Classical music reviews

It is such a shame that more isn't available from this artist. There exists somewhere (only on LP?) an amazing Paganini 1 of Gitlis for example, that hasn't been on CD for years, or ever?

The violin playing on this collection is from Gitlis' earlier years (a good thing) and his virtuosity is simply astonishing.

Just listen to the Tchaikovsky and be amazed. Worth the (reasonable) price of the set alone. Who else could get away with that tempo!!!

Truth is, Mr Gitlis is a bit of a nutter! But in a very good way. So refreshing to hear one 'not following the trend'. This could of course be a disaster recipe, but the playing on this disk is just so outrageous and fantastic, you emerge a fan of the man.

His comments on 'The Art of Violin' DVD are by far the most informative and astute, so the guy is the real deal.

Makes Perlman seem a bit naive.......

No trouble finding his recordings though!

Long Live Ivry.

Up until I bought this CD I barley knew who Ivry Gitlis was. I bought it because it was such a great deal and had pieces included that I liked very much all in one package. My plan was to leave it in my car and put my favorites back in the house where they couldn't get damaged. Man, was I surprised byt the quality of these performances and the recording in general. Mr. Gitlis is about as good as you can get and all the performnces are of a very high quality. Much better than I expected. Even the sound is pretty good. I just wish I had more CD's that I was this happy with.

I bought this CD set partly because of its unbelievable price and mostly because of the good reviews here. You can hear Gitlis' unmistakeble sound in each of the five concerti. He plays these concerti with stirring passion and intensity that transcends the technical difficulties. Even though the sound quality of the recording is not as good as other recent ones, Gitlis' dazzling performance adds freshness to some of the world's most-recorded violin concerti.

I don't understand why Klemperer's readings are described as "granitic" and "monumental". Slow and ponderous are better descriptions. I used to find Brahms 1 too solemn a work till I discovered Eugen Jochum's recording on EMI. Jochum with his flexible phrasing and tempi makes the music sing. I suggest all those who thing this is great to listen to Jochum. All one gets from Klemperer is a headache.

I hadn't listened to this symphony in close to thirty years (shame on me) and purchased the Kemplerer box set (all the symphonies plus the overtures). As other reviewers mentioned this is one of, if not the best interpretations of these works. I was originally looking for a recording I first heard during the early '70s which was particularly striking. In the last movement of the 1st, that version brought the string accompaniment for the transition to the "9th" theme to the fore, giving it an especially shimmering quality. I forget which version it was and have never been able to find it again. Kempeler does not, unfortunately, conduct that section the same way. However, in all other respects, it is a wonderful recording and belongs in any collection. By the way, I would be interested in hearing from anyone who could identify the other recording I am looking for (is it karajan, Walter or Boehm or someone else)?

arguably the finest recording of Brahms 1st, utterly sweeping and majestic yet with unbelievable foundation and architecture which Klemperer is noted for. now reissued under EMI's great recordings of the century series with the rest of Klemp's Brahms. a must have period!

This was the first choral CD I've ever purchased when I started becomming involved with choir during my senior year of high school five years ago. My director was telling the choir that he had finally found his copy at a music store and referred to it as the "Holy Grail" of choral recordings. So, I went out to find my own copy and I'm still blown away by it today. I've even given copies as gifts. The music is certainly relaxing and such, but what I most value from it is the spiritual magic. The Choir of Trinity College, Cambridge (then and now my favorite choir in the world) brings every composition to life in such a way that's pure, elegant, and deep. Listening to this music and enjoying this choir has allowed me to set my own standard of singing and compositional excellence.

I keep finding new things to love on this CD, including the fact that it has the first recording I found of Gabriel Faure's beautiful Soprano (or Soprano/Alto) duet Ave Maria., Opus 93. The same recording appears on another CD where the singers are named. The above description of this selection unaccountably adds a baritone. Incidentally, Faure also composed a shorter SATB Ave Maria, which John Rutter has recorded.

I only wish the recording included the complete text of Psalm 50/51 from Gregorio Allegri's Miserere Mei Deus. This might come from John Rutter's recently edited score, published by Oxford Press, if I'm not mistaken. I, for one, do not find this selection (or indeed the entire recording) too long and I believe that the embellishments at the end (mentioned in another review) are probably correct when considering performance conventions of the time of its composition.

