5 comments about Dowland: Complete Lute Works, Vol.1-5.

1. O'Dette does an excellent job of playing Dowland, and a few other composers to fill up the last volume. The recording is also excellent. If you listen on headphones, it is just amazing the detail you can hear. The music on these 5 CDs is marvelous: at the same time spectacular and relaxing. It is a boxed set that also comes with a very nice book, reminiscent of the really fancy big books that used to come with boxed sets of classical LPs. I bought a set for myself, and liked it so much I bought a second set as a gift for my sister.



2. If you are a fan of the music of John Dowland, you must own this CD. The playing is outstanding to say the least.



3. It's great that O'Dette gives us the complete solo works, of course. I have the common reaction to O'Dette: his technique is flawless, his performance unengaging.
   
   Others have remarked on the "heavy breathing" noticeable on the recordings -- it's not heavy breathing, but the movement of his fingers on the gut strings making that sound.



4. Considering the extreme paucity of (especially solo) lute recordings currently available worldwide,
   but especially in the US, this set becomes an essential "must have" for all lovers of the lute.
   Yet it somehow disappoints.
   I am sure that Paul O'Dette is brimming over with virtuousity and a technical expertise
   that I am hardly one to pass sound judgement upon.
   But the recordings have a flatness and monotony;
   the songs are rendered with precision, but seem to lack feeling, empathy, or enthusiasm throughout the offering.
   It is an impressive compendium, and I'm glad I purchased it.
   There are very few lutenists out there producing any music at all, so Mr. O'Dette should certainly be praised
   for delivering such a substantial feast to our ears.
   It just should have had more flavor.
   Where is Konrad Ragossnig when you need him?



5. I bought Volume 1 of this set a couple of years ago. It has become one of my favorite CDs, so I thought I would enjoy the full set. I have not been disappointed. I find the sound quality excellent, the playing superb. The included booklet has a lot of interesting background material. The music is great as background for a dinner party or intimate conversation, but has depth aplenty for concentrated listening. I often listen to it while working at the computer where I swear it improves concentration and productivity!
   
   A few tunes appear more than once as Dowland reused some work, but the arrangements are sufficiently different to be interesting. It is his complete lute works, after all. Some might criticise the set for sounding too much in the same style. It is the work of one composer, and if you happen to like the style, as I do, this is a pro rather than a con.
   
   Another reviewer mentioned obtrusive breathing on the recording. I had listened to Volume 1 for two years before reading the review and had not noticed this. On listening carefully, there is breathing audible, but I do not find it a problem. Perhaps it depends whether one listens to the music or the background.

5 comments about Michael Rabin, 1936-1972.

1. In 1972, with just 36 years of fertile and creative existence, thanks to a brilliant and promissory career as virtuosi and sensitive musician, the fate decided for Michael Rabin, he walked other paths.
   
   His level of interpretative excellence, dictated insurmountable standards (Vienawski' s Violin Concertos, Paganini' s caprices and Kreisler's miniatures, GLazunov, Introducion and rondo) as well as basically all he played conferred him (he reminds in intensity to Ginette Neveu) of a sort of magic effluvium . That flaming passion that joined the level of mercurial technique, astonishing tune and first rate temperament, simply left a world seriously wounded, because a soloist of his stature has been irreplaceable until these days, and the career of so many famous soloists surely would not have been overshadowed .
   
   This is a priceless set that includes true musical and legendary treasures, whether for you and the next generations to come.



2. I am a professional violinist and have long been an admirer of Michael Rabin. His technic is beyond concern. I am familiar with people involved in these recordings. Amazingly, many were single, unedited takes. If you ever buy a violin recording, these are the ones to get.



3. ...this collection is an absolute necessity to anyone enjoys violin music and a near necessity to anyone who enjoys classical music...what astounds me is the quality of many of the recordings...more often than not violin recordings seem to produce a sound that leaves the impression that you're listening from the back row in a large hall...most of Rabin's recordings, on the other hand, give the impression either he's right in the room with you or else you're in the front row at the concert.



