5 comments about Catholic Latin Classics.

1. A truly outstanding CD! This album is graced with inspirational authentic Catholic classics like 'O Sanctissima' and 'Adoramus Te, Christe'. The two versions of 'Tantum Ergo' are absolutely soul stirring especially Track 19. Unlike the Cathedral Singers' other works entitled 'Catholic _ _ _ Classics' that include modern tunes, this CD is authentically classic and authentically Catholic from beginning to end. If you're looking for authenticity in your Catholic music you will absolutely enjoy every note sung in this CD! Guaranteed.



2. I so love the Catholic Latin Classics. we now have the Latin Mass in the City where I live, so it's great to listen to this CD on the way to Latin Mass :-)



3. This cd is the absolute best. One review states that it is monotonous, but I only half agree. It is true that some of the songs sound the same but it does not get boring no matter how many times you listen to it. These hymns are the most beautiful I have heard. I listen to this cd constantly and have had it for about 3 months and I am not tired of it at all. The only problem I see is that Bach's ave Maria gets "blasty" in the stereo. It is the recording. It sounds like they had the microphone too close or something. Even then this cd is the best. If you are looking for latin hymns, this is it.



4. A sweet, inspiring, grand sound of angelic voices. Soothing chords that take one back to a rich high-church feel. This is what church music is supposed to be - the remedy to the inane hand-clapping choruses that seem to dominate church music these days. Chorus music may (debatable) have a function but it can never compete for the rich grandeur of these classics. Perfect for mood music or for worship - both private and corporate.



5. With the release of Pope Benedict XIV's Motu Proprio and the Summurum Pontificum, I hope we will see a return of such beautiful music to the Mass. The "Panis Angelicus", by tenor John Eskola, is sublime and the "Adoremus Te, Christe", brings tears to my eyes, as does the "Ave Verum Corpus".
   I can't say enough about this cd. I highly recommend it for those who love traditional Roman Catholic mass music.

5 comments about The Most Relaxing Classical Album In the World Ever, Volume II.

1. The selections chosen are, for the most part, to my taste, but the volume is comprised of fewer supurb selections, such as those masterpieces by Bach, Beethoven, and Mozart that were found in Vol. I.



2. Beautifully done, arranged, and selected. All are very good performances, and there are many lesser known but wonderful pieces such as the movement from Shostakovich's second piano concerto.



3. Not as relaxing as the first volume. But still a great collection of relaxing music. The orchestra that plays the music in the CD is excellent.



4. Good selection of music, poorly performed and badly arranged. Good album for a tag sale. Same comment applies for Volume I.



5. I have listened to this CD for the last several years before going to sleep at night. I love classical music, and this is great music to help make my soul feel at peace and unwind after a taxing day.

5 comments about Brahms: Ein deutsches Requiem [A German Requiem].

1. Sound quality might be lacking, however the soul of the performance is what counts. There is a great feel to the opening track. Each time I hear it, it completely changes any mood I'm in. The orchestra and chorus breathes together, and Klemperer did a fine job on these tracks. If your not nuts about this, try Karajan's earlier recordings.
   *It seems ridiculous that people will write reviews to argue like children with each other on this website.



2. If you own ten different recordings of this, you might find something to criticize. I own two - I'm still a fairly normal person - and this is the one I prefer. (The other is by Robert Shaw - and I think the orchestra is a little less powerful on that one. I plan to get more and compare them.)
   
   Regardless of which recording you get, this will kick your butt. This is some of the very best classical music I know, especially the second track, which makes me want to believe in God just so I can beg for forgiveness.



3. Klemperer recorded Brahms Requiem in 1961, the same year he recorded the Bach St Matthew Passion (with an identical cast).
   
   Like many have said before me, this is an exemplary album. A robust, full-bodied chorus, two magnificent soloists, and a superb orchestra, all presented in their best light by outstanding engineering: this is truly an album to savor.
   
