Classical music reviews

Great price for the product. I am so glad I logged onto Amazon.com for things like this. It arrived faster than expected. I will definitely continue to buy more in the future.

Eventhough many kids in school listen to rap and all, I listen to classical. After watching Amadeus, I was moved by the pieces selected to be played in the film. I especially liked Symphony No. 29 1st Movement. Also, when Salieri is at the Archbishop of Salzburg's palace and reads Mozart's piece, Serenade for Winds, is among my favorites. In Serenade for Winds, Mozart creates a very emotional and almost night music feel to it. I was surprised that the director/conductor did not put in a few more famous pieces into the album . . . ex. Symphony No. 40, The Magic Flute, etc. This is an excellent album and anyone who wants to enjoy the genius of Mozart should purchase this. Take it from me, you will enjoy this album immesensely.

Wolfgang Amedeus Mozart's nervy youthfullness went far beyond his personal life.His choice of music very much reflects
his own spirit.He chose to set to music Le Nozze Di Figaro (a
play largely blamed for starting the French Revolution) put him
somewhat at odds with Emperor Joseph.His tendency (very much in
attendance here) to compose opera's in German at a time when
Italian opera was at it's post popular also made him a bit of a musical rebel of his day.I don't listen to alot of classical music (but certainly I have favorites,notably by Eric Satie) but Mozart's many concereto's,acts of his opera's and so
on demonstrate the youthful composers gift for melody and yes,
even hints at improvisation that set 18'th century Vienna (and
later the world) on fire!And Peter Shaffer was sure to include
acts from Mozarts errie unfinished reqeuim mass towards the end
of this CD.So to fans of the movie with more then a passing interest in classical music will enjoy this!And I think Mozart's
spirit will always be alive in those who choose to challange themselfs to innovate within music and get the public's ear to
stretch!

In this two-cd set of the Bach Crandenburg Concertos, Martin Pearlman and the Boston Baroque do a wonderful job of performing some of the most recognized classics of the genre, on period instruments, none the less.

Not only are the recordings superb, but the interpretation is as well. The Boston Baroque offers an important insight into Bach, not just by playing on instruments that were all made during his era, but by choosing to specialize in the genre. This interpretation will likely stand out in the future as the definitve and historic one of our time.

There is only one mistake in any of the recordings that I could hear: that is a 'tough break' (as we call them) on one of the trumpet solos (thankfully not one of the important ones). Forgivable as it is, it still does not detract from the quality of the overall product.

He wrote this piece in K�then 24.3.1721 near the capital Berlin. this work was dedicated to Count Christian Von Brandenburg.
The six Concertos are bizarre dimension from Bach. Because the concertos 1, 3, 5 are dance-menuett s�tze. The concertos 2, 4, 6 are fugue forms. The concerto 5 is very special because the Cemballo/Hapsichord was represented or played in a solo instrument. this might be the oldest piano concert in the music history.

PS: this CD is only dedicated to the intelligent music listeners! not to the crappy fans who love Britney Spears or Tina Alquiera.....

These are the best versions of the Brandenburgs I have heard. The tempos are quick, as baroque tempos should be, the music sounds light, as baroque music should, and the period instruments make the recording all the more "authentic." I even recommend this over Pinnock and the English Concert's version. Sound quality is very good. Highly recommended.

Having blown out my right shoulder, my bowing arm has retired. Therefore, my advocation as a renowned "diddle" player is over. I have switched to Mandolin, which allows me to remain in the "viol" familiarity, and accept my limitations -- but remain enganged. Bach has always been a favorite and Szeryng an inspiration. I was a bit concerned with the Duetsche Grammaphone release, as I have heard many other artistical releases of dubious quality. But this one shines. Additionally there are only a limited number of artists who have completed the catalog of Sonata's and Partitas for Solo Violin, I appreciate that Szeryng made the astonishing effort to do so, and in doing, left us his gift of Bach to enjoy through the ages.

As for my mandolin playing, it's coming along nicely, I still pull the violin out of the case and admire the instrument, and one day I may even endeavour to repair violins for the satisfaction of retaining my connection.

It is not easy to meet a CD that listen over and over again these days. Recently I met it. When I listen the sample on the Amazon page the sound just caught me, "What is it?" "Different!".

