Classical music reviews

I play this every night for my daughter (17 months). I often sleep in the same room with her and really look forward to playing this softly. We even keep the CD player on repeat and I still like this. Very soothing and interesting. I highly recommend this for any new parent.

I first purchased this cd several years ago for myself, it was a wonderful way to relax. When my son came along I put it in his room among other "kids" cds. My son, now age 9,(who won't listen to anymore "kid" cds) absolutely loves it. He has been falling asleep to this wonderful cd for the past 3 years. I loved being able to share "the world" with him through music. Recently we remodeled and unfortunately the cd was chipped! He was heartbroken... so here I am purchasing another! Soothing rhythms, soft voices, wonderful instrumentation. A cd that the entire family will love and not get tired of hearing. Even familiar lullabies are updated very nicely.

Excellent lullabies...relaxing for both adults and children.
So wonderful to listen to music for children that doesn't leave parents wanting to scream.

The original recording was a product of the 60's. It is well done musically and the cannons heard in the pieces are synchronized to the musical score, as the composers indicated.
The cannons are authentic of the time of the battles and the sound of the firings good. The explanation of how they engineered the microphone setup and fired the cannons is given in commentary as an extra. This is interesting as well.

The music itself is well known in the case of Tchailovsky's 1812 Overture. Beethoven's Wellington's Victory is not as well known. It's a lesser Beethoven but still interesting. It's written for popular consumption so lively. In the Beethoven, the different armies, French and English, are separated in the right and left speakers. Their approach, the battle, and the conclusion is indicated in the separate speakers. The battle is between the forces of Wellington and those of Bonaparte in Vittoria, Spain June 21rst, 1813.

This is the largest selling version of the 1812 overture ever recorded. All because of the tremendous canon fire. After all, it is the 1812, so the larger the cannons, the more impact it makes. But there is music too. So how does Dorati fare against his fellow competitors? Farely well, but it doesn't fare as well as his remake for Decca. Dorati was never a Tchaikovsky specialist. Fortunately, the 1812, more than any other piece of music Tchaikovsky wrote, can take all the jerky, precisionless playing. The Mercury sound is acoustically VERY dry. Lacking in any sense of natural studio sound or reverbaration. The string sound in the introduction is not the greatetst. Compare this to Reiner or Stokowski. Both have lush string sound that will have you captivated from the beginning. But a lush string tone is not essentially required for the 1812. After all, it is a war piece. Herman Scherchen's version is a good example. Mediocre strings, but thoroughly fresh and insightful reading. It's incredibly exciting. Dorati has great bells and that adds to the effect of the finale, along with the powerful canons. Great percussion and a forward drive make Dorati's a good performance. Most people. Sure it may not be as smooth as Stokowski, but the artillary makes it exciting. Capriccio Italien does not fare as well. The opening trumpet fanfare sounds great, but the performance is rather jerky, and lacking in finesse. Compare this to old,long out of print Phase 4 recording by Stanley Black. Black's finale gets that spirit moving. Kondrashin is another good choice. What's nice is that there is recording analysis by Deems Taylor that explains how the canons were recorded. Interesting, but once you hear it, you don't need to listen to it again. Wellington's Victory has always been grouped with the 1812. Lightweight Beethoven with plenty of musket shots. Dorati's version is fine, nothing spectacular other than the musekt fire. Buy this for the 1812, but if you're anything like most classical collectors, you already own this recording.

I own the Telarc LP version of the 1812 and recently transferred that to CD - with a lot of surface noises to fix due to the bulk of that recording being so very low in volume (except of course for the cannons). Early this week I purchased an iTunes download of this Dorati version, along with the commentary and I was so impressed that I immediately ordered the whole CD through Amazon.

Contrary to Sarah Bryan Miller's comment about Mercury's famed "one microphone technique", which had been applied in their 1954 version, this is the 1958 re-recording which has been downmixed to stereo (on DAT) direct from the restored 3 channel mastertape. It has been trasferred manually by the original engineer using restored original equipment - no noise reduction, filters, limiters etc which might colour the recording.