4. Rabin is spectacular!!! Just listen to his rendition of Zigeunerwiesen, he has no equal for this piece - not even close! I have been waiting for the re-release of this set for over 5 years, asking EMI if they would ever consider it. My thanks to EMI for listening. This is a re-release they wont regret. I have a collection of classical violin by many artists, but there is something very special about these recordings by Michael Rabin. His interpretations and the gusto of his playing take your breath away.
   
   I cannot imagine any collection of classical music without this set of CDs.



5. I have to second Scott68. Rabin was one incredible violinist. I agree, the Paganini Caprices (age 15!) Wieniawski and others were never topped by anyone! This set is guaranteed to drop your jaw.

No comments about Joseph Haydn: Symphonies, Volume 7 (c. 1772) - The Academy of Ancient Music / Christopher Hogwood.

2 comments about Vagn Holmboe: The Complete Symphonies.

1. This music is fabulous! It absolutely compels one's attention, with its power, directness, and colour. While the thematic and harmonic material is definitely contemporary, these elements are rhytmically and formally framed in recognisable structures. This music holds the listener from beginning to end. Don't miss Holmboe's symphonies!!!



2. Vagn Holmboe is one of the top composers of the 20th Century. His music speaks to us, not with a lot of noise or intellectual mind games that so many "modern" composers try to pass off on us as "music", but he speaks to us through emotion, the calling card of great music. He speaks to us as Tchaikovsky, Mahler, and Shostakovich speaks to us. Starting with Symphony No. 1 he makes us sit up in our chairs, knowing that we are going to be in for something special. With the final note of Symphony no. 13, we realize that his recent passing will be missed by those who love great music. Vagn Holmboe's music is not the music of the "now" but the music of humanity. The Aarhus Symphony Orchestra and Owain Arwel Hughes give wonderful performances of each symphony and the BIS sound is never better than in these recordings. If you want 20th Century Music that stands alongside the best of what classical music has to offer, you can't go wrong with Vagn Holmboe's Symphonies.

5 comments about Sony Classical: Great Performances 1903-1998.

1. While I like this sort of recording I bought it only because it was quite cheap in the used section. It has some very interesting moments, but of course is little more than a "sampler" if you will, and one that is too stuffed with a variety performers that don't necessarily work well one against the other. To be specific, when Victor put out this sort of thing it would be "The First 100 Years at the Metropolitan Opera", and that traced just that. All the singers from 1903 until the 1983 release date. Its hardly perfect, but at least it has a purpose.
   
   EMI did a similar reissue, but it contained one CD at a time, so one could think carefully about that which they wanted to buy.
   
   This is one of the rare times I'm going to say there's just too much here, and not always of a good thing. They barely raid the cupboard of older recordings, and I assume Sony has a heck of a lot of them. Two CD sets from each decade could have been a far more intesting and thought provoking A&R decission. Four CDs that are aimed at nothing more than what I mentioned earlier don't really cut it



2. Bach, Goldberg Variations, Gould, Haydn, L. Mozart, Hummel, Wynton Marsalis, Leppard, Joseph Haydn, Walter (Japanese), Mozart Piano Concertos & Rondos, Murray Perahia, Mozart Quartets by Ax, Stern, Laredo, and Ma, Mozart Concerto Violin, Zukerman, Chopin, Concertos Piano, Gilels, Ormandy, Watts, Schippers, Bruckner, L'Archibudelli, Johannes Brahms, Gould, Brahms, Stern, Trios and Quartets, Brahms, Ax, Ma, Bizet, Carmen and L'Arlesienne suites, Bernstein, Dvorak, Herbert, Ma, Masur, Faure, Quartets, Ax, Stern, Laredo, Ma, Janacek, String Quartets, Alban Berg, Lyric Suite, Juilliard String Quartet, Copland Collection, Debussy, nocturnes, Upshaw, Esa-Pekka Salonen, Canteloube, John Williams Plays Barrios, Ligeti Edition, Claude Bolling, suites and such Jazz, 4 CDs, Joshua Bell, Bernstein, West Side Story. Albert, Bartok, Bloch, Ma, Zinman, John McLaughlin, Concerto for Guitar, and with Katia Labeque, Kathleen Battle.Wynton Marsalis, Baroque Duet,Kathleen Battle Jean-Pierre Rampal in Concert, Bobby McFerrin paper music, with Yo-Yo Ma in Hush, Katia & Marielle Labeque, Love of Colours, Wynton Marsalis, Baroque Music for Trumpets, and Elliot Goldenthal, Fire Water Paper, A Vietnam Oratorio.
   I list these because I am trying to figure out what of value is in the Columbia, CBS, and Sony sound legacy in case they come back to the U.S. and revive classical music recording in this country.
   Duane Crawford