I am a semi-professional singer with a BA in Music, and I bought this CD with some trepidation because it looked like one of those dreadful "pop classical" compilations that are everywhere lately. But it had lots of great repertoire all in on place, so I decided to risk it, and I was not disappointed! In fact, this is now one of my favorite choral CDs.

As usual, the Choir of Trinity College delivers stunning performances, and the music itself is just gorgeous. Lots of "church" favorites from a wide range of musical periods. The mood of the CD is definitely on the mellow side, but it's perfect for those quiet moods. I love this CD -- highly recommended!

I am not going to go into great detail. I am working on a degree in classical guitar and I can say this is something to strive for. His musical interpretation of the peices represented here are some of the best I've heard. His tone,color, and phrasing is incredible.

In guitar ` s playing there have been many renowned performers, gifted of exuberant technique. But curiously the Apollonian playing is not by itself strictly enough. The guitar is the instrument which is closer to heart as any other one. It demands from you passion and sentiment. There have been three well known guitarists, one of them from England and the other one from Spain and the third one from Japan whose sensibility was totally absent in their performances.

But fortunately for us, there have been notable interpreters that have been maintained a desired balance and contrast between brain and heart, achieving great distinction and total acknowledgement around the world. I would name seven primordial names along the instrument `s story. First of all: the mythic soloist Andres Segovia, Regino Sainz de la Maza, John Williams, Alirio Diaz, Manuel Berrueco, Siegfried Behrend and Christopher Parkening, among the most representative ones of a great list.

Christopher Parkening `s career has made a brilliant colorist, an impeccable and sensitive interpreter of this well reduced repertoire. His profound artistic conviction and convincing phrasing has been a perpetual motive of constant invitations and presentations around the world.

CP has become my chief inspiration to improve as a classical guitarist. His performances here are, without exception, phenomenal. He makes the most difficult pieces sound effortless. I prefer CP over John Williams because, while Williams is also unquestionably a master, he sounds a bit robotic to me at times. CP, on the other hand, never sacrifices musicality to precision. He sublimely maintains both.

Dr. Todd Oxford's new CD, "Finesse" (Equilibrium), is a great classical music album by any standard of measure. I would recommend this CD to not just lovers of saxophone music, but all lovers of the music of Cesar Franck, J. S. Bach, and the Post-Impressionist French composers. A fan of Yo Yo Ma's cello recordings, for example, would find Dr. Oxford's interpretations of Bach to be exhilarating, deep, and honest. As well, Dr. Oxford shows a true mastery of the magnificent baritone saxophone (which I read from another magazine article is, stunningly, an auxiliary to his true "home base," alto and soprano saxophones). This is manifested throughout the recording with consistently rich, vibrant,and even tone quality,musical lines with commitment and conviction, and a deep musical understanding of the various styles of music recorded here. Dr. Oxford studied with the renowned saxophonist Harvey Pittel, and it is easy to see why he was so active in the Harvey Pittel Saxophone Quartet, and why he is currently so active as a soloist, saxophone artist, and music educator. His abilities seem limitless, and we are all eagerly awaiting his next album.

This CD is awesome. It's great to listen to, and can be used as a tool to learn from. To hear someone that controls the bari saxophone in such a way is almost unheard of. Todd displays his ability as a performer, whehter playing fast or slow, to make the songs sound effortless. I especially enjoyed listening to such arrangemnets as Franck's Sonata and Bozza's Improvisation et Caprice for how Dr. Oxford makes the songs his own through his interpretations and styles. This CD is great, so why you do not own it is beyond me.

Thank you very much Dr. Oxford. You have finally given us the first classical baritone saxophone recording ever. Not to mention that it also sounds great! The interpretations are outstanding and the control is obvious throughout the recording. Bravo, especially in the Bach!...

For novices, and beginners who are having their first sample of the fine art of opera, this collection is a must have. In what are the most beloved and well-known operatic pieces, "celebrity" opera stars Placido Domingo, Kiri Te Kenawa, Cecilia Bartoli, Andrea Bocelli, Joan Sutherland and Luciano Pavoratti, provide a rich and colorful collection. Among the beautiful soprano arias you will find "Un Bel Di" from Madama Butterfly, "Voi Che Sapete" from Nozze Di Figaro and "Habenera" from Carmen great tenor arias such as the Flower Song from Carmen, Figaro's Aria from Barber of Seville. You will be enchanted with the fine ensembles from La Traviata (the waltz-like Brindisi) the Flower Duet from Lakme,the Anvil Chorus from Il Trovatore and the very rarely heard O Silver Moon from Dvorak's Rusalka, sung beautifully by Renee Fleming. This cd is a must have for opera and non-opera fans alike. Five star buy. Highlights include the Anvil Chorus from Il Trovatore with its powerful chorus, Va Pensiero from Nabucco with its message of hope and sung beautifully by the John Aldis Choir, and the lovely "Barcarolle" from the Tales of Hoffman. A beautiful tenor aria rarely performed also is "Mattinata" sung gorgeously by Bocelli. A five star buy. Opera has never sounded more attractive than it does in this high-quality cd.

