Classical music reviews

I admit I have a bias: I've been a listener of Roy Tuckman's midnight to 6am omnibus show on Pacifica radio, "Something's Happening"(in Los Angeles)since I was a high school student. I only recently learned he was a professional musician who'd had his work released, and of course I had to order this and give it a listen. Well, my previous "fandom" aside, this is a really wonderful CD. I suppose it's sort of "space" music, along the lines of that series "Hearts of Space" I used to listen to on another public radio outlet, but in any case it's beautifully produced, relaxing-exactly what you'd want for meditation, yoga, or just plain ol' chillin'-the kind none of us do enough of these days(if you're like me). Lying back and listening creates lovely mindscapes(no cracks, please-withOUT benefit of anything stronger than tea). I look forward to seeing more of his work released. Give it a try.

The name of this CD (and of the first selection) is Fiesta. A fiesta is a celebration...in this instance obviously a celebration of the Divine within Nature and within us.
The title track immediately sets one to thinking of a great gothic cathedral with Handel or Bach being performed on one of those gigantic organs. (At least, this is the effect it has on me). And from this one's inner vision almost naturally flows out from the concept of a cathedral built by human hands to "nature's cathedrals": the mountains. And especially, perhaps, the mountains at dawn as the rising sun first begins to illuminate the sweeping vistas around and below.

But I am not going to discuss each and every selection...I would not be so self-centered as to believe that you really care how the music affected me.

But I must just say a word about the final piece "Earth Vision". This was the first composition I ever heard by Mr. Tuckman. I first heard it about eleven years ago now...as background to an excerpt from a talk by Alan Watts. This was on an FM radio station in LA California. KPFK, to be precise. Where Roy hosted the all night program "Something's Happening" from Midnight to Six AM Monday through Thursday Nights. (He's still there and still doing that, by the way). And whatever else "Earth Vision" may mean to me I only know that for me it exemplifies the composer himself...his gentle spirit and insightful vision.
Would I recommend this CD? Yes, I would. And I do.

In most cases, the musical subtitle "expanding awareness" brings a glaze to my eye. In this case, it's appropriate. Tuckman's music possesses a shocking grandeur while also keeping to a Taoist scruple. In an unexpected and remarkable manner, it joins the hieratic world of Franck and Messiaen to the spirit- world of the Eastern philosophers. A magnificent accomplishment.

I learned that this recording was just removed from the RCA print list. What a shame and what a stupid thing to do. This is the finest Rigoletto ever produced. The dream cast includes Bob Merrill, Anna Moffo (one of her finest recordings), Alfredo Kraus, Roz Elias, Ezio Flagello, and conducted by Solti in a bright, vibrant, and stunning recording. It's also one of the best digital remixes I've ever heard--sharp vocals, quality orchestra throughout, finest mixing. The production is also one of the most dramatic Rigolettos ever, which is as it should be. Rigoletto is after all a descent into evil and revenge, and this recording does it justice throughout. I can listen to this recording over and over. A true modern masterpiece. As an opera singer myself, I find it remarkable.

There are many good recordings of Verdi's Masterpiece. The DG D. Fisher-Diskau/Bergonzi/Scotto also stands out mainly because of its Duke who s h i n e s! To me, Bergonzi IS the ideal Duke. However, we must keep in mind that the opera is called Rigoletto and not "the Duke". Some prefer the Milnes/Pavarotti/Sutherland. It's a popular recording but not without flaws. This Solti set, ideally balanced, will give you the essence of Rigoletto.

Robert Merrill as "povero" Rigoletto captures both drama and music of the role. He has a powerful, rich voice ideal for such Verdi roles. Although I mentioned my preference to Bergonzi, Alfredo Kraus is not less memorable. I especially admire his "posente amor", truly remarkable. As Gilda we hear a young, fresh Anna Moffo in one of her best moments. Exquisite singing and a convincing portrait of the young girl make her my first choice for Gilda. Let me not forget the rest of the cast that does a fine job too.

Superb Maestro Solti completes this thrilling account of Rigoletto. A must even if you have other versions.