3. I bought this CD because it contained some songs I was having a hard time finding elsewhere, such as Passo pel prat, Chants d'Auvergne sung by Fredrica Von Stade. However, some of the songs on this CD do not seem to belong e.g. all three songs by John Williams, Mack the Knife, Barbra Streisand, and the Psycho Murder Theme for starters, and many more.
   
   I gave the CD 4 stars only because I was happy that I was able to find a few somewhat rare tracks.



4. This is a sampler in the truest meaning of the word. I bought this 4 CD work primarly for two tracks, but also because I was interested to see what else was out there without investing a fortune in CD's I wouldn't like! I was surprised by the wide diversity of music ranging from true classical and jazz to contemporary compositions and interpretations.

   While I find some tracks divine (Williams's _Schindler's List_), I find other tracks unsettling (_Beau Soir_ performed by Barbra Streisand). But when you are trying to span 100 years of music, you will (and should) encounter all tastes and styles. Overall, I really enjoy listening to this set. My only regret is that I don't have a CD changer...




5. An exceptional set. The history of music making of the 20th century in 4 CDs. Even from the first track with Giuseppe Campanari and Charles Adams Prince you can see that people put much time in collecting the best interpretations and putting together an amazing collection. Other highlights include the "Mack The Knife" with Lotte Lenya, the Bachiana Brasileiras, The Fanfare For The Common Man with LSO conducted by the composer and so many more. An undespiuted *****

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 Rachmaninov: The Piano Concertos.

1. I consider Ashkenazy to be one of the most underrated pianists. Since he has this unmarketable father figure image in the piano world many people put him in the backburner of their recollections. First of all, anyone with such a prolific repertoire as Ashkenazy falls under the category of "genius" (Richter was also strong in this area). A pianist, in general, has much more credibility if he/she can tackle a variety of different pieces and styles. Many people assume by default that because he splits his time conducting and plays so much different music... that he is a jack of all trades but master of none.
   One of the distinct attributes that Ashkenazy has is his amazing intelligence (this links him to Richter). Unlike Gould and Poglerelich who seem eccentric in a childish way at times, Ashkenazy has a very deep understanding of music and its foundations. He understand the composers styles and dynamics. This really sets him aside from many other pianists. I was pleasantly surprised by this Rachmaninoff. It is very flowing and the orchestra is great (better than in the Richter CD in my opinion). There is a feeling that this music is always going in the right direction. Ashkenazy also doesn't fall in the trap of playing Rach Chopin-style. I like the Richter CD better because I like Richter's temperament... but this is an excellent set for those that might find Richter overwhelming.



2. The pianistic genius of Rachmaninov and his spirit incarnate: Vladimir Ashkenazy. If you have ever heard Rachmaninov play his own music, you probably pondered the impressive talent. But where his personal strengths lay in composition, his performances were a little too eccentric for me. For example, his renditions of militaristic Prelude No. 5 in G minor is a soft, cautious approach; his piano concerto no. 2 played so quickly, there is no time to enjoy each note.
   
   Enter Ashkenazy. He plays that prelude with solid force and quick, snapping fingers, and thunderous chords, climaxing into those beautiful rolling hills...it is played beautifully. And of course, the piano concerto is slowed down to the proper tempo. (Incidentally, I find this concerto has some parts that are played too quickly, thereby losing a sense of largeness to some themes. In later recordings, Jean-Yves Thibaudet performed the concerto exactly to my tastes, and the orchestra was conducted, impressively, by Mr. Ashkenazy himself!)
   