this is a great CD. I got it as a birthday present from someone who knows how much I love opera. Lots of great selections here, sung by great singers. i want to be an opera singer! i lost it in Mexico and now I am buying another one online!

No question - this is an execellent collection of recordings! Rarely does one see this degree of variety and balance in the selection of composers, operas, conductors, and performers in a 2 CD set. If forced to be overly critical, though, I would make 3 points based on my personal preferences: First, I agree with those who feel Pavarotti is featured too often. Personally, I would rather have more Carreras (he appears only once - Donna non vidi mai from Manon Lescaut). Second, while there are some outstanding duets (like the pavarotti/sutherland brindisi from Traviata) and choruses (e.g., soldier's chorus from faust), there are too few ensembles. The Bella Figlia quartet from Rigoletto or the Mia Madre quintet from Figaro would have been excellent additions. Finally, there just ain't enough Wagner (is there ever?). We get only the bridal chorus from Lohengrin and the Ride of the Valkyries. The Meistersinger prize song or the pilgrim's chorus from Tannhauser would both have helped round out the set.

However, to make these additions without adding another CD, some of what's already there would have to go. And what's there now is so glorious, so representative of the great operatic works and (relatively recent) interpretations, I'd hate to see something else get left out.

If you are looking for beautiful and pure flute playing as on the Hoppe albums, this is not the album for you. It is like an opera, much of the CD is vocal with no flute whatsoever. Please amazon, put up some sound clips on this one.

Having already purchased "Incantation," I was ready to explore more of the same genre. I was simply BLOWN AWAY by the depth and scope of this album. It is lush, vibrant, and memorable. I teach an energetic-healing seminar called Ener-Chi Quest ... and we use it extensively for meditation and soul exploration. We invariably get requests for the album's artist and Title as it is the perfect adjunct to transitional awareness. This album is SUCH a winner! I feel blessed to be exposed to it and recommend it with the highest praise - BRAVO!!

This CD is an amazing acomplishment. As a musician and singer, I am continually inspired by this work, as well as uplifted. I refer to it as an esoteric pop opera, and I encourage everyone I know to listen to it again and again! Tim Wheater has outdone himself! This is probably my favorite work, as beautiful as the major operas, but in a more familiar setting and so much more spiritual.

Yes, if you got Tebaldi in her vocal prime and Callas in her vocal prime to sing together on stage, the Italian would blow away the Greek with her enormous volume.

I heard Tebaldi many times at the Metropolitan, and no recording can truly give a full idea of the radiance of her voice at its best. It was an opulent, luscious sound, with a depth all its own. Her stage persona was charming and sympathetic, but ever-so-slightly aloof: she was a true diva in the original, untainted meaning of that Italian word: a "goddess" inhabiting her own special realm.

This selection is drawn, with few exceptions, from her glory days in the 1950s, and includes some-but by no means all-of her finest moments on disc. While no recording can quite recreate her special aura, it CAN reproduce her way with a phrase, the exquisite light-and-shade of her personal style. In this she was a fine musical interpreter, and a real Italian: no heavy-breathing psychotics from Renata! Her heart, like the timbre of her voice, was full of Italy's sun.

In the glorious tradition of Claudia Muzio, Tina Poli-Randaccio, Giannina Arangi-Lombardi, Maria Caniglia and Mafalda Favero.

I hope this was just your idea of a sick joke, but after reading the rest of your reviews I don't have much hope. I am contacting Amazon to try and have you blocked from posting anything here.

Theres something about martha argerich that puts me off.Such empty playing..almost banal.Beyond that i have nothing useful to say and why should i?listen for your self.I pity persons who fancy her playing.Its juvenile and almost horrid.She plays like a philistine.