This is an electifying set of Rigoletto. Robert Merrill is a
splendid Rigoletto - he conveys the jester's bitterness and
heartbreak superbly through his rich dark voice and incisive
phrasing - his Cortigiani is spine-tingling and the final scene
with his dying daughter is quite hearth-wrenching. Anna Moffo
is a lovely and touching Gilda - she brings considerable warmth
and tenderness to the role and sings an exquisite Caro nome.
Alfredo Kraus is quite simply the best Duke on record charming
and callous all at once - he is in fresh voice and sing with
superb aplomb and exciting high notes. Rosalind Elias and Ezio
Flagello round up the cast admirably. Sir Georg Solti is a bit
hard-driven - the tension remains high throughout but chorus
and orchestra keep up with him. The text is complete and the
sound a bit dryish but quite good on the whole. This was my
first Rigoletto and still my favorite.

Certain artists have become closely identified with the music of Gustav Mahler, especially singers who have not only the vocal technique required to make it through his tough pieces, but who also have a majesty of poetry that allows Mahler's angst to sing. Chief among the growing throng of Mahlerites remains Dame Janet Baker. Baker may not possess the most beautiful of voices ever created, but her intelligence, technique, and sensitivity to text and musical line is unmatched.

These recordings of three of Mahler's song cycles are radiant examples of Baker at her peak. Accompanied by Sir John Barbirolli conducting the Halle Orchestra, this is Mahler 'as good as it gets'. Baker makes the 'Kindertotenlieder' as poignant as any singer ever has. Her performance of the 'R?ckert Lieder' (this time with the New Philharmonia Orchestra under Barbirolli's tender leadership) is staggeringly beautiful: "Ich atmet' einem linden Duft" floats in the ether of Mahler's most tender writing.

But in this recording the bravas belong to Baker's interpretation of 'Lieder eines fahrenden Gesellen', a performance so near perfection that it challenges recall. Listen to 'Die zwei blauen Augen von meinem Schatz' and see if tears can be avoided. The marriage between Baker and Barbirolli is as fine as any ever recorded (and there are many excellent recordings from which to choose!). This recording is a Mahler lover's delight, but it is also a recording to introduce music lovers who may not embrace Mahler's music yet. It truly merits inclusion in this Greatest Recordings of the Century collection. Highly recommended on every level. Grady Harp, April 06

Dame Janet Baker, that name is legend in Mahler, and one could never doubt the towering artistry of her singing here, especially as combined with the lavish orchestral playing under Sir John Barbirolli on these classic recordings. All the artists on this recording really revel in the beauty and emotions of Mahler's music, Sir John and Dame Janet both making the most of all the notes, really making the music bloom to the full. Dame Janet's singing is as full of tone and as emotionally involved as is humanly possible in these songs. Only a few other singers could ever match her intesity and beauty, but to this listener, the renderings of all of the same Lieder by Anne Sofie von Otter (with Gardiner and Boulez) are certainly on par with Dame Janet Baker's. As for the baritones, I have a special affection for the warmly affecting renderings by Andreas Schmidt (with Jesus Lopez-Cobos on Telarc).
If the reader would allow me to make a point by comparing this album with another album to (re)affirm (if that would ever be necessary!, but please allow me to indulge ...) its gigantic stature, then these Mahler songs as recorded here by Janet Baker are certainly the equivalent of the equally famous and equally gourgeous Schwarzkopf/Szell/Strauss Lieder-album.
Be that as it may, if you love, or even just 'like' Mahler, the this album is essential hearing ...

This is truly an incredible cd. Dame Janet Baker was a great artist, who some reviewers said was a singing actress on the level of Callas, but without the ugly top notes. When she undertook a role or a song, she completely invested herself in it. Her retirement was, for me, a very sad day.

In the Kindertotenlieder, she is a bereft mother, crushed by the loss of her children. While each song is heartbreaking in its own way, she still manages to reach even deeper in the final song, "In diesem Wetter, in diesem Braus" in which the mother, driven mad by her loss, laments that her (dead) children should not be out in the storm raging outside.

In the Lieder eines fahrenden Gesellen, she is a completely different character, a lonely wanderer, encompassing a wide range of emotions. Most striking to me was the distraught "Ich hab' ein gluhend' Messer", where, even if you don't know German or have the translation in front of you, you know that this is a person in pain.