Szeryng is not a present player, unfortunately he passed away for years ago. I am sorry I didn't know him until now. Because he spent his later life in Mexico, or he did not get a good manager, or he did not care about it, anyway he did not seem to get fame as he deserved it.

I like Bach solo violin set, especially the first sonata and the second partita. I have listened by some famouse violinists but I wonder I could meet beyond this in my rest of life.
In this CD, I love the first sonata, the first partita. Overall, the violin sound is brilliantly wonderful. I don't know why but when listening this CD the sound impresses me before music, that is not usual, I always care music before sound.

In Japan, his playing is often referred as great nobility or dignity, and he rarely makes mistakes, someone says the performance is like even silience after playing pleases me.

Szeryng's recording is outstanding. The main appeal of this recording for me was his ability to enunciate all the different voices of the Bach pieces. This is especially evident in his superb recording of the Chaconne. I am not surprised to see that many see this recording as close to Bach's text as possible. However, Szeryng has to do a lot of interpretation to get it to that state. If he was "only" sticking to the text, then why won't most other virtuosos follow this example? When I listen to Szeryng (this Bach recording over a thousand times), I never grow tired. It is true that when one first listens to it, it does not seem as remarkable as some other playings, but the beauty of Szeryng's playing is the purity and transcendence with which he plays Bach. Each measured, full and clear note rings with the heart-wrenching pathos evident in many of Bach's pieces.
Another advantage of Szeryng's recording is that he has pretty faithful tempo, no awkward pauses or lenghtenings for emotional effect. While this may render his playing seemingly unremarkable in the first few hearings, one quickly realizes the incredible richness and beauty. For example, if one reads Bach or plays Bach, one cannot help but imagine dramatic pauses, lengthenings, flourishes to fully convey the emotion that is in the pieces. However, when the piece is played literally to those "additions," the text is no longer pure Bach but a translated or filtered Bach. Any "emotional interpretation" of the listener is no longer based on Bach, but on that certain interpretation. Szeryng's virtuosity lies in his ability to play Bach faithfully and *beautifully, leaving the listener to appreciate and use the imagination. This, in my opinion after over a thousand listenings, is the reason why Szeryng has that lasting appeal.

This album is a curious surprise. The countertenor voice is an instrument that is rarely written for in this era, and just as rarely heard. To find it at the center fo an album that is thoroughly modern, and possibly even popular is to experience a strange moment of dislocation, as something old is used to evoke something contemporary. Frederic Momont is the composer of a set of pieces that are hard to pin down, and Thomas Otten is the chosen voice.

Working with Otten are classical elements as well as electronic. You will hear instrument samples, piano violins, cello and the true soprano voice of Caroline Mutel. Otten's voice itself has a fragile melancholy sweetness to it that can haunt the listener, blending with Mutel's crystalline sound occasionally to provide a fascinating contrast.

Momont's music is easy going and melodic, very much a vehicle for Otten's work with nary a touch of conflict between the two. The pieces alternate between classical texts such as Ombra Mai Fu and a Petrarch Sonnet to curious sets of syllables as in Close To Silence as well as verses by Momont. All this makes for an album that could be perceived very serious music or as polished background music. Very likeable in any case.

This is curently my favorite New Age CD, although simply placing it in the New Age category does this magical experience an injustice. I have tried and tried to classify this work by Thomas Otten and the most accurate description I can come up with is "New Age Operatic". I HIGHLY recommend this CD to everyone who enjoys the experience of being hypnotized and swept away by the lush vocals of an incredible performer. I have often just put this Cd on repeat and played it all evening. It is truly an emotional experience.

I don't remember how I found this one but the album sounds like it's made 100 years from now in the future... Sounds straight out of your idea of what music will sound like when everyone wears matching gray jumpsuits... Just an amazing voice. Strangely soothing and peaceful. If I'm having a hard time going to sleep I'll throw this on and relax and drift off to another land.... It's so beautiful it's almost a religious experience at times... Pick it up!