It's an amazingly dynamic analogue recording, and in every aspect it stomps all over the Telarc - which sounds wimpy and hollow by comparison.

I'm looking forward to enjoying the other two pieces, but I'm assuming that the 1812 on CD must be audibly superior to the iTunes mp4 (which already sounds damned impressive).

Why do so many of the reviews of this recording focus on the tenor when they should focus on how great the (mezzo) soprano Ludwig is?

The first half is great because the main tenor is absent (and Gottlob Frick is always fun).

The second half is where the rot sets in when the dreaded Jon Vickers makes his first appearance and we start to hear the unfocussed protruding 'e'-vowel. This spoils an otherwise outstanding recording. Sigh. See my review of the Karajan Tristan/EMI recording for more on this horrible phenomenon.

Whilst I've given this 4 stars, the 5 star rating must go to the Fricsay recording on DG -- the fabulous Ernst Haefliger doesn't have an 'e'-vowel problem. :-)

Source: 1962 studio recording produced by Walter Legge.

Sound: State-of-the-art 1960s analog stereo, digitally remastered in 2000.

Cast: Leonore / Fidelio - Christa Ludwig; Florestan - Jon Vickers; Rocco - Gottlob Frick; Don Pizarro - Walter Berry; Marzelline (singing) - Ingeborg Hallstein; Marzelline (dialogue) - Elizabeth Schwarzkopf; Jaquino - Gerhard Unger; Don Fernando - Franz Crass; First Prisoner - Kurt Wehofschitz; Second Prisoner - Raymond Wolansky. Conductor: Otto Klemperer with the Philharmonia Chorus and Orchestra.

Text: Spoken German dialogue is included but radically shortened to serve as little more than connective tissue between the musical elements.

"Fidelio" is the work of a man whose natural home was the concert platform, not the theater. It is burdened with long patches of dull and forgettable music interspersed with stunning musical brilliance. It is set in the form of a "rescue play," a tired cliche even in Beethoven's time. In the midst of flat, conventional forms it manages to extol love--albeit married love--in passages even more ecstatic than Wagner achieved in "Tristan und Isolde." The roles of Leonore / Fidelio and Florestan have proved fully worthy of the talents of the most heroically-voiced singers of every generation since the opera's premiere during the Napoleonic Wars. Beethoven's "Fidelio" is flawed, but it is a true masterpiece.

For many years, this performance of "Fidelio" was widely acclaimed as the finest of all recorded versions of Beethoven's only opera. As I write this, forty-four years after its initial issue, there are still many who rate it above all its successors. The conductor was a great master of what is now regarded as the old school of Beethoven performance (a damaging indictment to some listeners and a refreshing relief to others.) The orchestra was at its fabulous peak. The four lead singers, Ludwig, Vickers, Frick and Berry were each international stars of the first magnitude. The current re-issue of the set is sumptuously presented--at least by the unimpressive standards of CDs--and offered at a bargain price.

For all these reasons, the only reasonable rating is five stars.

Great as it is, however, this "Fidelio" is not above criticism. The perfect "Fidelio," in fact, remains as perpetually elusive as the perfect "Traviata."

This recording is one of a series of masterworks made under the auspices of the imperious Walter Legge, head of Artists and Repertory for EMI (and, incidentally, husband of Elizabeth Schwarzkopf.) It may be said to have begun with a series of live performances conducted by Klemperer at Covent Garden in 1961. (A live recording is available at an outrageous price from Testament.) The principal singers at Covent Garden were Sena Jurinac as Fidelio, Jon Vickers as Florestan, Gottlob Frick as Rocco and Hans Hotter as Don Pizarro. Klemperer wished to bring all of them to the recording studio but Legge had other ideas. As usual, Legge got his way, bringing over only Vickers and Frick.