To me, however, the greatest triumph on this cd is the Five Ruckert Lieder, in which Dame Janet goes from strength to strength. "Um Mitternacht" is absolutely soul-stirringly magnificent, but the crown jewel is "Ich bin der Welt abhanden gekommen", which is incredibly moving. It is otherworldly in a way that only one who has forsworn the world could know.

If you don't know the artistry of the great Dame Janet Baker, there are few better places to start. Be warned, however, that this is not music to be played when you are depressed!

I first became aware of Hodie when I performed the work in high school. While it is true that Vaughn-Williams does use a variety of styles, this is much more than a compendium of musical approaches. Each style is well chosen to provide an appropriate context for the words in a way matched by few composers - intimate in "The Oxen", hushed and reverential in "No sad thought his soul affright", and imposing and even majesterial in "The March of the Three Kings". I can't imagine how anyone could listen to the Epilogue (especially as performed here) with it's quoting of the beginning of St. John's gospel without being utterly undone.

Because of the beauty of the work and the quality of the performance, it quickly became one of my most beloved recordings, defining for me how this work should be performed just as Karl Richter's Mass in b Minor and Colin Davis's Mozart Requiem have. The singers all have incredibly beautiful voices and each use their voice very sensitively. Just listen to John Shirley-Quirk's simple yet eloquent singing in "The Oxen", describing the animals in the manger on their knees at cradle of God incarnate or Janet Baker's "Lullaby" with a beauty that can bring tears to your eyes. Richard Lewis likewise provides a good range from the heroic to the sensitive - one of the best performances of his I have heard. The choral work is likewise fantastic. I have been searching for this work on CD for years to replace my well-loved but somewhat worn-out LP copy and am delighted that it is finally available again.

More so than Messiah, this work has come to define Christmas for me. If you love choral music, Vaughan-Williams's work, works that can put you in touch with the Divine, or you just appreciate beautiful singing, I would STRONGLY urge you to purchase this recording while it is still available.

It is always a wonderful thing to find a beloved recording transfered to CD. My old LP is still on my shelves and has been there since 1973, though the recording dates from 1965. It is a fine performance of an unjustly neglected Christmas work.

Vaughan Williams was 81 when he wrote this. It is a portmanteau piece, a form pioneered by Britten, with narrations alternating with chorals, hyms and songs enclosed within a prologue and epilogue. The words set range from the biblical to Thomas Hardy. The narrations, sung by a boys' choir accompanied by a chamber organ, tell the story of the Nativity, and are often followed by a short tenor solo with full orchestral accompaniment. These brief, melismatic sections are of extraordinary emotional power. They still make me go all funny after 30 years. Set in this regular framework go the assorted numbers which vary in character from a gentle lullaby to the glittering March of the Three Kings (the words of which were written by the composer's wife). The work has been criticised for the disparate styles of the settings - some songs like early RVW, others set to the glassy, late orchestral style of Sinfonia Antartica. To me it adds variety as well as demonstrating the sheer breadth of his music. This is a gorgeous piece to play on Christmas day and it will refresh your spirit no end.

The performance is first rate, with a trio of distinguished soloists. The recording is remarkably good for its age.

The Fantasia on Christmas Carols is a much earlier work and its title is self- explanatory. It is a very attractive work which is given a perfectly acceptable performance here. A mystery is the name of the band : "String Orchestra", which sounds alarmingly generic. Guildford, a town to the west of London, does have a semi-professional orchestra so maybe the players are from this.

The insert notes are by Michael Kennedy, who was a close friend of the composer and is the leading authority on his music. Full texts are included for Hodie.

The other reviewers have it right in giving this disc five stars, at least for Hodie. First the bad news: the Fantasia is given here in a slightly bloodless version for baritone, chorus, strings, and organ, which can't quite match the original.