Given Martha Argerich's career, you would not expect Bach to be at the forefront - and it isn't - but when she put her mind to the Baroque master in this recording, the result was brilliant. Right from the opening first few bars of the C-minor Toccata, Ms. Argerich sets a tone of great excitement and anticipation of what is to come - and by the time she is into the great fugue, you realize you a hearing an exceptional approach to Bach. Her tone here is one of supreme confidence and a feeling of authority that brings to the imagination the historical images we have of Bach's daughting and larger-than-life keyboard playing.

Yet, a standard Argerich critique of "overdriving" the tempos does not seem to apply here as far as a negative effect. Even though her tempos are often quicker, they do not seem overdone, Romanticised or out-of-place but create a fresh excitement and dramatic infusion. After all, pieces like the toccatas were flamboyant works to show off the keyboardist's virtuosity and technique, and Argerich rises fully to that purpose (apparently disregarding Bach's tempo indications in places) and going all out - perhaps reminding us of the power of Bach's untouchable playing. While her aggressive (but quite interesting) approach to the noble-minded Courante might not bode well for some, she almost makes up for it with surprisingly tender and almost hypnotic sarabandes - movements in which she does seem to capture the subtle, inner qualities.

As much as I normally prefer Angela Hewitt's Bach recordings, I have to say I really like Martha's spunk and extravertness here even more at times - especially in the Toccata with her bold and confident galloping triplet rhythms that seems to nicely capture the free-spirited nature of this work (ditto for the Partita). This is superb music by any measure that is recorded in full, dynamic sound on DG. It is also really a historic recording for both Bach lovers and Argerich fans because it is some of the only Bach Ms. Argerich recorded. Judging from the 18/19 Amazon reviewers so far who gave this CD Five Stars, I would say this CD is a special treat to be savored.

This recording would make an interesting blind listening test, given the pianist's reputation for passion. Those who assume Martha's Bach will be spoiled by romantic excess are in for a big surprise. This CD is as good as any Bach on piano I've ever heard, and rivals Savall's Art of Fugue as an essential Bach recording.

Like Glenn Gould, Argerich attempts to emulate a harpsichord on the piano, by limiting the pedals and variations in tone, volume, and rhthym. She is clear, dry, and imparts a fugue or dance movement with dazzling energy and control. The result is very consistent with authentic baroque interpretation, and more listenable to my ears than an actual harpsichord, which I prefer to hear in ensemble rather than solo.

Also recommended: Gould's French Suites (now on 1 CD), Bylsma's Cello Suites, Podger's Violin Sonatas, Pinnock's Harpsichord Concertos (DG Trio), and of course, Savall's Art of Fugue.

Bach keyboard recordings tend to be of two kinds: recitals or complete sets, e.g. the complete Partitas, the complete Well Tempered Clavier etc.

Martha Argerich's CD is a recital, and it is an absolute gem. It is rare to hear Bach playing so vibrant, alive and musical.

The CD starts off with a dazzling performance of Bach's Toccata in C Major, an early composition that is one of the best of Bach's Toccatas for piano or harpsichord. Argerich's approach to Bach becomes evident early: her playing is very spontaneous and rhythmically alive; it sings; she makes fine use of dynamic contrast. But, above all, it seems hard to believe this is a studio recording, and not part of a live, concert performance.

The English Suite no.2 and Partita no.2, both very popular solo Bach keyboard works, are wonderful. Her playing has extraordinary vitality. They are performances I come back to again and again.

Fine recorded sound.

Definitely worth having, even if partially duplicating other performances of Bach's keyboard music an example of great Bach playing.

I do like this album. They basically play all of V, and a few songs from Divine Wings and Twilight live.

I dont care for the mix on this though, hence not getting 5 stars. The drums are kinda up in the mix and guitars and too quiet. Thats just my taste though, others may prefer that.

I'm not going to go into attempts to sell potential new fans on Symphony X. Its your loss if you dont check them out.