   At the time of this writing, I found two 1-star reviews and one 2-star review. They basically were dissatisfied with the album's sound quality and Dieskau's performance.
   
   I considered the sound in the Brahms to be very much on par with Klemperer's recording of St Matthew Passion, which I thought sounded quite good. In fact, many listeners may be tempted as I was to turn up the volume while listening to this Brahms disc.
   
   The tempos taken by Dieskau sounded comparable to other Brahms recordings I've heard of similar length (Robert Shaw, James Levine). His manner of singing is the way Dieskau sings in all of his records. Fans who like Dieskau want more of the same. Here, they get it.
   
   It took me a few hearings to appreciate Elisabeth Schwarzkopf. In her 1947 recording with Karajan, she seemed too reserved for my taste. Her approach didn't change much by 1961, but what became more audible was the sheer beauty of her unique sound. That was what finally got me hooked.
   
   Texts and translations included.



4. Klemperer's Brahms German Requiem is for those who value the nobility and courage in this music, and who eschew the kind of saccharine senimentality that Karajan could bring to this score. I used to love the 1947 Karajan with Schwarzkopf and Hotter, but now it takes back seat to Klemperer's. The Second Movement, "Denn alles Fleisch, es ist wie Gras," has never sounded so frightening and bitter as under his hands. Anyone who thinks that "Mistah Klemps" was a stolid, unfeeling conductor should hear this recording. It's the best!



5. He understand Brahms and the performances are superb. Buy this recording and you will be very happy.

5 comments about Vivaldi: Gloria; Bach: Magnificat.

1. Of all the performances of the Vivaldi Gloria I have listened to, I like this the best. Clarity, emphasis, orchestra, soloists - all excellent. A balanced performance. The Bach is a bonus...



2. Robert Shaw can always be depended on to reveal a piece in all of its potential splendor, and this recording is no exception. It's a rather dated recording, but absolutely required for a well rounded choral/baroque collection. I felt very lucky to have been able to still obtain it here.



3. This is a very enjoyable performance of Vivaldi's exuberant Gloria: crisp baroque ornaments with exceptional solo voices, smooth choral work; light clear orchestral accompaniment.
   The magnificat is also nice.



4. I have now performed both of these choral masterworks. This recording is useful as a rehearsal aid for myself and made it easy for me to learn the pieces in between choir rehearsal nights. I am also a big Dawn Upshaw fan, mostly because she has performed with us on several occasions, so I admit to being biased about this recording because she is included. I do look for Robert Shaw recordings when possible because I consider him to be an authority on choral singing. I think the mastering on this CD was well done and overall, it's a clean recording which is enjoyable for listening's sake as well as for a rehearsal aid.



5. This is the difinitive recording of Vivaldi's Gloria and Bach's Magnificat on modern instruments. Not but 50 years ago (when period performances were nearly non-existent) choirs like the Roger Wagner Chorale were butchering these works. Robert Shaw comes along and performs Handel's Messiah like nobody's ever heard, with lively tempos and light articulation; finally scholarship and performance practice catch up to what we have today.
   
   The Works: On this disk are two very different works. The Vivaldi is evocative of the Italian singing tradition. Flowing melodies and voice writing, both with conjunct motion, simple harmonies over the typical Baroque perpetual motion. The Bach, on the other hand, is from the later German school. Vocal and instrumental parts are extremely virtuosic, and the separate movements use more variety in orchestration and texture.
   
   The Performers: While using modern transverse flutes, winds, piccolo trumpets, and strings, the sound has a modern fullness (Shaw still pares down the Atlanta Symphony), but it is taut with proper Baroque articulation. The organ and bass continuo are very good at what they do. The ensemble comes across crisp and clear. The soloists are dynamite; they have read up on their vocal performance practices (without going overboard) and perform with style and intelligence. The Atlanta Chamber Chorus is also very fine, however it seems, in relation to everyone else, they are singing in a bathroom; still well performed.
   
