Classical music reviews

Beth Patterson mixes Irish and Cajun traditional music with progressive rock energy and the result is great. This CD avoids the trap that independantly produced CDs often fall into in that every track ends up sounding the same after awhile. She mixes styles and vocal/instrumental tracks so that every song on the CD sounds fresh. She's truly a master musician who has developed her own exciting sound.

Having heard several of the tracks on this album live at O'Flaherty's Irish Pub in New Orleans (her home) it's not hard to recommend this CD. She fuses traditional Irish music with Cajun influences seamlesslesly and combined with impeccable mastery of the bazouki and a voice that is a joy even a capella there's nothing to carp about.

Her second CD "Take Some Fire" (all her own songs) is even better. If she ever shows up in your neighbourhood, run to the performance. It'll be one of the best night's entertainment you've ever had. In the meantime, grab the CDs and enjoy the efforts of a unique masterful musician and entertainer.

They don't come along too often these days.

Hybrid Vigor is a great CD. Beth Patterson's music and vocals are stellar. One of the songs on this CD, "Steer by the Stars," is truly a wonderful (and wonderfully melancholy) love song.

It's always nice to be able to compare an artist to somebody else, but Beth Patterson's music is so inspired and creative, that comparisons wouldn't do this CD justice.

For starters, I am not not a die-hard Sutherland fan,
for various reasons not to be discussed here. However,
it's impossible to deny her status as one of the
quintessentially impeccable soprano voices of
recorded history. Many of her recordings are
prototypes of how certain arias "should sound."
Above all, I love her clarion-like vocal presentation.
Her virtuoso trills and technical ability are
hall of fame-worthy.

This CD offers displays much of her famed vocal
ability. Although, a couple of the tracks
seemed personally out of place for me, a few
others are wonderful showpieces of her talent.

"Ou va la jeune hindoue" from Lakme is text book perfect. She lifts the roof about 10 meters on the final E; over a full orchestra! (Outstanding work.) "Il dolce suono" from Lucia di Lammermoor is incredible. Her control of pitch and dynamics are almost frightening. She displays power and vocal grace in equal parts. Her "Casta Diva" is well done, but I can't help but compare it to that of Maria Callas. Sutherland is the soprano
archetype in term of technique, however,
her emotional delivery is not always on the par
with other great sopranos. Nonetheless, the "Casta Diva"
track is still superb and pleasant to the ears.

This is an excellent collection of recordings. I believe that both new and veteran fans of Joan Sutherland will be pleased.

Highly recommendable.

Joan Sutherland is truly the voice of the twentieth century. Up until hearing this album, I had only heard recordings of her from the 80's, and frankly, I wasnt impressed. I have since learned that she was is her prime in the 60's and early 70's.

Her sound during her vocal prime is so bright and amazing. Her high notes are truly umatched by any other singer, and she has such expresssion. Although her diction is somewhat lacking, she makes up for it in vocal splendor. WOW!

She goes from heavy, bright Verdian arias like Sempre Libera to a light, high aria like the Doll Song. She is truly an amazing vocalist with unparalled vocal versatiltiy.

He sound from the 80's was very covered and her high notes sometiems seemed almost strained. If not strained, they were very small and dainty. While she was in her prime, her high notes were big and bawdy, and thats how us opera folks like it!

If you are looking for a reasonable priced compilation of Ms. Sutherlands finest work, then look no more. This is the one for you. It has excellent recordings of Verdian Soprano arias, Coloratura arias, and lots of Bel Canto vocal fireworks. Her recording of the Bell Song from Lakme is alone worth the purchase. The whole thing is great.

I have to say that Dame Joan Sutherland has one of the most amazing voices ever with such a range. This collection is my first but not my last. In fact, I would use this cd when the upstairs neighbors would start getting loud and I assure you that it probably made them quieter down. Anyway, God Bless Dame Joan Sutherland who has accomplished so much more than anybody. No wonder, her nickname is La Stupenda.