Klemperer's "Fidelio" is gravely measured and monumental, but not particularly theatrical. Some parts, most notably the chorus of soldiers preceding the entrance of Don Pizarro, have justly been criticized as too slow.

Christa Ludwig was one of the great singers of the Twentieth Century. Her Leonora was exquisitely thought out and brilliantly presented. But she was a mezzo-soprano. Excellent as she undoubtedly was, she was not quite a perfect fit in a role that positively cries out for a great soprano. I am wholly in agreement with those who say that for once Legge was in error when he refused to record the luminous Sena Jurinac.

Jon Vickers was a gigantic presence. I saw him do Florestan with the San Francisco Opera. He held us all in thrall. If he had a fault, it was a tendency to over-think his parts. Here, the details and mechanisms of his characterization are just a bit too apparent--some have said too sugary--and they are slightly out of phase, I think, with Klemperer's more abstract vision. Whatever one may believe about his acting, he sings magnificently.

Gottlob Frick is probably as good as anybody who has ever essayed Papa Rocco, a basically conventional and quite tedious part, save for his big duet with Fidelio in Act II.

Walter Berry was an admirable singer and very effective as Don Pizarro, but villainous characters were not his strength as a performer. Some have held that he did not achieve the sheer malignancy that Hotter spewed so generously over Covent Garden. My own opinion, for what it's worth, is that neither of them could match Gustav Neidlinger as the hateful Pizarro.

Gerhard Unger was perfectly competent in what is effectively the throw-away part of Jaquino. Ingeborg Hallstein has been about equally praised and denounced for the youthful tremulousness she brought to Marzelline.

For those who know "Fidelio" well, this is the standard recording. For those who wish to become acquainted with an operatic wonder, this is as good an introduction as may be found.

I LOVE THIS RECORDING OF FIDELIO - BUT THEN I AM A BIG BIG FAN OF JON VICKERS. HIS PERFORMANCE AS FIDELIO IS VERY MOVING AND WHEN HE SINGS "FREIHEIT, FREIHEIT" IT BRINGS CHILLS. THE ACTING AND THE SINGING ARE FIRST CLASS.

Got hold of this album by chance a few years after it came out. Had no idea what new age music was back then. It was still only available on the cassette tape format. But I loved it at first hearing. This was Christmastime and I was just looking for something to be played during the holiday season. Little did I imagine that this album would be among my most treasured few. Perhaps even my most listened to. And things got even better when I got it on CD. Finally, in around 2002, I got my copy of the 20th Anniversary Edition -with two bonus tracks, to my delight! After all this time, I'm just glad I stumbled upon this gem by George Winston. The soothing quality of this music is incredible. It's like meditation -you take in the music, and all the while it's like listening to forty minutes worth of glorious silence. Truly mesmerizing.

George Winston's "December" is a rare gem, even amongst his excellent albums. The treat lies not only in his sublime renditions of instrumental classics, but also within the order of the songs.

The album begins with "Thanksgiving", an appropriate start for the dawning of December. As the album progresses, you get into holiday classics including "Carol of the Bells", "The Holly and the Ivy" and "Some Children See Him." This is the album you play as you're getting ready for the holidays, before you bring out those holiday treats into full rotation.

Winston's combination of gentle single key piano playing combined with the passionate chords and melodies will make the winter scenes come alive, from the simple icicle you see melting off a leaf, to the majesty of the hills, trees, and mountains as you drive through. This review cannot do "December" justice, for it is an album that must be experienced. The weather is cold, but December warms the heart-sure to be your dawning December tradition.

I absolutely LOVE this CD. Every Christmas at least one of my friends or family members receives a copy as a present. It's wonderful to listen to with headphones, in the car, or as background music at your holiday gathering.

According to the reviews, this CD has received all 5 star ratings except for one 4 star. You can't argue with the masses!!!

Vangelis has reached an honor place among the most emblematic, prolific and imaginative creators of atmospheres at the moment to compose a soundtrack.