   For the piano enthusiast, this collection is nearly complete. The first three piano concertos are amazing. I grew up with Nos. 3 and then 2, and after a decade of waiting, finally listened to No. 1, which I hold in as high esteem as the later concertos. No. 4 is extremely modern, and I listen to it to let it grow on me, but I will always have a difficult time with this one. It's simply too influenced by his short Hollywood career, I feel. While it stands on its own, compared to the previous three, I tend to skip it.
   
   I've heard Ashkenazy's recordings of the preludes before, but it was nice to finally own them. What can one say? Rachmaninov's forte was the prelude. Nowhere else can you hear chimes and bells with dark Russian themes underlying complex chord structures that scintillate or thunder.
   
   New to me were the two Suites for 2 pianos. While much of it is a bit modern and avant-garde for my tastes, I enjoy them all the same.
   
   For the price, you're getting quite a bargain, though. And if you don't care about the solo piano tracks, London has another release with only the four piano concertos.



3. This boxed set contains the four piano concertos, along with the entire library of pieces for two pianos, and a good selection of Rachmaninov's major works for solo piano.
   
   Packaged in an elegant Decca slimbox, the 6 CDs are simply a pure joy to listen to. Ashkenazy does not delivery the wildest version of the concertos, or the most passionate or energetic. What he delivers is an incredible legato and incomparable touch, with just the right amount of power when necessary. Previn's conducting is a very good fit with Ashkenazy's sobre and elegant interpretation.
   
   Listen to "Les Larmes" - French for "The Tears" - and appreciate Ashkenazy and Previn's rendering of one of Rachmaninov's most emotional pieces.
   
   This boxed set is, in my opinion, the best Rachmaninov package currently available. The sound quality is very good, and it contains a large selection of piano works by one of the world's finest interpreters.



4. while i dont have this particular set, i have most of ashkanazy's recordings via other the sets hes made, im assuming these are the same recordings. these are some of my favorite piano works ive ever heard in large part due to his interpretations of this music. i beleive there isnt an interpretation that i was unhappy with, so if you want all of ashkanasy's piano recordings and piano concertos in one set this is a great buy especially for the price and ammount of music.



5. Ashkenazy shows that he is as much at home here as he is playing Beethoven, Chopin, or Mozart. Although these performances may lack the drama of Argerich's tempestuous playing, they are very credible interpretations of the Russian composer's piano music. His performances of the concerti with Previn conducting the London Symphony Orchestra are regarded as among the finest of the entire Rachmaninov cycle. And his performances with Previn on the piano are fine, even if Previn's technique takes a back seat to Ashkenazy's. Aside from the concerti, the real gems have to be Ashkenazy's brilliant performances of the etudes. They are just as refined and as soulful as his excellent recordings of the entire Beethoven piano sonata cycle. This cheap set not only is a splendid introduction to Rachmaninov, but shows Ashkenazy at his finest, playing with technical elegance and lyricism.

5 comments about The Classical Kids Collection: Volume 2: Tales of Enchantment and Classical Music.

1. Fantastic cd's. Originally they were gifts to all my nieces and nephews from my dad. The kids thoroughly enjoyed the stories and loved the music. Generated such an interest and love of classical music and their composers. My 6 year old took them on a long car trip and loves every single one of them. She goes to bed at night listening to them, very soothing and great stories.



2. I love these! I got them on tape many years ago. It's a great way to get to know the composers and their music in an entertaining way. I'm now twenty and a piano performance major and I still listen to them.



3. We've had the CDs in this boxed set for over a year now. The Classical Kids series has been wonderful. We have two boys (now 6 and 8) and this has been a great introduction to classical music. At first, the kids loved the stories that surround the music. The stories provide a sense of history and place and, ultimately, we found that they keep the kids interested in the entire CD. As they listened (time and time again) to the stories, they started to pay more attention to the musical portions that are in the background or that break up portions of the stories.

   Recently, we've been able to tell that they've picked up a sense of the music as we've listed to classical music on the car radio. Time and again, they perk up when listening to a piece of music and surprise us by saying "That's Beethoven". Sure enough - they've picked up something about the style of music that's characteristic of Beethoven. Sometimes it's the snippet of music from the CD and other times it's just the rhythms that are characteristic of that piece. As a family, we all recommend this.