Within a few bars of Argerich's first entrance in the Mozart K. 503 concerto she had me paying attention in a way I never expected from her. Could this delightfully fresh, relazed, imaginative pianist be her? Apparently in 1978 she hadn't yet developed the fiery, aggressive, often impetuous style that her fans love but which doesn't sit well in Mozart's music. Here she is simply unsurpassable, showing so much musicality and inner life through her playing that I completely surrendered. Szymon Goldberg keeps up with Argerich by making sure that the accompaniment is never routine but lgiht and joyous.

After my first listen I checked the Gramophone review to see if anyone shared my amazement and found that the reviewer called this "as radiant, vital and carefree a performance as any within living memory." Absolutely.

In the Beethoven First the partnership isn't quite as magical. Heinz Wallberg starts out the orchestral part in pretty routine fashion, although the Concertgebouw plays with gorgeous tonal balance. This is 1992, and I expected Argerich to charge blazing into the solo part. As it turns out, she is nearly as effervescent and carefree as in the Mozart. Does a live setting make her this genial? I'm not sure that Beethoven's music is so inspired that taking all the repeats is justified--the timing stretches out to 34 min.--but with such infectious playing I was happy to hear every note. Wallberg is at his best in the slow movement, which he conducts with extra intensity to counterpoint Argerich's hypnotic legatos. The rondo finale is dashed off at a nice, buoyant pace, and the orchestra skips alongside Argerich to delightful effect--there's no pounding or exaggeration from her, either, despite her fiery reputation.

All in all, a complete delight.

This highly enjoyable disc has the renowned Argentinian pianist in two live performances of classical concerti. Although Argerich is perhaps best-known for her blazing traversals of Romantic and early twentieth-century warhorses (the Liszt Sonata, Ravel's Gaspard de la nuit and Prokofiev's Third Concerto must be numbered among her classic interpretations), she proves more than capable of scaling down and refining her approach as befits the more delicate writing of these late eighteenth-century masterpieces. Mozart's Concerto in C major, K. 503 is not as popular as its predecessor in the same key, K. 467 (the "Elvira Madigan" concerto), and its slow movement is perhaps not as romantically appealing. In formal construction, intricacy of interplay between solo and orchestra and mastery of development it must be counted among his very greatest works. Argerich's crystalline passagework and clean phrasing are a continual delight. She plays a sensible, idiomatic and, disappointingly, unattributed cadenza in the first movement. Although the accompanying orchestra plays stylishly under Szymon Goldberg, the balance of the live recording is tipped heavily in favor of the solo, which means some finer details of the orchestra-solo relationship are lost.

The squarer, more straightforward style of the Beethoven Concerto needs less subtlety of listening. Again Argerich tosses off the frequently intricate piano writing with irresistible dash. (She plays the shorter, less virtuosic of Beethoven's two complete cadenzas for the first movement.) The long slow movement is played with melting tenderness and beautiful work from the solo winds. This is yet another wonderful souvenir of this very great pianist's art.

As a perennial Argerich fan, I'm slightly confused as to why I did not purchase this disc sooner, even if only because the cover photo would make a good addition to my collection. But there is much more than a pretty photo here; the playing is top-notch, as expected.

Unfortunately, the disc opens with the Mozart. While it is not a bad performance, something is missing. I find that Argerich seems much less "comfortable" in this concerto than in the Beethoven (considering her statements about Mozart and Beethoven in her interviews, this seems appropriate). The Mozart is ultimately ruined for me in the Allegretto--the piano entrance is played with such blazing speed that it is difficult to discern what's really going on.

The Beethoven, on the other hand, is brilliant. It is played a little slower than her childhood debut, but is endlessly more mature. The tender moments are played with such delicacy and finesse, that I feel almost as if time has stopped. Her runs, no matter what tempo or dynamic, are always crystal-clear and shaded with wonderful color. And while the third movement may be a little on the brisk side, the playing is always nuanced. No matter what the music calls for, she delivers it accurately, musically, and with astonishing control.

If the quality of a recording should be judged on how many times I can spin the disc in my player and not grow tired of it, this one is a real winner. One thing remains true: I gain something more with each listen.