   The Performance: The tempos are moderate considering recent scholarship, but this is still the "mainstream" recording of these miniature masterpieces. Robert Shaw knows the works, knows the style, and know how to get the proper sounds and balances from his ensembles. I suggest owning both a modern and period performance of these works if you really like them, since both are vastly different. For a modern performance, this is the difinitive. For a period performance try the Hogwood or the more revolutionary Rinaldo Alessandrini version on Opus III.

5 comments about Bernstein: Symphony No. 3 ("Kaddish"); Chichester Psalms.

1. I thought that this recording would contain symphony only. However, it was too wordy. One has to listen very closely to the dialogue to see what it is about. Takes too much time! Judged my mistake when told that those who bought this CD also ordered etc. Which I ordered and it too was a talk/music type recording. Therefore, wrong genre.



2. Anyone of a certain age can remember the flap caused by the premiere of Bernstein's Sym. #3 "Kaddish," which contains the composer's personal argument with God, as narrated by his wife, Felicia Montealegre. The text is full of ego and blather, and it created the first huge embarrassment for a beloved icon of American music. He would go on the decline as a popular composer soon thereafter, with even more embarrassment over Mass, his ecumenical-hippie memorial to John F. Kennedy -- "Kaddish" is also dedicated to him, although Bernstein may have been anive to think the work's Jewishness would be welcome across the broad culture.
   
   How does Kaddish sound in retrospect? It's still full of ego and blather, but that's part of LB's makeup. His estate has tried to soften the Lenny-gives-it-to-God aspect by approving several revisions of the text, one of which LB himself conducts on DG with the Israel Phil. But why mask the original intent? The original is a rip-roaring show, and LB conducts to set the world on fire. The music in his first two symphonies was better, I think, but Kaddish remains worthwhile. Chichester Psalms is a piece that has survived better, even if it is a direct imitation of Stravinsky's Symphony of Psalms. The composer's recording is more or less definitive. I am giving 5 stars to the performances--you'll have to assess the spiritual ego trip of Kaddish on your own.



3. This recording is a digital remastering of the two works, as originally recorded and issued on Columbia records. I listened to my old, now broken-down vinyl copies again and again, and am very pleased to have the works on CD. The performances are stunning and authoritative; the singing and the playing, exquisite; and the music, electrifyingly dramatic. This album is well worth owning!



4. Leonard Bernstein's Kaddish Symphony is a powerful mass reflected on a Jewish background. With both the composer who is a Jewish American, and the first Cathloic president John F. Kennedy, whom Bernstein dedicated the music to after the tragic assisination, being pious believers of heritage, it's partly fit to empasize and create this "requiem" based on the pure Jewish heritage.

   Bernstein's Kaddish is an incredibly powerful piece. Although it's hard to understand the Jewish words sung by the choir, the music itself shows its emotions of savagry, pain, and lament, and to top it off, the narrating voice of the music, played by Bernstin's wife, is more than enough to give importance to the "deep sense of kinship and loss that Bernstein felt" after the president had died. The words can show how remorseful Bernstein, and his wife, must have been.

   Regardless of the mediocre technology of digital recording on this performance, this music is a definite buy for those who want anything about Bernstein, or wants to give into an American Tragedy. I don't care how great other performances may be; Bernstein's performance is enough for me.

   On the other hand, Chichester Psalms, like the Kaddish Symphony, has no specific story, being based, this time, on Psalms 2, 23, 100, 108, 131, and 133. The first movement is joyous, the second movement is a sort of a 'hymn' sung by a male solo high as a boy would sing, and the third movement closes peacefully. I was especially moved by the third movement. The melancholy sounds of the strings in the beginning of the movement reminded me of the grim, dark lifestyles during the Jewish Halocaust, even though the subject might not have been intended in the music. I can consider the words and the sentiment in the movement to be a song of resettlement after the Nazi's attempted genocide of the Jews.

