broadcast of Ives' Symphony # 2 was its world premiere, and this recording shows Ives in all his glory. Quirky, polytonal, cantankerous, and funny as hell. A really marvelous
   performance.

   Disk 7 is given to perhaps Bernstein's favorite composer, Gustav Mahler. Unfortunately, the piece chosen is Mahler's 7th, the "orphan child" of Mahler's symphonies. The so-called "Symphony of the Night" remains more interesting for intellectual and musicological reasons (it was a major influence on Arnold Schoenberg and Alban Berg) than for emotional ones.
   Rarely performed, and even more rarely recorded, this remains one
   of the best recordings of this piece out there. It may take many, many listenings before you "get it" and start to like it, but if Lenny can't do it for you, it's doubtful anybody can.

   Disk 8 contains Bernstein's controversial recording of the Shostakovich 5th Symphony. This is as rousing and heroic a performance of this music as you will ever hear. Whether that's how Shostakovich intended for it to be played is another matter.
   Bernstein takes the tempo of the final movement at exactly double
   the pace Shostakovich indicated in the score. The subtle, fatalistic satire of the composer is replaced by the conductor's
   preference for triumphant heroism. Still, once you've heard this
   recording, all other Shostakovich 5th's pale by comparison.

   Disk 9 contains what remain my favorite performances of the Sibelius 5th symphony and "Pohjola's Daughter." The latter is particularly remarkable in its conjuring of magic and mysticism.
   It's worth the money for the whole set, just on the basis of the
   "Eroica," the Copland, the Stravinsky and these Sibelius performances! No joke!

   Finally, we reach Stravinsky's landmark "Le Sacre du Printemps."
   Some 40 years after it was recorded, this remains a landmark recording of this piece. Bernstein's judicious and uncanny use
   of dynamics and rubato in "The Adoration of the Earth" achieve
   effects that will simply take your breath away. That's right,
   in all the rythymic complexity of this piece, Lenny finds a way
   to use rubato, while still holding everything together. It's spare, it's exact and it's jarring in its drama, and thoroughly
   muciscal. Subsequent recordings of "Le Sacre" have replaced this one as my favorite, but this one is still unique, and very much worth having. A ROMANTIC "Rite of Spring"... who ever would have thunk it?

5 comments about Tárrega: Integral de Guitarra.

1. The omission of "La Cartagenera" is the only lapse that I see with this collection of pieces. Russell even faithfully takes all of the repeats so the works are of maximum length. The only guitarist, who to my knowledge, ever recorded La Cartagenera was Narciso Yepes on his 1983 all-Tarrega LP which was transferred to CD in 1987. I wrote to Russell about this omission but he never responded.



2. Scottish guitarist David Russell spent much of his childhood in Spain, speaks fluent Spanish, and married a Spaniard. So he brings a deep understanding and affection to the music of late 19th century guitar virtuoso Francisco Tárrega. Add to this his supple phrasing and gorgeous tone--lovingly captured by recording engineer John Taylor, himself a guitarist--and you have a recording that shows off guitar playing at its finest.



3. This is one of the best CD's I've purchased in the last five years. Not only are all of his works here on two discs, but there are works that I haven't ever found on any other discs.
   Notably, the Gran Jota variations are found in this set. These variations comprise of almost 11 minutes of one of the greatest guitar compositons you will ever hear!



4. This is a great recording of Tarrega's music, and David Russell is one of the very best guitarists.



5. It's great that someone finally issued a recording of all of Tarrega's music. You'll find all of it here, the preludes, etudes, tremelo studies, the concert masterpieces and the transcriptions. Also, the only recording where you'll find the beautiful Tango. And, David Russell plays it all so well!

3 comments about Chopin.

1. This box, featuring the consummate artistry of Claudio Arrau in Chopin, is an extraordinary bargain. Though it is missing too many essential Chopin works to stand as a "basic library edition"--there are no Mazurkas, no Polonaises (except for the op. 61 Fantaisie) and no Sonatas, for instance--this collection is mandatory listening for admirers of the pianist and would make an excellent introduction to the composer for any aspiring pianist. For Arrau was indeed a master of his craft. His exquisite control of tone and timbre, his sense of dramatic timing, his effortless fluency, his dedicated and intelligent musicianship, all conspire to make one fall in love anew with this thrice-familiar music.
   