By any measure the Missa Solemnis is almost impossible to faithfully record, given that the engineers must find a way to balance orchestra, solo quartet, and a large chorus, a total of two hundred performers trying to live up to Beethoven's cosmic conception. Recordings haven't improved enough since the original LP came out--it's still quite fatiguing to listen to the Missa Solemnis squeezed down to room size.

EMI's remastering of Klemperer's classic 1965 account lowers the ear fatigue by a fraction (the chorus doesn't "crunch" quite as much in loud passages) and clarifies some of the solo instruments and voices a bit, but is otherwise no great shakes. In its new single-disc format the recording is a bargain, but on the used market you can find the two-disc version, which sounds almost as good, for half the price, and it includes an excellent Choral Fantasy that was one of the highlights of the Barenboim-Klemperer concerto cycle.

My favorite recording of my favorite work of my favorite composer.

Among the many strengths of this performance, I would particularly like to mention how dead-on right are the tempi. Klemperer does not lean toward the ponderous here as he does in his symphony recordings.

There is, however, one notable exception: "In gloria dei patris", the fugal close to the Gloria, really is too slow. Taken at a weighty plod, well under the Allegro ma non troppo marked, this section lacks the cumulative energy and "glory" that it should have.

But let's keep things in perspective. This is the exception in a performance that is otherwise exemplary for its tempo choices. And this work, with more tempo variations than I would care to count, so often suffers abuse from the ill-chosen tempi of other conductors.

The sound quality is fine. The performing forces are excellent. Though, for me, Marga Hoffgen is less than the ideal of vocal beauty or expression. But then, Elisabeth Soderstrom is splendid!

I used to find the Kyrie, while at a perfect tempo, too grandiose dynamically. But now I am not so sure. There is a trade-off here: what the movement loses in humility it gains in grandeur.

But enough indulging in personal views. What I really must emphasize is that this is a beautifully conceived performance. Klemperer grasps the larger structures of this great work, while, by comparison, others are lost, mired in the smaller episodes.

This is THE recording.

This is the third recording of Missa Solemnis that I have heard. The first two (Karajan and Gardiner) were excellent. Nevertheless, I was totally unprepared for the emotion, grandeur and majesty of the Klemperer recording. I own nearly 1,000 classical CDs, and I feel strongly that this is the most powerful and truly moving CD in my collection. I will leave the analysis of the merits of the singing, conducting, orchestral playing and sound engineering to others. I prefer to keep listening to this reverential music without indulging in dissecting its component parts. The overall experience is simply too awe inspiring for me.

I own three recordings, all are excellent in their own way:

Herreweghe (Harmonia Mundi) a dark, intimate performance, though very dramatic in an introvert way.
Christie (Erato and now cheap on elatus), a rather light, elegantly fresh, open and and maybe more neutral performance.
And this one: Gardiner's which is a very lively performance, with big contrasts and dramatic in an extrovert way.

Wich one I like best is hard to say, all have their strengths, although Gardiner's version appears to be the most idiomatic.

Christie's version is rather down to earth and also the quickest in most parts.
For some it could be too fast: the "Et incarnatus est" for instance is the fastest version I heard, just over 6 minutes where others need at least 8 minutes
But it doesn't sound rushed at all, it is completely natural and the soprano Patricia Petibon sings it lovely, a very cean, pure sounding voice almost as lovely as Sylvia McNair's voice on Gardiner's recording.

The "Qui Tollis" however is too fast for my liking, even faster than Herreweghe's already fast chosen tempo.
Gardiner is the best here, much broader in tempi and more "grand" in the choral treatment.
This part really needs some weight in my opinion and Gardiner's bigger choir (at least it sounds bigger than Herreweghe's and Christie's choir) is much preferable over Christie's and Herreweghe's.

Christie's choir is very good although not as refined as Hererweghe's and Gardiner's.
Christie's reading however sounds much like a live concert, something I love very much about this recording, It may not be as virtuoso and transparant as Gardiner's Monteverdi Choir and not as finely polished and intimate as Herreweghe's but it's all the more spontaneous and loose.

Gardiner's choir is virtuoso and although sometimes too "loud" sounding, Gardiner's (miltairy disciplined) force is superior and simply breathtaking.
Even the most dense textures in choral passages remain open and transparant.