   This performance with the New York Phil too, despite its recording technology, is absolutly unmatched. The only other recording I would listen is the one Bernstein performed with the Isreal Phil on Grammophon during his later years of conducting. By noticing the recognizable use of energy of Bernstein's youthful earlier performance, though, I would recommened this performance than the latter.

   Generally, the two pieces are magnificently performed, showing how great Bernstein was. Unless you want really cle-e-e-an recordings, you won't be dissapointed.




5. Although at first listen this piece is full of screeching and wailing, it is definitively Bernstein. The syncopated rhythms, odd time signatures, nods to American popular, blues and jazz idioms, as well as the explosive dynamics of this piece make it a fascinating listen. WHat I didn't like about this particular recording, led by the Maestro himself, is that one cannot understand much of the text. It is mushily inarticulated. The orchestra, however, is superb, especially the percussion, and the dynamics on this recording are well differentiated. The boy soprano in the 2nd movement(emulating boy David with his harp)sings gorgeously, but one can't understand a word of the Hebrew text of the 23rd Psalm, too bad.If only Bernstein had paid as much attention to the choir as he did to the orchestra, this would be a fabulous recording of a distinctive work.

4 comments about King's Singers Christmas.

1. The King's Singers bring their mastery of blend and tone together for their latest Christmas album. It's difficult to comprehend how 6 men can produce such an amazing sound, but they do. They sing traditional Christmas music, such as Coventry Carol, Lullay my Liking, and Stille Nacht. This is the King's Singers at their best- exquisite acapella music that is contemplative and will lift up one's spirits. In particular, I recommend listening to their rendition of Bogoroditsye dyevo. If you still have time, I would recommend downloading the MP3s and listening to it for Christmas. If not, this can be listened to at any time of year.



2. Words fail to rise to the task of describing this collection. The words, melodies and performance are simply transcendent and sublime.



3. What else can I say. If you are a fan of Christmas music and of the King's Singers you will like this album. I was originally trying to get CD versions of some older vinyl King's Singers Christmas albums I had purchased while living in Austria in the 70s and 80s. Unfortunately, they are not available. This is a fine replacement. I would still like to be able to get the German album in CD form, though.



4. Stunningly beautiful! I deeply enjoy Christmas music - from the ancient, to jazz and pop - and main a diverse and festive holiday collection. While "Maxjazz-Holiday" is my secular holiday favorite, "King's Singers Christamas" is my hands-down, "knock-your-socks-off" favorite among traditional Christmas music. It is unparallelled in sonic beauty and musical expression of the historic Christmas story. I can become totally lost in the sublime beauty of these artists of a cappella voice. One track is more stunning than the next in sheer beauty, tonal blending, vocal textures, and musical expression of the Jesus nativity story. My deepest thanks to the artists who created this deeply moving collection of seasonal music.

4 comments about Lorraine at Emmanuel.

1. In the best parts of these performances - those mentioned by Tom Lawrence, but I would definitely add to his list "Where shall I fly" - Lorraine's flame burns fully as intensely and penetratingly as on her great Handel recording with Harry Bicket.
   
   (In case anyone still doesn't know, Lorraine's two recordings with William Christie are at that level, too.)
   
   Hard to find words for Lorraine. No wonder she made her husband think of Rilke:
   
   Words still softly give way before the unsayable . . .
   And music, forever new, out of the most tremulous stones
   builds in unusable space her house fit for gods.



2. The centerpiece of this CD is a recital of selections from Handel's opera Hercules. The late Lorraine Hunt Lieberson sings Dejanira's recitatives and arias, following a path from passion and jealousy into madness. This program is bookended by two alto arias from Bach cantatas. While the Bach solos are musically more to my liking, the Handel material does well to showcase the mezzo-soprano's talent. For me there are three highlights to this disc.
   
   - Track 1: "Kommt ihr angefochten Sünder" from cantata BWV 30. This is an ideal first song of the day as you start your car. The measured pulse of the music gently helps you wake up and takes the edge off the morning commute. Whether a trick of the composition, the performance, or the recording (or all three), the first note sounds like a pickup, with strings plucking the offbeats. Then twenty seconds into the piece your brain shifts and you realize that the song actually started on the downbeat. The effect is best when you are still partially asleep.
   