I decided to get this after being impressed with V and Twilight in Olympus. Every one of the guys in Symphony X is very talented and can really play. The first CD is excellent from start to finish; songs like 'Evolution' and 'The Eyes of Medusa' are awesome along with Michael Romeos guitar solo in 'On the breath of Poseidon'. The guy is a really amazing guitarist and although many people think he sounds like yngwie, I think he is a lot more controlled and has a more melodic sense.
I also like the way S X get the crowd involved, unlike most other progressive bands. My theory on live performances is that a band is on stage to put a show on and not just to play their music. S X are really good entertainers as well as musicians and they also play their songs differently live to what's on the studio recordings, which is great because similar bands such as Dream Theater usually just stand there playing their songs live exactly the same way as they do on the record. Even though DT are an amazing band, they can be so boring to watch and listen to live sometimes, unlike S X.
The second CD however is where I found some minor problems. Some of the songs are played far faster than those on the record. Many people complain about progressive bands doing this live and I'm sorry to say in most cases; it is true! Listen to Dream Theater playing 'The Mirror' live for example; it is far faster than that on the record. The other thing that bugs me on CD2 is that the keyboards are too low on the mix. S X has always been a symphonic band and without the keyboards being in the shot they just do not sound the same. Russels vocals do not sound as strong on CD2, this is because I think those particular songs were recorded 6 months after CD1 so his voice is probably a bit worn from constant touring.
However I can't complain too much because `The divine wings of tragedy' at the end of CD2 is amazing, I think the live performance of that song is absolutely stunning. Overall I really enjoyed this album and I love their music. I highly recommend it to any Power or Prog metal fans, Keep up the good work guys!!!!

I don't know what these other people were talking about, when they were complaining about the faster tempo on some of the tracks, first of all just because you heard them do it on a studio album doesn't mean that is how they're supposed to play the song. If they want to up the tempo it's their perogative. the vocals sound a little strained on the second disc. i think he's got a little problem focusing the pitch with his voice on that disc. my only other problem with the cd is them hacking apart candlelight fantasia, but then again, that was their performance of it. i really would've liked a 7 disc box set version instead of just a double cd (in case they're reading this.) but finally it's a shame bands like symphony X don't get any media attention at all, and they're forced to play 45 minute opening sets because i don't think they got the fan base to support a headlining tour so... everybody who buys this album, play it for 5 people.. and we'll see if we can remedy that

This is the definitive recording of Don Carlos.Giulini(a golden age conductor)does a marvelous job with his wand.Montserrat Caballe's performance is profound.She sings with such seemless legato line,and the most glorious tone,this demanding role of elisabetta di valois.Her high notes are so beautiful and powerful,she more than does this role justice.Caballe's pianissimo note at the end of her main aria,tu che le vanita(is one of the grandest verdi has ever written,and in caballe's hands,one of the most beautiful.)has to be heard to be believed.It is truely a revelation,in terms of the singular beauty Caballe is able to manifest here on planet earth.A note so soft and pure,and yet luxuriously audible.Shirley verrett is another reason to have this don carlo.Her eboli is sung with rich and beautiful tone,as well as thrilling dramatic bite.her o don fatale blows me away every time.Domingo sings with a handsome tone,and stays in character throughout.The other singers are in good voice,and pleasant to listen to.Milnes and raimondi are a nice addition to this recording.Giulini's don carlo was recorded in 1970,and this newly remastered version sounds pristine.The over all atmosphere I feel from this don carlo,when playing on my stereo,is that of being transported in a aural rapture to golden age heaven.

For the Italian version of Verdi's Don Carlo on record, which far surpasses the original French version in popularity and commercial appeal, this is the studio recording to own. The people at EMI would not dare let this classic, legendary recording go out of print. Listed among opera's top recordings, this 1970 studio recording represents the highlight of many of these singer's respective careers up to that point and attests to the prowess of conductor Carlo Maria Giulini. It's ironic that for a highly Italian opera, replete with Verdi's Italian phrasing and music, the singers are not even Italian, except for baritone Ruggero Raimondi. Placido Domingo and Montserrat Caballe, the tenor and soprano romantic duo on this set, are both proud of their Spanish heritage. Domingo's parents sang in Zarzuela in Madrid. Domingo's roots are in Spain but he first received operatic notoriety in Mexico City. The Latin gloss he suffuses his voice with is extremely sexy and seductive, and he has enough darkness and heft (coming from the fact he first sang the roles of baritones) to make Don Carlos a man not to be toyed with. Don Carlos is Domingo's most vocally gratifying role. Every thing he sings here, from love arias to pensive ones, is clearly his best work. He can relax his voice in some portions as well as exude dramatic virile power in other more thrilling parts. He was born to sing Don Carlo, for it is even a tribute to his possibly Castillian roots. And just from his voice and mannerism alone one would actually mistake Domingo for a Spanish prince.