Mozart and Gardiner are a successful couple.
All my reservations I often have towards Gardiner in Bach and Handel I don't have in his Mozart.
I don't know exactly why, but everything works here (as it works in his phenomenal Mozart operas recordings)
His orchestra is polished, rhythmic and very light.
Christie's and Herreweghe's players are fine too, in some respect preferable for their more "personal", spontaneous and warmer performance, but Gardiner's English Baroque Soloists are just that more lightfooted and sharp.

Herreweghe is very impressive in the openingchorus Kyrie.
The most dark reading of the three and the most dramatic.
He builds the tension slowly and doesn't need to be as extrovert as Gardiner to make even more impact in this movement.
His is, as said, a darker, more introvert reading,.
Crescendos are restrained a little, but in Herreweghe's highly concentrated treatment of the score, you can feel involvement in every single note, it has more meaning and is in a way more powerful .

The soloists are great in all 3 recordings
Gardiner's Sylvia McNair is so lovely, a very pure girlish voice with little, excellent controlled vibrato.
Patricia Petibon in Christie's recording comes close.
Christie's Lyne Dawson I like the least, although she sings with far less vibrato than Jennifer Larmore in Herreweghe's recording...I don't know why I'm not that fond of her voice in Christie's recording.

It is difficult to pick a favorite, but in the end my vote goes to Gardiner, which sound is more close to what I think Mozart should sound like.
And I like the bigger choir, it adds the extra weight to some passages which fair well with it.
The recording is great, but I would've liked it a bit dryer and closer, although the big resonance does add a (maybe necessary) 'sacred' element to Gardiner's reading.

A must-have.
But I must insist to listen to Christie and Herrweghe too, you don't want to live without those recordings either.

This recording is absolutely terrific. I am generally not such a big fan of Gardiner or of period instruments, but this rendition simply feels so damn right!! The music is uplifting, moving, almost mystical. Sylvia McNair is just celestial - everytime I hear her sing the Kyrie, chills run down my spine. In general, the performance is vivacious and the sound is crisp. I found the Qui tollis to be a bit dragged out (not sure if the fault is Gardiner's or Mozart's), but otherwise the entire track is simply wonderful (especially the Kyrie, the opening Gloria, the Domine, the Cum Sancto Spiritu, and even the Credo!...should I go on?).
If I could only take 5 CD's with me to a desert island, this would certainly be one of them!

Great CD - I bought it for my husband, but I have enjoyed listening to it also. Sylvia McNair is flawless!

Mozart was one of a kind! Truly beautiful piano work.

JM

As the saying goes, "Mozart is Music" and Uchida is Mozart! On this recording, you have two of the most popular Mozart piano concertos in modern performance(that is, played on a very big grand piano--not a fortepiano as they would've been in Mozart's day).

Uchida is crisp and technically correct, though perhaps, as some other reviewers have noted,lacking the passion of other artists' recordings. In the familiar No. 21 ("Elvira Madigan") the cadenzas are Uchidas. In No. 20 the cadenzas are Beethovens--thrilling!

The recording sounds as if it was done in a marble hall of a very grand Chateau, although it was probably done in Waltham Town Hall, London, with some discrete manipulation of the sound. The result is rich and resonant.

I'd personally recommend this for a classical music enthusiast who wanted just one CD of Mozart concertos. But perhaps its even better as a slightly obscure recording to give to a friend who already has a CD by another pianist. It's worth it for the track 3 cadenza alone.

I'm okay with Samantha's comments about the conjuntion betwen orchestra and solo (Uchida). They are in occasions at different intensity or dinamic. Orchestra was a little short. I recommend so the Geza Anda's version of the 21 concerto (sublime).

Gorgeously haunting is the way to describe some of the pieces on this disc. Story has a gift with minors, avoiding the sometimes staid and sappy sound of generic piano/synthesizer music and reaching instead for a higher, altogether more melancholy and lonely sound that touches the soul in deep places. A progression on some of the work featured on earlier Story, like "Beguiled", this album is one of my favorites in my collection, much played and much appreciated. Story doesn't get much better than this, in my honest opinion.