   The singer uses her lower and middle register throughout the number, so no high shrieking to shock the system. There is a slight derailment at the recapitulation five minutes into the piece, but it sorts itself out in two beats and all is well. The flute plays a sparing descant to the voice, and it is pleasing to hear how effective a few well-placed notes can be. By the end of the work the instruments have warmed up and are parting ways in intonation, but you are awake and happy to be behind that school bus.
   
   - Track 12: "Cease, ruler of the day, to rise." This aria from Hercules demonstrates why people are drawn to Lorraine's singing. She approaches music with such balance: she has a warm, rich tone, but never lets sound production get in the way of the text. No slaving to pure vowels, no over-pointing of consonants; never diction for diction's sake, yet the words come through with clarity. When she uses a grace note or a trill, it is not showy, but subtle and appropriate to the moment. That she makes all this seem easy is the definition of good technique. Handel's music draws her voice into a glowing upper register that pulls at her heartstrings, and ours. She has surrendered to the music and it is singing through her. Beautiful.
   
   - Track 13 shows another side of Hunt's musicianship -- her abilities as a collaborative artist. Her attentive ear and generosity are evident as she seamlessly partners with soprano Jayne West in the Act Two duet, "Joys of freedom, joys of pow'r." This is an upbeat Handelian flow in the Water Music style, and you are now ready to face the day.



3. In the August 2008 BBC Music Magazine, George Hall gave this disc four out of five stars. He didn't like some of Lorraine's fast passage work and found that conductor Craig Smith lacked impetus. Hmm. Not me. These are magically relaxed performances where soloist and chamber orchestra are almost literally singing to and with each other. There's something special going on here. And Lorraine Hunt Lieberson sounds completely in control of what she's doing. I don't think you'll be disappointed. If only there had been more.



4. As a Boston resident from 1985-1994, I attended numerous Emmanuel Music events ranging from the Sellars production of Handel's "Giulio Cesare" (brought to Boston by Sarah Caldwell & the Opera Company of Boston) to several of the weekly Bach Cantatas that they performed Sundays at the Emmanuel Church services. I even returned to Boston once to specifically hear the ensemble's performance of Handel's "Solomon."
   
   Emmanuel Music, under the directorship of its founder Craig Smith, never made much of a misstep in any of its performances. Undoubtedly the people who played and sang for Smith did so out of a love for the ensemble and a high respect, admiration of and love for him. The performances were outstanding because the performers were driven to perform for the experience and the musical involvement Smith provided them with, not for great sums of money.
   
   Craig Smith was not a flashy showman kind of conductor (in fact he was quite the opposite) and one always suspected that he might be a bit eccentric in an endearing sort of way. However, what he was was a musician/conductor searching for truth in music and in character. And it's in that regard that he singularly stood out - not just in Boston, but also internationally. He always paid great attention to the finest of details in the music he conducted and he knew how to get refined, genuine and transcendent performances from those working with him. He was, in some regards, one of the musical world's best kept secrets.
   
   I first heard Lorraine Hunt (later Lorraine Hunt Lieberson) in her phenomenal performance of Sesto in the Sellars' "Giulio Cesare" in Boston. I heard her on several other occasions as well, including a commanding performance of Cleopatra in Handel's oratorio "Alexander Balus" with Emmanuel Music under Smith's direction.
   
   It could be argued that no one knew how to conduct Hunt Lieberson better than Smith. Likewise it could be said that Hunt Lieberson excelled in her singing for Smith, who had played such a crucial role in the rise of her vocal career, because they were musically on "the same page." She had evolved out of Smith's brand of musicality while individually searching for and finding command of her own voice and interpretative skills.
   