4. This is an excellent beginning for classsical music, and supplement. It does not replace a classical music education , but for those who have no idea where to start, this is fun and is excellent for those with short, short attention spans or are used to the Brittany Spears generation. For those with an extensive music background, it is limited to the quite young.



5. Okay, maybe the Amazon title doesn't describe exactly what you are getting, an incrediby kid-oriented story with classical music playing in the background. But these stories use a kid's imagination and really interest them in a composer. My children beg to hear Tchaicovsky! (I know my spelling is wrong). "Mommy, please don't play your music; I want to hear Tchicovsky again." (for the fourth time in a row!) How many kids beg for you to buy Swan Lake so they can hear how it ends? I think this CD creates a love of classical music in a way that kids can enjoy. Good long trip tape, although I have had to sit in my driveway for them to hear the end of a story after coming home from school.

5 comments about Stravinsky: Firebird, Rite Of Spring, Persephone / Tilson Thomas, San Francisco SO.

1. As an orchestral trombonist, I looked a long time for the Rite of Spring recording to add to my collection. I finally settled on this one and "WOW!!" is all I can say. Tilson Thomas, while a very fine conductor, sometimes forgets about the emotion of a piece, that is, often I find his interpretations too smooth. Here, however, he allows the full savagery and fire of this music to come out - the brass searing,the strings raspy where necessary and the all important basson solo is smooth and gorgeous. I fully endorse the multiple Grammys this set was awarded. There may be other Rites of Spring that do individual things well, (namely the stellar sonics and bass drum/organ impact on the Salonen/LA Phil recording from 2003 or the visceral, primal, if flawed reading Gergiev gives) however overall this set rises above the rest. While I intend to get the others I just mentioned for comparison, this set will be the standard by which I judge future recordings; the playing is flawless and the interpretation is above reproach.



2. Personally, this is my favorite recording of the Rite of Spring and The Firebird. I am not going to say that it's the best because that leads to most of the garbage you see in the other reviews. While I still enjoy the recordings Stravinsky himself lead, Boulez's interpretation, and especially Igor Markevich's interpretation, I find no difficulty recommending this set above them all. To put it simply, Stravinsky's music has never sounded better. This recording is rhythically precise, meticulously colored with beautiful solo and section playing in the winds and brass and yet still maintains the character and barbaric drive we have come to expect from this music. I agree that this recording does not have the sheer brutal intensity of some of the aforementioned recordings and especially that of Gergiev. However, this recording shows the inner workings of the piece and gives the music even more character by highlighting the orchestrational inventiveness of the work. While the recording of Persephone is wonderful and shares the traits already mentioned in the Firebird and Rite of Spring recordings, the work itself, to me, does not meet the same high level as the other two. And while it is good to have a great recording of this seldom heard work, I would have preferred a reading of Petrouchka instead. But Whatever! This recording is still great with fantastic playing and Godly recorded sound. This is one of the better purchases I have made. Enjoy!



3. This is definitely one of the best Rite of Spring recordings out on the market today. I highly reccommend this recording to anyone who is looking for an electrifying...amazing performance of the Rite. Please see my review under Levi's (Atlanta Symphony Orchestra--Telarc) recording of the Rite of Spring for more information and a list of other recordings I highly reccommend of the Rite of Spring.



4. I have listened to these recordings now perhaps 7 times since I bought them. On the whole they are quite fine. The dynamics are well presented and the flow of the thought and feel of the music seems genuine and faithful to the score.
   However, let me suggest that in the case of Persephone, the conductor has no clothes. Oh, the performance is probably the most brilliant I shall ever hear, hopefully the last. The conducting is most likely near to perfection as is the singing. But try as you might, take a mediocre work, and that's what it is... and perform away...it will still be mediocre.
   It was an unfortunate collaboration...Igor-Andre. It is far from Gide's best work and as far as I'm concerned not even worth mentioning for Stravinsky's, although I have to admit I've never sung the music myself as some apparently have.
   Although I admire MTT greatly and have many of his recordings, it is this need to be pedantic which I find annoying. Bernstein did it with panache in a time when so many knew so little. But MTT is always trying to cram it down my throat, including when we go to performances in Davies.