Now the good news: the performance of Hodie on offer here is amazing. As good as Hickox is in his later EMI recording, he and his team of soloists are clearly outmatched. We have captured here early recordings of both Dame Janet Baker and John Shirley-Quirk, two of the great British singers of modern times, each in gorgeous voice and both deeply committed to the work. If you need much convincing of this, try "It was the winter wild" or "The Shepherds sing"; you won't be disappointed. Of course, we shouldn't leave Richard Lewis out, even though he has a somewhat smaller role in the proceedings than the other two. In exchange, he has the challenging hymn "Bright portals of the sky," which he delivers with seeming ease. Their trio in the "March of the Three Kings" is the crowning moment of the work, until topped a few minutes later by the bank-holiday fervor of the finale.

The choral and orchestral work is on pace with that of the soloists: I would say that one can hear more orchestral and choral detail on this disc remastered from the mid-1960's than is available on the Hickox recording!

So, in short, this disc is a must-have for Hodie; if you want the "Fantasia" too, go for Matthew Best's recording with Thomas Allen, the Corydon Singers, and the English Chamber Orchestra on Hyperion.

This is a fine collection of some classic horn repertoire (Haydn, Cherubini, Punto, Telemann, Weber...). Barry Tuckwell is known as one of the best horn player ever, and this recording shows once again his skills, his flawless technique, his wonderful sound. L. Mozart's concerto recording is especially very good indeed. But like in other Tuckwell's work (the W.Mozart concerti, for instance) there could be better performances from the musical point of view, in my opinion. For example, listen to the 1st mov. of the Punto's concerto n 6 (track n4 in the second cd); after about 4'24'' there is an incredible passage. Really difficult, a lot of notes, a decreasing arpeggio...every it's fine...but the last note (the lowest)...so loud...not exactly what I would expected... I find this kind of playing typical of Tuckwell, and honestly I don't like it very much, although he does great things from a technical point of view (an incredible cd is for example the recording of some baroque concerts for London/Decca label, if you are able to find it). In conclusion, a very good set, but it shouldn't be your unique recording of these pieces. Try to compare other performances; for a very good recording of the Weber's concertino I would suggest H.Baumann, coupled with the Strauss's concerti.

This entire CD is a very enjoyable trip through some of the lesser known works for solo horn (i.e. not the standard Strauss and Mozart concerti). The wizardry that Tuckwell displays is most evident on the 3rd movement of concerto #11 by Punto - some of the slurring and rapid alternating of widely disparate notes is flat out the most amazing technical skill on the horn that I have ever heard. Musically this movement is somewhat contrived and even a bit cheesy but Tuckwell blows through these incredibly difficult passages and at the end hits what sounds like a low C or B flat and every time it is absolutely dead on in pitch and entry. It is hard not to laugh at the technical expertise as it does not sound like it would be possible on a standard horn.

I owned this on LP and was bowled over by the playing. Now to have it on CD is fabulous-I think I wore out the record. Everything here is a pleasure: the music, playing, and recording. NOT background music but great beauty and virtuosic playing by Tuckwell that keeps your attention riveted.

Helene Grimaud is one of a number of very fine French pianists to emerge recently, and she has been quite productive so far in her short career. Her recent CDs have been critized for a lack of depth, but she has a certain powerful quality to her which can be quite engaging, and this is already evident in this, her debut recording. This disc was recorded at the age of 17, shortly after she won the First Prize at the conservatory of Aix-en-Provence. In spite of her youth, this is already playing of a high level, displaying an unusual level of understanding and maturity for one so young. It is not perfect, though.

The Chopin Ballade starts the CD off well with a fine display of power and agility. Her scales lack a little bit of polish, but the more complex passages which contain chords come off fine. The playing certainly has a good deal of impact, and the sound is pleasingly full and rich. The only issue I have is the pacing. Perhaps her initial tempo is too fast, because the sensation of gathering steam that makes this piece so effective is missing. Driven by her artistic instincts, Grimaud compensates for this lack of contrast by increasing the volume, which makes a few intense passages border on the harsh and sacrifices the suspense of the slower "heartbeat" sections.

The Liszt "Dante" Sonata may seem like a mere virtuoso showpiece to some, but it is actually an emotionally complex work inspired by one of the definitive authors of the Renaissance period, Dante (author of The Inferno). It can be very hard to grasp, and I don't blame Grimaud for not making the most of the contrasts - very few people can. Unfortunately, the harshness which was quite slight and unintrusive in the Chopin is multiplied a hundredfold here. Liszt calls for a few differnt levels of forte and fortissimo, but Grimaud only has one. Each individual section has its cohesiveness in and of itself, particularly the slow sections which are played with a disarming simplicity, but the overall narrative is lost.