Likewise, Montserrat Caballe has what it takes to essay the role of Queen Elisabeth Di Valois. Not only does she color her voice so that she is both singing with melancholy sweetness (with those ravishing pianissimi she is so famous for) but she is able to make the Queen sound tormented behind a mask of pride and aristocratic bearing. With Verdi, Caballe did not have to tra-la-la her way through phrases as she did with Puccini. She knew Verdi very well and excelled in Verdi opera perhaps because Verdi's operas are influenced in part by bel canto, which Caballe was the reigning interpretor of in the 60's. This is Caballe's best work on recording, and that's considering she sang superbly as Donizetti's Lucrezia Borgia and Bellini's Norma. Her "rival" the seductive and scheming Princess Eboli is sung by the well-endowed mezzo soprano Shirley Verrett, an African-American. Born in America to a Seventh-Day Adventist, Shirley Verrett's rich, dark voice is thrilling and elegant. She makes the character of Eboli appear majestic in her own terms, though perhaps not as sympathetic in portrayal as Grace Bumbry's interpretation. Still Verrett has the right stuff to pull ito ff. Eboli is among her greatest mezzo roles and already hinted at here is her high soprano voice which she would use later in the 70's to essay the roles of Bellini's Norma, Aida and Puccini's Tosca. Another American in the cast is baritone Sherill Milnes, who is also involved in baseball. Milnes makes the role of the Inquisitornearly as charismatic as Domingo's Carlo. Their duets and scenes alone are worth the price of this recording. Milnes worked well with Domingo and it shows, especially here. This is his best work for I find that his Count Di Luna and Scarpia are static. Here, though, he delivers!! The only Italian in the bunch is Ruggero Raimondi singing one devilishly, and cool-sounding King Phillip. He makes the King sound like Don Giovanni! And that's actually good in this case because the King has some big flaws. Giulini is doing a fine job with the score, treating it with a kind of epic grandeur worthy of Wagner. This is still the best Don Carlo out there. The only other I recommend is the original French version starring Domingo, Ricciarelli, Valentini Terrani and Nicolai Ghiurov who sing in the most glorious French voices for this opera fit for the Paris Opera that adored historical spectacles.

Opera in sound alone can never be the full monty, just as Shakespeare on the radio can't be. The grander the Grand Opera the more true this is, and Don Carlo is bigger in scope even than Aida. It is about a lot more than the story of a love-triangle set against a background of armies, slaves, pyramids and elephants: there are four parties to the love-interest alone, the role of Posa is nearly as important as any of them, and the action takes in the fate of the royal house of Spain, the imperial dominion in Flanders and the overweening power of the Spanish Inquisition. It cries out for staging. However in sound alone the Grand Inquisitor without his garb will have difficulty in being more than a disembodied bass voice given that his is a rather small part, and however dramatically kings, princes, princesses and nobles sing and act with their voices I can't help finding myself more concerned with them as sopranos, tenors, baritones and basses than as the dramatis personae they would be for me in the opera house.

When recommending a Don Carlo on disc I therefore focus mainly on the musical side. In any case there is no possible risk that if this music is sung properly it will come across as a concert - Verdi sees to that. He was a dramatist to the marrow of his bones, and the listener at home has only to follow the words in order to be caught up in the grand sombre tragedy that Verdi has burned into music. The best performance on disc, for me, will be the performance that most consistently conveys both power and beauty, because this opera is about tormented human emotions at the mercy of ruthless political power in addition to their own tragic fallibility. None of that needs any staging when conveyed in music like this. It would be a tall order to expect any performance of this outsize opera to be perfect. It is not a perfect work itself, on any showing. Even by Verdi's standards it went through an enormous amount of rethinking and revision, and it has surely the most peculiar and unconvincing conclusion there can ever have been in a work of its stature. A worthy performance has to convey total and absolute belief and commitment, but the focus has to be on beauty as well, more than would be so in the opera house, because sound is all we have.