   The Scherzi, Impromptus and Ballandes have rearely sounded less effortful and more alluring. Arrau conveys the heroic and sometimes harrowing narrative structures of these pieces better than Horowitz, Richter, Michelangeli and a host of other prominent pianists.
   
   Arrrau's Preludes, Waltzes and Nocturnes may be more controversial. As many critics have opined, this pianist's rubato as well as his agogic stresses and hesitations can sound either revelatory or arbitrary depending on one's tastes and mood. For me, Arrau conveys the pathos of the music so splendidly that I am willing to forgive the touch of heaviness (or heaviness of touch) in some Waltzes and Preludes, as well as a tendency to linger overmuch in some Nocturnes.
   
   The two Concertos are probably the least satisfying performances in the collection. Arrau seems too cautious in these youthful works; one wants more sparkle, more abandon. And Inbal's dogged and didactic accompaniments won't convince you that Chopin was a budding symphonic composer *malgré lui*. On the other hand the "Polonaise-Fantaisie" opus 61 receives one of the greatest performances of the work ever recorded. The same can be said for the stunning account of the Fantasia op. 49, which conveys a uniquely compelling sense of narrative. These are the selections I would play for anyone who entertains doubts about Arrau's credentials as a Chopin interpreter. Arrau penetrates more deeply beyond the surface beauties of these works than most rivals, including Rubinstein.
   
   In the end, then, one shouldn't make too much of Arrau's idosyncrasies. Every pianophile should hear these performances, which convey such effortless virtuosity and such authentic involvment with the music that Arrau's distinctive interpretive gestures scarcely obrtude, and one can even forgive Inbal for making the long ritornelli in the two concertos seem interminable. Not only is the price right, but the remastering is splendid, correcting some of the tubbiness that afflicted the original LPs (and earlier CD incarnations) and bringing this great artist right into one's listening space.
   
   Don't miss this opportunity to renew your acquaintence with, or get to know for the first time, one of the musical giants of the previous century.



2. This has to count as the definitive recording of these works. Arrau captures both the outer gentility and the inner power of Chopin's work, and always strikes the perfect balance between the two. These recordings are phenomenal--worth the investment twenty times over.



3. I have always been an admirer of Claudio Arrau and his extraordinary pianism. His were the first Beethoven sonatas I ever bought, and the quality and quantity of his overall repertoire is mind-boggling. However, his Chopin has always stood out for me, and I have long treasured his Philips recordings of the Preludes, the Ballades, and the Nocturnes. While I have my fair share of Pollini, Rubinstein, Zimerman, and Ashkenazy, Arrau to me brings an extra dimension of meditative, searching spirituality to Chopin that is utterly unique and unforgettable. To me every Chopin piece tells a story or sketches within the space of a couple of minutes a strikingly vivid image in my mind, and Arrau is so in tune with the emotional tenor of every piece he plays. And of course his technique is such that he handles all the major hurdles that pieces such as the Ballades throw in the way of pianists. While the Nocturnes, the Impromptus, and the Piano Concerti have been available on CD for a long time, the others here (the Waltzes, Scherzi, and most importantly the Ballades and Preludes)have not. I have been eagerly awaiting a release such as this, since my tapes of the Ballades and Preludes are in appalling condition, and this price just can't be beaten. Everything here was recorded in the '70s, when Arrau was still at his best, and Philips always does a superb job of remastering, so one need not worry about the sound quality. Don't forget too that there is also an early EMI recording of Arrau taking on the Etudes, which he didn't record for Philips and is worth having, although I don't think Arrau beats out Pollini's '70s DG interpretation in this department (I do however think that Arrau's Preludes and Ballades are second to none). I also have to say that I prefer Zimerman's early concerti with Giulini and the LA Philarmonic to the concerti here. Overall though, Arrau's achievement with Chopin as exhibited here is remarkable in every department, and whether you're new to Chopin or casting around for another interpretation of pieces you already know, Arrau will win you over. This release is a true bargain too. Thanks Philips!