   This recording is taken from the archives of Emmanuel Music (I wonder what else they have sitting around waiting for the world to hear) and is a tribute to both Smith and Hunt Lieberson. As expected from both of these artists, the performances here are more than "lovely", "pretty" or "splendid". What they are is music at its elemental truth - a representation of the finest of these two artists. These performances take the listener to the place in music where truth and art are whispered to them - not shouted. Here, both musicians understand that less is more when one knows how to strip away the gimmicks that music sometimes has thrust on it by conductors and/or performers.
   
   The orchestra has a bit of a hollow sound to it, but the sound is quite true to what the performances at the Emmanuel Church sanctuary sounded like. Emmanuel's main sanctuary is quite large and Smith generally had a very small orchestra.If one likes recorded performances miked close, then the orchestral sound may be a bit of a disappointment. However, don't think that the "hollow" sound detracts any from the detail or articulation of the performances. Furthermore, these are live performances that were probably never intended to be internationally released. (But maybe any other recorded performances should be. The "Alexander Balus"?)
   
   For those of us who heard Emmanuel Music so often, the recording is bittersweet. Somehow one thought Craig Smith and the ensemble would go on forever. It was simply expected. The same can be said for Hunt Lieberson. Who thought such a glorious voice would ever be silenced. But they both have passed on now. However Emmanuel Music still thrives - and I expect will continue to do so even though it may have to mourn for awhile. But I have no doubt that they will prosper because of Smith's dedication and love of them and because of their dedication and love of him.
   
   If you have ever wondered what all the fuss was about regarding Emmanuel Music, Lorraine Hunt Lieberson or Craig Smith, this recording should stop that wondering. One rarely hears such refined and soulful performances. The Bach is sublime and Dejanira's arias from "Hercules" are, to this listener, without peer in their execution, depth, and character. The "Mad Scene" is stunning! This release will likely make many "best of " lists for 2008.
   
   Although I never met or knew any of the members of Emmanuel Music, I will forever remember and treasure their gifts to me.

5 comments about Vaughan Williams: The Collector's Edition.

1. Having enjoyed the companion Elgar set, I bought this immediately when it came out. It is certainly extraordinary value for money, at less than $3 per disc. I am less taken with the content however. Many of the recordings are choral works which are less compelling to this listener than V-W's orchestral works. Moreover, the latter are just not that exciting when compared to other recordings that I already possess. The organization is also rather parsimonious, and short works--often interesting ones--are tucked away amongst very different tracks, making listening more active than I prefer. So, not actually a disappointment but its not dominating the CD player or replacing other versions in my collection. Kudos for the presentation however; the Elgar box is garish, while this is rather pleasing, although it does of course fall for the 'Shropshire lad' conceit that dogged the composer throughout his life.



2. This splendid set, an amazing bargain, provides most of Vaughan Williams's music in various, sometimes relatively recent, vintages of recordings. VW is a vastly underrated composer. Some of the symphonies are bonafide masterpieces, especially numbers 4 and 6, but the London Symphony (#2) and the 8th and 9th are pretty top drawer as well, if not as stunning as 4 and 6. But then, 3 and 5 are excellent in a more "pastoral" way, though hardly the "cow music" written about in a recent New York Times article. If VW has written any "cow music" my ears have never detected it. The First Symphony, however, a choral work based on text by Walt Whitman, is as uncowlike as you can get but too hysterically pitched for my taste (like Mahler's Eighth).
   
   The sublime Tallis Fantasy is given an expert performance, the marvelous Oboe Concerto is well done. The two string quartets are little known but very worth listening to.
   
   In all, at less than $2 per disk, it's hard to see why anyone would turn it down. The set's only serious defect is the pathetically inadequate documentation. One can hardly figure out who's performing what. The disks themselves lack track numbers, very inconvenient, and the booklet lacks notes. But the set is nicely boxed and at this price it seems churlish to quarrel.