One doesn't have to get far into the first act to realise that this Don Carlo is going to score quite exceptionally highly in point of beauty. Domingo is in superb voice, and Caballe surpasses herself. As the work goes on I suppose it might be fair to say that her lower register is not the equal of her higher, but this is Verdi and not Wagner. Wagner pitches his solo parts reasonably so as not to put strain on the voices, Verdi exploits the upper range of every voice except the bass with remorseless partiality, and Caballe rises to his monstrous demands magnificently. Eboli is a mezzo role, but the challenge Verrett has to overcome is hardly less in that respect, and her confession of the theft of the jewel-box is perhaps the final solo gem in a performance that is a jewel-box itself. Not everyone is absolutely right - the Grand Inquisitor's voice is too youthful, but I have very little criticism indeed to make of any of the major roles. Raimondi as the king seems perfectly good to me, and Milnes delivers a fine rendering of the part of Posa, combining power and inwardness, sometimes at one and the same time. If there is a high spot to the entire performance it is surely the quartet in act IV, a sublime outpouring of beautiful sound from all the principals together.

In the last analysis this Don Carlo surpasses any other I have ever heard for its combination of sheer beauty with wholehearted power. Giulini was born to conduct it, and I doubt I have a single criticism of anything he does from start to finish. The recording is now 35 years old, but you might not be able to tell. Now only weeks from Giulini's passing I am especially glad to be able to give such an unqualified endorsement to what I believe to be one of his finest achievements, indeed one of the finest opera recordings I know. It's only to be expected that there are details that one prefers in other accounts, but for sheer consistent quality at the highest level I would say your search can safely end here.

I was at the Palisades Center Mall (in West Nyack, NY) one day when I heard this incredibly stirring music floating up from a lower level of the mall. It was so profoundly moving--what I would call hauntingly beautiful--that I had to find out what it was. I took my two boys (sidetracking them from their quest to get Daddy into the toy store!) and we went on a "hunt" to locate the source of the music. It turned out that three musicians were performing live selections from "Water's Edge." I was instantly hooked. I bought the album on the spot, and I have listened to it repeatedly ever since.

Tim Janis has succeeded in composing music on this album that will strike a chord deep within your being. You can hardly describe the effect--it must simply be felt and experienced. It would be an injustice to attempt to capture with words the various musical moods of this album. You will positively be thankful for having added this work to your music library.

I am a high school teacher, and I occasionally play this album for my students (while they're taking tests), and they unanimously agree that the music is beautiful and soothing. In fact, they actually *request* it. Coming from a bunch of adolescents who spend most of their time listening to rap, hip-hop, and other current musical trends, their positive appraisal of Janis' music speaks volumes, and it is testimony to the powerful effect it has on the human psyche.

Probably the best piece of music ever written. Twin Lights...wow..this song gives me chills everytime I listen to it, and I've listened to it over 1000 times. SIMPLY AMAZING! A must buy!

I first heard Tim Janis' music on internet radio. Just ordered and received the CD "The Water's Edge"... I really can't put into words the feeling when you hear this music... one piece "Star Island" must be one of the most beautiful ever written! His music is beyond uplifting, relaxing, heartfelt... it touches the soul.. just sit and LISTEN..

An excellent example of new age solo piano-----highly recommend this CD.

George Winston is my favorite pianist. His Autumn cd is by far the best composition of his collections!

If you are looking for excellent solo piano music, look no further. Autumn is the predecessor to George Winston's 1982 masterpiece, December, and fittingly poses as a worthy runner-up to the pianist's very best work. It's difficult to capture such passionate performance on a solo piano studio recording, but George Winston's sincerity and emotion shimmers through each track on this remarkable disc.

From the poignant "Colors/Dance" to the meandering "Road" and through the kinetic-sounding "Stars," this album is a captivating listen. While fall is an appropriate season to listen, don't let the title of this album fool you. This is music you can play any time of the year! I find myself listening to this album frequently whenever I want to relax and hear beautiful, contemplative music. Autumn contains some of the most earnest, soulful, and invigorating solo piano music I have ever heard. I highly recommend this album and Winston's subsequent 1982 release to you!

These were the first recordings of these works that I encountered as a young listener. I purchased the set on LP's and more or less steered clear of these works for a number of years until I heard other performances. Quartetto Italiano's boring performances of these dynamic masterpieces are among the worst on the market. In fact, the only set I can recall that would fall into this dismal class would be that by the Orford Quartet on the Delos label. I don't own the set on CD, but I have gone back to my old LP's on occasion only to find that my original impression of these performances was absolutely correct. If you're an insomniac, don't hesitate to grab either set.