The Schumann F-sharp minor sonata is one of the greatest, and strangest, sonatas in the standard repertoire. The first movement is the best, a portentious introduction followed by a sonata-allegro movement in fandango rhythm which has an infectious and engaging style to it. The second is a luscious Arioso, marked 'espressivo ma senza passione,' which has a 'cello solo among the 'vocal' portions. The third is a light-hearted, enjoyable scherzo with two very strange trios. Finally, the long finale uses mainly chordal writing and ends with a puzzling anticlimax. Grimaud has the Schumannian spirit of adventure, and she understands how all the pieces fit together. However, these qualities are undermined somewhat by a sense of rhythm which is sometimes slack, sometimes too mechanical, and never "dancey" enough. And just as in the Liszt (and each recording since), Grimaud tends to play too harshly.

I had the same problem of a harsh, hollow sound, so I have an insight into what may be happening here. I was always able to play loud and fast, and I was tackling Liszt Rhapsodies and Chopin Polonaises within just a few years of taking up the piano. I never came close to straining myself even as I played to the hilt. But on the flip side, my sound was harsh to the point of being absolutely unbearable to trained ears. The problem stemmed from the way I used my arm. If I wanted to play loudly, I would lock my hand, wrist, and shoulder and force downward from my elbow. It's a very strong joint, and nearly indestructible in terms of moving up and down, so it does the job well. But since the rest of the arm is locked, movement is restricted, and it is easily distinguishable in the sound. It took a lot of effort, both on my part and my instructor's, to ease me up. It took 2 years of struggling, in fact, to correct my playing after 14 years of bad habits. Now it takes a lot more effort and concentration to play passionately, but the sound is golden and rounded. If an equally talented instructor had taken Grimaud, as enormously talented as she obviously was at the age of 17, she would rank among the greats, no question.

First of all, Grimaud was only 16(!) when she recorded this, not 18 as was stated elsewhere. Taking that into account, makes the playing heard on this disc all the more imrpessive. The denon sound is flawless, and you can hear every note played cleanly and without any fear: very stunning technique. My favorite is the Chopain balalde on this disc, played extraordinarly well by Grimaud: passionate and fiery. I;m not realy a fan of the schumann, so I can't say much for that. the lizt is really diabolical, and isn't my fabvorite music to listen to, but Grimaud's performance of it seems to be a force to reckon with. Remember: she was only 16 when she recorded this, but she plays like a master on this disc.

Some of the recordings Helene Grimaud made for Denon are a bit juvenile still. Her Rachmaninov sonata and etudes were in urgent need of some development for example. However, these readings of Chopin, Liszt and Schumann show her playing at full maturity. This has to be repertoire in which she feels at home. I can only agree with the previous reviewers who have spoken out their highest praises for the Chopin Ballade. It's fast, fiery, powerful and above all bright. The three places in the piece that contain massive explosions of sound fare extremely well with Ms. Grimaud. But she's also able to give the slower parts a sweep that is irresistible. She sustains the great tension in the piece everywhere and is doing very well in keeping the whole thing together. And that for such a young lady! But what impressed me highly as well, was the great piano sound. The instrument sounds very sharp and bright, and this certainly helps removing any kind of false sluggishness.

Then we get the Dante fantaisie by Liszt. It's another powerhouse performance by Grimaud, but again without overplaying. The opening minutes are really awesome, and the icy hailstorm-like passages of the main theme are greatly handled by Grimaud. I could safely say that the rest of the piece is equally chilling and captivating. It's exciting to the top, but Grimaud sustains the biting, icy sphere equally well. Her subtle use of the pedal adds to that effect.

The last piece in the row is the Schumann sonata. I compared to a recording by Pollini (possibly the standard for the sonata), who turned out to be the more full-grown artist. On the other hand, Grimaud is the more spontaneous and energetic. Her fire-driven assault on the three fast movements is very refreshing to hear. She's overall a very close second to Pollini's recording, and that's a recommendation in itself.