3. This is indeed a very good opportunity to have a detailed view at this composer's work at a bargain price. To me, it has always been difficult to get Vaughan Williams's recordings as I'm out of the UK, where most of them are released individually. It is great to have a box like this to get closer to this marvellous orchestrator, with his compositions so full of instrumental colour. The price is excellent, the only disappointment is that thera are no booklet notes at all. At least the CD tracking details are ok.



4. I know people revere Boult and Handley and Hickox as the best of all possible interpreters for British music, along with Groves and Barbirolli and all of the other artists presented here. So please don't take offense as I pick apart this box set -- because it's not as great as some other reviewers make it out to be. Others can tell you why it's good (and it has LOTS of good stuff). Let me criticize it a little. Or a lot.
   
   First, the packaging. I'm getting really tired of these box sets (Elgar on EMI, reissue of Stravinsky set on Sony, etc.) that are missing biographies or descriptions of the works outside of a track listing. Is it so hard to reprint the liner notes from the original releases? Why on earth do they not include a libretto?? I can barely understand a word of these choruses and unless you've heard Sir John in Love or Hugh the Drover before, I don't think you'll be able to figure a whole lot out without resorting to the Internet and digging pretty deeply. Like the Elgar set, about half of this set has vocal works. So it's a huge drawback not to have texts and librettos.
   
   Second, these recordings are old. Fine. But they _sound_ old. I guess if EMI can't add liner notes, they won't spend the time to remaster their recordings before putting them back on the shelves. People who are replacing their vinyl recordings may be celebrating, but those of us who are young enough to have never owned vinyl or 8-track tapes will find that some of these recordings sound antiquated. This is especially true for those impossible-to-decipher vocal works. The songs are blurry and fuzzy (typical of low-end ADD), and there's nothing to be done without the help of a good sound engineer. It's clear much more care was put into the first half, which is full of the orchestral blockbusters that I'm sure have sold much better over time.
   
   Third, EMI was so lazy that they just put the CDs in this set as they were released originally without any consideration of repetition. There are 3 different versions of the Serenade to Music (one for chorus, one for 16 singers, and one with orchetra) under 3 different conductors. It's a charming work, but not _that_ charming. The Piano Concerto in an orchestral version, and then in 2-piano form? Ugh, there's a reason why Vaughan Williams kept editing it -- it's about as dry and bland as overcooked turkey. Two versions of the Fantasia of the Christmas Carols? On my Scrooge days, one is too many.
   
   I suppose the argument can be made that EMI has given choices, so you can pick the version you like best to put on your iPod. By why do that with such marginal works -- if they're going to have 2 versions of anything, it should be the symphonies. Handley's interpretations are five stars in my book -- they were good enough to convince me to sell my Slatkin set.
   
   So, I guess it's a must-buy only because there's nothing more complete out there at such a low price. But lament the fact that it could have -- and should have! -- been so much better.



5. For lovers of Ralph Vaughan Williams' music, the prospect of obtaining most of his works on 30 CDs for $50 or less should be irresistible. It's a great way to fill in the gaps in your collection, or to become acquainted with RVW's less familiar works. Among the highlights of this box are the Serenade to Music and the Pilgrim's Progress (both conducted by Adrian Boult), Partita for Double String Orchestra (Vernon Handley), Riders to the Sea and Sir John in Love (Meredith Davies), Hugh the Drover (Charles Groves), and On Wenlock Edge and Ten Blake Songs (sung by Ian Partridge). Vernon Handley's recordings of the symphonies have received uniform 5-star reviews on Amazon.
   
   In most cases, the performances and sound quality are very good to excellent. Hard-core fans will appreciate the inclusion of variants of a few works, such as the vocal and purely orchestral versions of the Serenade to Music. As would be expected in a compendium of this sort, a few of the items have performances or sound that is less than ideal. For example, Matthew Best's recording of A Song of Thanksgiving is far better than the one included here, but the Hyperion disc is no longer in print, and a used copy costs half as much as this entire package. The box lacks both notes and texts. Nonetheless, there's more than enough great stuff here to justify the modest price.