5. Probably one of my biggest regrets in my life was to be a few months too young to be on this recording with my boy chorus. Anyways, it is absolutely superb, especially Persephone (but then, I am partial, having sung it a few years later with the same symphony). This entire set is simply gorgeous.

5 comments about Strauss: Orchestral Works.

1. Strauss is usually hard to separate the good from the bad in the more marginal works, however the tone poems are always worth the price (with a couple exceptions). Under the aegis of Kempe, the fine Strauss orchestral lines are clearer than under almost any other conductor. Plus you get some really rarely performed pieces. An A+ in my book!



2. Strauss called himself a "first-class second-rate composer" and I'd say that assessment is about right. He's not groundbreaking in any way, despite what Strauss enthusiasts might say. Other Germanic composers of his time were atonally tuneless (like Schoenberg) or just astringent and academic (like Hindemith). For the most part, Strauss's works are provincial, pleasant, and quaint -- what any Bavarian with a good command of a symphony orchestra would write.
   
   Lots of people crow on and on about Ein Heldenleben and Till Eulenspiegel (both outstanding works and excellently performed on Disc 3). His best works tend to be the straightforward ones and they're famous for being so blatant in their descriptions. I would say about 5 discs of this set are great -- excellent performances of works that could be incredibly boring if put in the wrong hands. Fortunately, Kempe and the Dresden Orchestra do amazing things. The sound isn't the greatest (these are kind of old recordings), but the warmth and excitement is uncommonly good.
   
   The rest of his works, and there are plenty of them, are absolutely miserable and third-rate. I have yet to find a person who finds any musical merit or amusement in Panathenaezug. I realize it's hard to make a work with a left-hand piano solo work well, but Ravel this is certainly not. The other piano works (which comprise the rest of Disc 2) are also abominations. Zarathustra (disc 5) rambles endlessly -- after hearing the famous opening, it's best to go on to something else. I'm angered by the fact I've wasted 35 minutes of my life every time I've listened to the lifeless and incredibly inane music found in Le Bourgeois Gentilhomme (disc 6).
   
   So I'm giving this box set 3 stars. 5 stars for the good stuff, 1 star for the dreck. No one should be subjected to some of Strauss's long-winded torture, regardless of how badly some might think they want his complete orchestral works (though this isn't even a complete set anyway).
   
   Knowing what I know now about Strauss, I would not buy this set. I would have been much happier with a smaller box with his true gems on it with updated sound quality. I suppose I would have bought this set anyway just to see how bad the bad works are. You've been warned.



3. The performance seems excellent
   Very few have the guts to play Richard Strauss (e.g. Burleska for piano or the AlpenSinfonie) but Kempe is convincing



4. I will never get tired of listening to this set where Kempe is really at his best with an orchestra incredibly coloured , precise and good...
   Buy it immediately , it is a must



5. Rudolf Kempe's interpretations of Richard Strauss orchestral works (almost complete - one miss the orchestral songs) have been classic recordings since they first appeared on record in the early seventies (1970-75).
   
   Especially fine are his interpretations of the core works, e.g., the symphonic poems Also sprach Zarathustra, Ein Heldenleben, Eine Alpensinfonie, Tod und Verklärung, Don Juan, Till Eulenspiegel, Don Quixote. All these are given first rate interpretations.
   
   Furthermore, you get outstanding interpretations of Strauss' two horn concertos as well, with Peter Damm's superb horn playing, and an outstanding performance of Metamorphosen.
   
   There is simply no rival to this collection of "core works of Richard Strauss".
   
   In addition, this box collects also Strauss less interesting orchestral works - see Amazon's listing above. These minor works receive fine interpretations and performances too, but the main attraction is of course the core works above.
   
   Sound quality is very fine - just excellent analogue stereo - and the orchestra, Staatskapelle Dresden, was one of the top orchestras in the world when these sessions were put on record.
   
   Warmly recommended!