I highly recommend this disc overall, although it's a little short (55 minutes). Her freshness and spontaneity highly impressed me, and most of all her ability to capture your attention at every possible moment. The best idea may be to buy a 5-cd Brilliant Classics box that includes all of Grimaud's Denon recordings, at a very reasonable price. These could have been worth the money if only as a document of Grimaud's beginning years, but the recordings turn out to be part of a very special category.

Hey, this is a great group and outstanding music. But before you buy this CD, make sure that the artist is actually seeing some of your money. To the present, as I understand it, Sur Sudha has never received a royalty check from any U.S. CD sales, except for the sales they themselves have made. Someone is burning these CDs and selling them as their own.

An absolutely gorgeous, lushly melodic album. Fans of Indian classical may find this familiar -- yet oddly dissimilar. Although the instruments are similar -- sitar, tabla and flute -- the music is not quite as langourous and deliberative; this has a more pronounced melodic drive which may actually make it more accessible to Western ears. Wonderful stuff. Highly recommended!

someone needs to tell both the amazon and dirty linen reviewers that the word "raag" is just a regional variant (and a more phonetically correct one at that) of the word "raga" - both reviews botch this fairly central point, and the linen one goes so far as to "sic" sur sudha's spelling... while on the topic, though, one might as well sic linen's spelling of "katmandu" -- sorry to pick nits - the album is indeed nicely performed and well recorded...

Recorded in 1975, this recording of Johann Strauss's most famous comic opera, "Die Fledermaus", is top notch, from Carlos Kleiber's golden years as a conductor. Carlos Kleiber (1930-2004) made few studio recordings, so this is very important. But he did have favorite works he recorded in the studio: this "Die Fledermaus", Weber's "Die Freischutz" (1973), Verdi's "La Traviata" (1976), and Wagner's "Tristan und Isolde" (1981), all for Deutsche Grammophon. Kleiber has a superb cast, with Hermann Prey, Julia Varady, and Bernd Weikl in the leading roles. Kleiber favors fast tempos, keeping the flow and motion of the opera moving along, but he knows where to take time when there is a tempo change or for a slower tempo aria.

The sound is very clear, but the bass sounds a little weak, often typical with DG recordings, so a loudness boost may be necessary on some systems. There is spoken dialogue aplenty between numbers, but it is never too much, nor does the overall architecture of the opera sag under it's own weight, often a danger in singspiel operas, where there is alot of spoken dialogue.

I also reviewed Kleiber's DVD "Fledermaus", from 1987 (DG DVD) and this recording has much in common with the later live production with the same orchestra: Bavarian State Opera, but mostly different soloists. I personally prefer Hermann Prey as Eisenstein to Eberhard Waechter; Prey's voice seems more mellow, and he sounds more musical to me than Waechter. However, a direct comparison is hard because this is a STUDIO recording, and the DVD is LIVE.

Whichever Kleiber "Fledermaus" you purchase, you can't go wrong. It all boils down to personal preferences, and if you want an audio (this recording) or DVD format for Strauss's great comic opera.

I dare to think this is not only one of the finnest recordings on the operatic world, but the best operetta ever recorded. Carlos Kleiber conducts with spirit, joy and brain the most accurate ensemble of voices and (yes, specially) characters singing and acting superbly Strauss'masterpiece.
Pure and absolute pleasure! Really a must.

When I last wrote, I compared 3 versions of this beloved opera: the Schwarzkopf version, Te Kanawa version, and this one. Just released is Sutherland's version, with her singing the role of Rosalinde. It's safe to say without hearing the recording that Sutherland was never really great with German (it requires impeccable diction, and everyone who knows of Dame Joan and dislikes her for her diction would be wise to stay away from this recording... Sorry for putting you down Sutherland, but I had to admit to your faults), and her voice is really not suited for Strauss repertoire, nor for the Viennese acting required. The site doesn't tell who the other performers are, but with so many other versions out there (if you go into the german version of Amazon, you'll find loads of Die Fledermaus's, though the singers tend not to be well known) who needs to settle on one set since it just has Dame Joan?