Try to imagine just for a moment what would it have been about the legendary cult movie Blade runner if not for that formidable theme, for instance; and the same question turned
around Chariots of fire.

Only Vangelis `s kaleidoscopic state of mind could make it. And this album contains some of his most representative titles along almost thirty years of fruitful trajectory.

Go for this CD without hesitation.

I wonder if Vangelis' other music is equivalent to his movie soundtracks. I never saw Blade Runner or any other film but Chariots of Fire which I adore. Vangelis' sound is unique and wonderful. It's soothing music to listen to anywhere, home, the car, or an exercise class like yoga. Vangelis' sound can calm you down after a bad day or make those driving trips worth the hourlong compact disc of his music.

Excellent quality for one who like instrumentals/synthesizer stuff. Lots of tracks included. Very satisfied.

I first heard this recording in the mid-1960's. I'd been listening to Richter on Russian recordings for several years (some Beethoven sonatas, the Tchaikovsky piano concerto, etc) and knew what a superb artist he was. Initially I was blown away by this recording. The first movement is extraordinary. Richter reimagines and recreates the piece, bringing spontaneity to his performance as only he could. My only point of comparison for such a strong recreation in the piano concerto repertoire, interestingly, is Ivo Pogarelich's reading of the first movement of Chopin's second piano concerto (Abbado conducting). There is a headlong quality, romantic and passionate and noble. Just astonishing.

The second movement is nearly as original, and nearly as good. The third and fourth movements are lovely and gorgeously played, and if it hadn't been for what Richter did in the first movement, they would be just fine. But somehow they seem ordinary after such an extraordinary beginning.

A word about Leinsdorf: he was at best a maddeningly inconsistent conductor. Here he provides good accompaniment to Richter, but he is still an accompanist in a piece which requires the orchestra to be an equal partner with the piano. I understand that at the end of his life Richter complained that he was unhappy with this recording and that Leinsdorf pushed the tempi. Whatever Richter's reasons for saying that may have been, I have a hard time believing that the choice of tempi, in the first two movements in particular, were not Richter's. His whole approach is so integrated, the phrasing and dynamics flow so perfectly from the tempi, that Richter either chose them himself or he responded incredibly to Leinsdorf's preferences.

The sound is fine. The Reinter-era Chicago Symphony plays well (although they play better for Reiner himself in his nearly contemporaneous recording of this same piece with Emil Gilels). 4 stars, not because the performance isn't fine, but only because it could have been so much more extraordinary.

When Richter first arrived on the musical scene in the West, he went on a whirlwind tour of America, including numerous concerts at Carnegie Hall. This recording is part of that well-anticipated tour. Power, subtlety, angst are all present here. Richter really understood the heart of the pieces he played, and it shows from the very few opening bars of the first movement. There are some passages which are truly oustanding, but I dont have a score with me to point them out. It's just that you feel truly at ease when you listen to this CD that a master (Richter) is truly playing another master's (Brahms') composition.

Brahms' Piano Concerto #2 is a classic masterpiece that dwarfs many other nice concertos with its vivid texture, color & romanticism at its zenith.
Richter's playing of the first movement leaves Emil Giles in the dust. His pace is superb, & superior to that of Giles who plays it more restrictively within the orchestral compass. Richter's pace commands the orchestra, thus setting the pace & tone of the concerto. And what a virtuoso pace indeed!
Recording sound is awesome compared to Richter's many other old recordings.

Bethoven's Apasionata Sonata simply goes with Richter's character & the way he plays the piano. Dramatic, Violent , Fortisimo passages without sacrificing the score's structure. This is really good stuff folks.

CRAZY FOR YOU is a re-worked version of George and Ira Gershwin's 1930s' delight GIRL CRAZY (which launched the career of Ethel Merman). Opening in 1992, CRAZY FOR YOU met with a glowing reception from critics and audiences, running for several years, and spawning long runs in London and Australia. Jodi Benson (the voice of Disney's LITTLE MERMAID) is a delight as Polly Baker, with Harry Groener as enterprising Bobby Child. Prime turns are provided by John Hillner and Michele Pawk as the sassy Irene Roth. Standouts include Benson's bewitching "Someone to Watch Over Me", Groener's energetic "I Can't Be Bothered Now" and Pawk's cute "Naughty Baby". A must-own disc in your cast album collection.