I must confess, I originally bought this CD for the track listing, having no idea who this Argentine phenomess was. Listening to the Liszt concerto that opens the collection was nice - it's not one of my favorite works, and was new to me as well, so personally, not a great starting point from which to gauge Argerich's phenomenal talent. But then the Ravel Sonatine that follows seems as if it were written for her, and the first CD closes with the incomparable 1982 recording of Rachmaninoff's legendary Third Piano Concerto (the same work that drove Geoffrey Rush's character in _Shine_ to madness.) The second movement played by Argerich is about as good as piano gets, and while she can bring out the beauty and colors of that movement, she has more than enough raw power and fire for the other two. (It's too bad they cut off the applause at the end after thirty seconds!) The Rach 3 and Gaspard de la Nuit are the prizes of this collection. Her mastery of Ravel's most difficult piano work (and arguably one of the most hellacious pieces ever written, Scarbo) is absolutely unbelievable. Wait for her to nearly lull you to sleep in the creepy "Le Gibet" then make you sit bolt upright at a very unexpected point. And, glory be, she can play Bach too! The Partita is amazing, as is the Prokofiev concerto - her talent knows no bounds, and she certainly does not (and need not!) confine herself to any period or composer, though she shines most brightly with the early 20th century masterpieces by Rachmaninoff and Ravel. If you own one piano album in your life, make it this one (or Alicia de Larrocha's Iberia/Goyescas) - but this is an astonishing collection of very diverse, difficult pieces played with a level of brilliance and fire I have not heard before or since.

As pianists go, there are very few who could claim to be of the same stature as Martha Argerich. She has the innate gift of making me believe that everything she does is the only way of doing things, although I know and love many other performances of the works contained in this set. Her Rach 3 is simply peerless, in my opinion. Excitement and fireworks abound, but there is always room for the more sensitive side, and it is DELICIOUS when she lets her sensitivity come through. One particular moment in the third movement is so powerful that whenever I hear it, I simply have to stop whatever I'm doing and just listen. The Prokofiev is precise, exciting and poetic, and the Ravel concerto and Gaspard de la nuit are unbelievable.
This was my introduction to Argerich's art, and I believe it is an excellent one- it shows the full range of her abilities (excluding chamber music) to perfection- she can play anything from Bach to Ravel equally well and convincingly. Heartily recommended!

I grew up listening to Rudolph Serkin play these pieces. He will always be the gold standard on Mozart piano concertos as far as I'm concerned. I gave this album 3 stars instead of 4 solely for Ashkenazy's weak play on the 3rd movement of the 20th Concerto. It didn't have the passion or fire I've come to expect from that movement. In fact, me personally, I think the whole set lacks a certain fire. I don't claim to be an expert, but his work on Mozart is nowhere near as good as his work on Beethoven. And other masters are much better at Mozart, in my opinion.

Vladimir Ashkenazy's complete cycle of Mozart piano concertos was originally issued in the late 70s-early 80s, and holds up well, on the evidence of this bargain-priced 2-CD set of five of the most famous of these works. The pianist's approach tends toward the large-scale and deliberate. This works particularly well in the majestic C major Concerto K. 503 (one is made aware of how this work influenced Beethoven's own G major Concerto) and the tragic C minor work, K. 491. He is supported by beautiful playing from the Philharmonia Orchestra, whose strings lend a magical sheen to the Romantic melodies of the famous "Elvira Madigan" slow movement of K. 467. Ashkenasy's playing is fittingly sparkling in passagework and as transparent as a modern Steinway concert grand can be. By today's standards of historical performance the orchestra is large, some of the slow movements could have used a bit more ornamentation, and the pianist's own cadenzas to K. 467, 491 and 503 wander a bit too far afield harmonically; but these are small quibbles in otherwise enjoyable performances.

I received this 2 cd set as a gift and have played it many times - especially the slow movements which are so ethereal and soul-wrenching - and notably Vladimir Ashkenazy's interpretations of the concertos numbers 23, 24, and 20.

The pianist is ably assisted by the incomparable Philharmonia Orchestra and the sound - for the most part - is more than adequate. Three of the concertos are DDD and two are ADD - but that does not detract in any way from the excellence of Ashkenazy's "view" on Mozart nor do the transfers diminish the artistry of Ashkenazy and the Philharmonia Orchestra.

A great buy and one that should be in all collections even if you have other interpretations; he even surpasses Alfred Brendel at times in some of the concertos - notably Nr. 23 in A major, K488

Timothy Wingate from Ottawa, Canada