Probably one of the best CD's to have for when you just need to be still and gather your thoughts.

The first time I heard Perfect Flaw was early in 1995. "broken alphabet" can start playing in your head all day--but you don't want it to stop. This very calming music, with a deepness that reaches the innermost feelings in the heart and soul, relaxes you and can give you a feeling of traquility like you've never felt before.

The set gives a very good idea on the work of these famous composers. Great value!
The recording vol is low on a few CDs like the Wagner one.

This collection is a solid beginning in music appreciation. We use these CD's with our children, listening to one each month of the school year. The music is beautiful!

I was curious about classical music and wanted to learn more so I bought this set based on the previous reviews and the affordable price. I found this boxed set to be a great introduction. Each of the ten CD's is dedicated to a great composer and is kind of a greatest hits collection. The quality of the recordings are very good as is the selection of tunes included. After I listened to these cd's I was surprised at how many of these melodies I have heard before. I highly recommend this set to any novice listener of classical music.

I enjoyed this cd especially the first three pieces. Midori played Sarasate and Paganini pretty well.

I as watching (and listening!) her play live in Dubrovnik this summer. In this record she is equally brilliant as she is when playing live!

After reading Midori's Encore & Joshua Bell's-Kreisler Album reviews I was confused as to what to buy really in the end I purchased both CDs & I have no regret. Midori's renditons are ALL THE BEST I have no skip track here.This CD has the most romantic tunes some i did not even know.Even though all the tracks are good there were a few that really got me jumping out of bed just to see which track is playing viz:Kreisler's "Syncopation', "Praeludium & Allegro","Miniature Viennese March"2.Prokofiev's "March from The love for Three Oranges"3.Shostakovish:four Preludes esp. track n.9", Bartok's Romanian Folk Dances, Sarasate Oh! man the list is endless.Coming to the debate of Midori vs Joshua Bell, my honest opinion is that both artists are good but Midori has that indepth,soaring, expressive tonality that cuts/touches deep down your guts whether you like the violin or not.Bell has the same touch but sometimes loses it in tonality u know that lyrical expressive sound? dont get me wrong he is also very good.Midori just surpuses Bell by a magine. The piano deserves an applaud Robert McDonald plays very well.My fiancee' does not like classical music in any genre but I must say that in one intimate quality time she was so taken by the sound of Midori as a result she borowed the CD hopefully i will get it back.

If you want a collection of crisply played marches with a full, bright, flawless sound, look to the Marine Corps band, or one of the other (authentic) military bands. Modern recording techniques have come a long way in the last 50 years since this was recorded, changing the quality of the sound dramatically. Or you could try the Boston Pops, and enjoy the rich sounds of marches extravagantly conducted and lavishly recorded in a huge concert hall. I've bought both of those for my father-in-law, who enjoys marches. ...But I've purchased one more CD for him as well. This one has a unique quality that makes it a worthy addition to the collection. It has the immediacy of a passing parade. It's like being at the band concert in the park on a 4th of July afternoon. It has an unpolished feeling that I like for this type of music. I also appreciate that there are a few great marches included that were NOT written by the venerable Sousa. The recordings have their little warts, but in this case, it adds to the overall charm.

It is always difficult to find the "best" military CD but it is an excellent one. I agree with some critics that the bands are unknown but that does not mean that it is a bad recording. On the contrary, it is a very good recording better than some "well known" band. The orchestration is good, the sound is excellent, it is well played and the quality of recording is excellent too. So, it is a good choice.

I may be mis-rememberng, but I believe that this was released on LP in the late '50s as one of the very first stereo records released by Capitol Records. It was phenominal then. It remains so.

The recording quality is as good as analog tape ever gets. The trombones snarl, the picolos are shrill enough to send your dog howling. The huge ensemble spreads out all across the end of my listening room. I could wish for a bit deeper bass, but otherwise, this is still one very fine recording, technically.

The ensemble is huge, but they play almost like one. You'll have to look a long way for Sousa, or military marches, played anywhere near as well.