After a month of listening to the London version, I recieved this as a gift for being in the musical at school. I must say, it's different, but there is no better sound than that of Slap That Bass and Bidin' My Time. The musical is so hard to pull off, but this CD helps you get to know the words. I know every song by heart.

Obsessed? Of course.

I have to say up front that I have never seen the theatrical production of Crazy for You. My daughter recently returned from a thespian festival in Nebraska where she saw the musical performed by a wonderful troupe from New Albany High School in Indiana. She enjoyed it so much that she wanted to purchase the soundtrack and it wasn't long before I had confiscated this CD for myself.

The musical is billed as a new Gershwin comedy and the songs, many of which are familiar tunes made over, are simply fabulous. The CD booklet states that the production, which opened on Broadway in 1992, was given carte blanche by the Gerswin estate and the result is marvelous! A few of my favorites are Someone to Watch Over Me (exquisitely sung by Jodi Benson of Disney's Little Mermaid fame), What Causes That a lost song rediscovered in 1982 and one of the most delightful tunes on the entire album, and Slap that Bass a toe-tapping number that will have you on your feet and looking for a pair of tap shoes. :)Other familiar numbers are I've Got Rhythm, Embraceable You and Nice Work if You Can Get It.

Do you need a little something to brighten your mood? Well buy this CD!! You'll feel happier in no time! :)

No words! Just a simple, superfast read of Liszt's masterpiece, no soul, no ritardandos, nothing. Only supersonic playing, full of virtuosity and bravura in "virtuoso parts", mere exercise in others. That is what people call "cirkus Liszt"! Horrible!

Before this performance I thought that I did not like the sonata because no other pianist could keep its many parts and segments together from the beginning to the end. This is the only performance that does that for me. When I listened to it for the first time, I broke up in tears. Argerich's interpretation is mezmerizing. Buy it! Any serious music collector should have this CD.

I've never paid attention to the Liszt Sonata until I heard this recording. I canNOT BELIEVE some people are calling her without soul or "muddy"... This is the single most inspiring and shocking CD. Really gives you chills when you listen to it. Makes your heart beat faster.

Hello, I am a music graduate in classical piano from a university in hamilton ontario...

I read an earlier review that complains about Maurizio's 'lack of expression'

If he knew anything about this artist then he would know that THIS WAS HIS INTENT...(he recorded the etudes a second time later in his career)

This recording of the chopin etudes was intentionally performed with a cool and calculating style....

and yes it does not do justice to chopin's music, I don't think any performer should avoid the composer's original intent....

but he is forgetting that a lot of the hype that goes into classical music, is based on the performer manipulating the composers music to make something new out of music that has been recorded a million times over...

and although I do agree with the reviewer's judgement of the ocean etude...(since I've played it myself and know the score inside out) I still think that maurizio's format works for him, it makes an impact on the listener

Etude no. 3 in E major sounds dreadful and rushed... but again, I've heard lots of pianists ignore the composers written indications on the score to bring something 'new' to the piece of music.

I believe that this is all he is trying to do, classical artists try to create a distinguishable style by recording old music in a new way, yet it is frowned upon... because it's not JAZZ music (where a composition is an outline and not made to the letter) so, the complete score allows people to look at a classical composition critically and make arguments against a performers interpretation.

classical music shows more proof in the score when someone is doing something erroneous....or something merely prodigal..

Listen to Vladimir Ashkenazy's recordings of the Chopin Etudes if you would like a more sensitive interpretation, and (arguably) is closer to the composers intent/personality.

Just remember that if the music is old enough to exist before a composer could make his own recording of it....

then 'authentic interpretation' will always be in a grey area.