As a further amendment, I didn't talk enough about how great Varady is in the aforementioned role of Rosalinde. She introduced me to another beautiful voice! Hers is very womanly sounding, and quite pure, but has just enough weight to carry off the role to perfection. I can assure you that Sutherland would not come close to this "Klange der Heimat." And to touch some more on Iwan Rebroff, his voice sort of does take getting used to, especially when you're used to a mezzo singing it. I have to say though, it's still sung well, and is quite silly.

Thanks for letting me put in a few more words!

Marie-Claire Alain has recorded Bach's complete organ music 3 times, this set being the second time. She plays quite differently now, but these are some of the best interpretations. Each cd fearures a different organ dating from Bach's time, and all of the booklets are filled with pictures, history, and even the stop registrations for each of the pieces are given. Quite alot of research! If those of you who are new to Bach's organ works, I would recommend starting on a smaller scale, as some of these works can be quite intense to listen to. At any rate, this possibly may go down as one of the famous recordings of the century.

From this huge box set, it is quite obvious that Bach was a dedicated composer for the organ (and obviously a virtuoso organist for that matter). Bach was a very prominent composer who lived in the Baroque era, and to truely understand his works and their style you must have a general outline of knowledge of the timeframe in which he lived. And so the Baroque era, (1600-1750) was characterized by vastness of proportion, rich counterpoint, great splendor and a highly ornamented melodic line. (One should note that the era abruptly ended after Bach's death which actually shows his importance in it) Some of these pieces are examples of works that require performers at the very highest degree to play them. His works go way beyond the famous Toccata and Fuge in D Minor, and with a "Complete" edition you can listen and hear them all for yourself, hence grasping the full view of his genious. This set is of wonderful value and worth every penny. Unfortunately, the Master's version is not available in a CD store, and so we must indulge upon other's interpretations. This out of the others stands as one of the very best. It is also complementing to the experience to have an instrument of the period (which is so in this set). Bach devoted his entire frame of mind towards the spreading of God's kingdom, therefore one could derive that he felt that by creating enlightening and insightful music, he was doing a lowly service to his God. Overall--this is a fabulous interpretation, and it will deepen one's respect and awe for Johann Sebastian Bach, the greatest organist who ever lived.

Although I am partial to the Romantic Organ, particularly in the vein of Widor, Vierne and Rheinberger, it all begins with Bach. And in this case, one could say that it all begins with Marie-Claire Alain and her wonderful interpretations. Alain seems to understand that Bach was above all else a religious composer. Many "complete" works of Bach play short shrift with the liturgical works whereas these are some of the most satisfying of the group.

The sound is pure sonority, almost perfect, and the technical prowess is just awesome. Out of the millions of notes played, I never heard a miscue or slight jiggle. Still, keyboard wizardry is only part of the story. The registration is a work of art in itself. Alain understand the difference between the Baroque and the Modern, the French and the German and the old and the new. Just as she is a "natural" for Widor or Vierne, she also seems to have entered the Bach mind on some of these.

This is a fabulous collection worthy of any serious student of classical music. Nowhere can one derive such satisfaction that listenting to Bach played by Ms. Alain.

If you like the fusion of classical with jazz(Forinstance"Jazz impressions of eurasia"you will love this disc.

Being a huge fan of Bach's (I could honestly listen to his piano and vocal music all day long!) this album was a natural for me. After reading the other reviews online and hearing two friends rave about it, I decided to buy this CD and am awfully glad I did. What wonderful arrangements! This is definitely an album for both Bach lovers and jazz lovers. The source music is, of course, powerful and innovative; Loussier takes Bach and doesn't so much "transform" him as he does take the music to another level...keeping all the beauty. My personal favorite would be the very familiar "Air On A G String." Not better, mind you. Simply wonderful!

My best friend introduced this CD to me, the very first time for me to explore how fantastic someone can make for classic music! I am a lover for both classic and jazz music. Loussier is the master for this beautiful combination! Treat yourself nice every now and then, and enjoy this CD with friends or along with a good bottle of wine! I can't help it but fall in love with his music, eventually become a collector of Loussier's work. And I am glad to tell you that friends around me start to appreciate classic music because of the Loussier... You will love him too!