No comments about Handel: Furore - Mad Scenes From Operas.

5 comments about Faure Requiem Op.48 / Durufle Requiem Op.9.

1. I bought this recording for the Faure not knowing much more about Durufle than his "Four Motets on Gregorian Themes". What a shock! Never have I heard a more original piece of music than his "Requiem" which is ironic because he bases most of the themes on gregorian chants. The listener can easily tell that Shaw knew exactly what he wanted from his chorus and the orchestra because they follow every little nuance perfectly! The chemistry between musicians and conductor is so apparent, and the french textures and harmonies really wrap the listener in a warm blanket of music. I have heard this recording, another recording of the version with just organ and choir, and I plan to buy the Voices of Ascension version for chamber orchestra. Now, as to Shaw's non-use of soloists: I did some research recently which turned up a letter that Durufle wrote to Decca records requesting that subsequent recordings of his Requiem be done with basses and second tenors rather than a male baritone soloist. That does not excuse what Shaw did by using women chorus for the female solo, but I do not mind it. It makes the piece a little different, but it does not ruin the recording in any respect.
   As to the Faure, I think that the choir and orchestra sound great, well balanced, and wonderful. However I do get the impression that Shaw did not interpret this as much as he could have, and it does come off as more of a 'reading'. However, it's still great stuff and I'm honored that this CD holds a place in my choral collection. It is a MUST HAVE for any choral fan, whether you already own versions of these or not.



2. A very professional performance.I used it to prepare for the performance of this number by our oratorial society. I wish we could do as well.



3. The Faure Requiem (Op. 48) in D minor is a soft, gentle requiem unlike the powerful Verdi, Berlioz, and Durufle. The delicate qualities of this requiem are captured beautifully on this recording.
   
   The Durufle Requiem (Op. 9) is one of my most favorite compositions of all time and it is not performed well on this disc for one reason: the solos are sung by the choir and that is not what I want to hear when I want to hear Durufle's requiem. Piquemal's version is still my favorite and I recommend that over this one.



4. Fast and in a very good condition



5. This disk has set the standard for performing the settings of the Requiem mass by two great French masters, Gabriel Faure and Maurice Durufle. The Faure setting is an intimate one with occasional moments of tempestuousness. This particular recording features the more heavily orchestrated edition (for an excellent chamber version see the Cambridge Singers under John Rutter). Put in seven parts, additional features include two baritone solos and a lovely soprano solo. The choral parts are not difficult, but require a delicate touch with great articulation, all provided here. The harmonies gently shift with occasional color changes and chromatic mediant relationships. The concluding movement (In Paradisum) sums up the experience with a satisfying contemplative moment devoid of bombasticity. A masterwork not to be missed.
   
   The Durufle Requiem is a horse of a different color. The rhythms and harmonies are not so classically straight-forward like the Faure; far from it. Not only do the rhythms constantly shift, the melodies aren't classically structured, but instead, quote and are reminiscent of chant, making the rhythmic changes seem natural. The harmonic setting is heavily steeped in church modes, but Durufle's lush orchestrations make this anything but old-fashioned. Much more thickly textured, Durufle doesn't fear to leap into occasional revelry and joyousness; Durufle has a knack for timing his climaxes just right, more moments of exuberance than Faure exhibited. This edition is the fully orchestrated version, and while there is a nice organ accompaniment edition, I much prefer the grandeur of the orchestra. Robert Shaw chooses not to have soloists, but instead have the choir parts sing the solos. This version is still highly exciting and lacks nowhere (unless you want soloists). You might want to choose to have an all Durufle choral CD (Michael Plasson in EMI classics is a good choice), but this pairing of two classics is an equally fine program.
   
   The Atlanta Symphony Orchestra and Chorus have not put out such a successful CD as in this 1987 digital Telarc classic. The sound is full and virile, the heightened sense of drama is apparent and can't be beat by any other recording, certainly not by another American choir. Nearly two decades after its release, this still remains the standard.