Such complete works as this - spanning the composer's lifetime - make for an excellent study in the composer's musical evolution. Although termed "early" works, Beethoven's first Op. 18 Quartets were composed when he was around thirty, having dozens of brilliant compositions behind him. These first quartets show both the 'restrained' classical forms and mannerisms of Haydn but with notable evolutions like the introduction of deeply emotional and tragic writing (the slow movement of the No. 1). The "middle period" quartets (op. 59, 74) shows Beethoven at his most "Heroic" style composing broad, sweeping, and increasing complex part writing - so much that the fickle Viennese audiences used to Haydn's and Mozart's classical style were not quite sure what to think of them. Even more abstract to audiences (outside Beethoven's quartet friends) were the late works (Op. 130-135) which progress to totally new ideas, sounds and organization. These included unusual, frequent and unexpected shifts in dynamics, tempo and key modulations. But most historic was an intangible emotive quality Beethoven introduced to music which might be termed "spirituality." What is most amazing is that these musical revolutions all were developed when in Bethoven's final years lived in a state of sadness, illness, deafness and isolation. Yet, having a lifetime of notes and music in his head, his composing skills were not limited at all by this deafness but perhaps even more focused. With their highly evolutionary form and spiritual nature, the late quartets are in a category of their own and have provoked many an analysis as to their meaning and connection to Beethoven's final years.

The Quartetto Italiano show why they were a legendary quartet in the 60's and 70's with a remarkable performance of great depth here. Complementing them is a vibrant Philips recording in spite of its 60's heritage. The sound is very good but just a little shy of depth and richness as compared to the modern DDD recordings like the new Takacs recordings (but absolutely nothing to deter purchase). One listen will reveal why it is a Gramophone "Top 100 Recording of all time." Given all the superb recordings since, this speaks highly of this set. Their playing is masterful, dramatic and probing - all while maintaining their characteristic smooth and emotive style that has endeared them for generations. Other notable quartets for these works include the Takacs, Emerson, Busch, Vegh, Talich, Alban Berg and Lindsay Quartets. All the above are rated 3/3 stars by Penguin Guide, so competion is fierce and it really comes down to what stylistic nuances most appeal to you. Other reviews below give some insights into the comparitive performance as each brings something different and insightful to the music (my first choices would be the Takacs). So, get the one that most catches your interest and imagination. But, as far as value and quality of performance, this neatly-packaged Philips complete set of 10 CD's here may be hard to beat. 4.5 stars.

Side note: Before Beethoven tackled the quartet genre, he wrote some pretty superb music for STRING TRIO which are lesser-known pieces brimming with freshness, imagination and delightful harmonies in the more "classical tradition." The Leopold Trio or Grumiaux Trio are excellent choices for these. These five works for string trio are a neglected part of Beethoven's music that is most rewarding and provide a context for the later, monumental string quartets.

I can't add much to the praise stated over and over here----but I must say the warmth and deep feeling brought out by this quartet makes this set consistantly rewarding.

The "Quartetto Serioso" still blows me away every time I hear it. And the bright pluckiness (pun intended) of the first movement of the 'Harp" quartet always lifts my spirits. I only mention these 2 because these solitary quartets are somewhat overlooked and undervalued, it seems.

The Lindsays (some others too) tend to be more speedy and energetic----but this isnt always what is desired. I prefer the Lindsays in Op. 130's Presto, which is really quick, light and whimsical---and just has more sparkle than the Italians. But I have a feeling a boxed set of all 16 quartets with the Lindsays (and I hope they do this some day!) would have more shortcomings than this set.

In the Razumovsky no.3, I would recommend the Budapest quartet's 1960 recording over the Italians, mainly because of their performance of the strange 2nd movement. The Budapest quartet often sounds cold and detached-----and this is a cold, weird movement-----so they are perfect, in this case!

I must also commend the fine design of this boxed set. I like the neat little envelopes containing the cd's, rather than the typical plastic box with loose cd's flopping around and falling out when you open it, hinges that come undone, etc., etc.!!