Pollini took pains as a young artist to mature to his fullest before giving concerts, and this 1972 recital of Chopin Etudes is a leap ahead of his debut disc on EMI. However, despite the alluring technique and aristocratic bearing, his pianism isn't fully fledged yet. Too much of the music is played for surface values without really searching deeper. By 1975, when he came to record the 24 Preludes, Pollini had grown considerably, and even now his artistry seems to gain in depth year by year--his recent Beethoven is quite miraculous.

I am not a piano fancier, so it satisfies me to own this recording of the Etudes and no other. Even so, the performance is badly hampered by glassy, harsh sound. One can't listen at loud volume to the sonority of the instrument thanks to the brittle edge of DG's inferior sonics. With remastering, Pollini's musicianship would certainly acquire another dimension of power and beauty.

We will never hear Chopin's own critique of this performance, but I would imagine he would be just as stunned by Pollini's titanic virtuosity as I was the first time I heard this recording. Chopin dedicated his opus 10 (etudes 1-12) to none other than Franz Liszt. I mention this because Pollini plays this opus as though it was written by Liszt. Did Chopin intend opus 10 nos. 1-12 to be played in this Lisztian style? I would argue yes for the simple reason that this is a set of ETUDES, therefore the use of a mammoth technique is not out of place. Pollini's performance is captivating in it's accuray and power, as well as it's beauty (listen to opus 10 No.3).

I remember the first time I heard this album. I was 15 years old, sitting in my parents' minivan in the parking lot of the store at which I had just bought the CD. From the first BOOM of etude op10 No.1 to the last thunderous chord of op25 No.12 I sat transfixed, almost dazed by what I was hearing. It was a life altering experience for me. I was a mediocre piano student not too serious about my piano study. Hearing Pollini made me realize the possibilties of the piano and triggered an absolute resolve to master the instrument. Ten years later, I have mastered all of op.10 and some of opus 25. The reason I mention my background is I feel that I may offer some insight into what technical problems the pianist faces when tackling Chopin's etudes.

Opus 10 No.1 is comprised entirely of r.h. arpeggios with a chorale accompaniment. On the surface it doesn't sound extraordinarily difficult, but when we delve deeper we find the arpeggios are super wide with intervals of as much as a sixth between thumb and index finger and a fourth between the 4th and 5th fingers! At a tempo of 176! It's insane!!!

Opus 10 No.2 also doesn't sound particularly demanding until one realizes that the chromatic scales in the r.h. are played with mostly the 4th and 5th fingers! Try playing a chromatic scale in this way and you will instantly understand the difficulty.

Opus 10 No.3 is, by Chopin's own words, I paraphrase, "In all my life I have never heard a more beautiful melody." Apart from the tumultuous middle section and all of its chromatic tri-tones, the
piece is easy to play but maddeningly hard to play WELL.

Opus 10 No.4 sounds very demanding but is actually one of the easier etudes! There is lots of chromatic passagework along with quickly modulating descending diminished seventh chords. Proper phrasing and rhythmic control are the keys to mastering this etude.

Opus 10 No.5 is arguably the easiest etude. Its l.h. staccato chords are enveloped by a twirling r.h. accompaniment composed entirely of black keys. Proper r.h. arm rotation makes this etude totally effortless.

(I'll finish my analysis later.)

p.s. Garrick Ohlson's recording of the etudes is every bit as good, if not better, than Pollini's.

The orchestra seems to fight the tempo throughout the whole piece, which is a little bit disappointing for an ensemble of this quality. In particular, the third movement in general seem to lag. In the finale, the Solo quartet is good, but better exist. The ending of the finale ending is so fast the brass can't keep up. It is really quite ridiculous. I'd go with Bohm or Karajan's editions before this one, but that's just me.

I would not hesitate in any way to recomend this incredible interpretation of Beethoven's final work to any listener or any musician. Aside from the wonderful job in remastering we have one of the more interesting accounts of this work ever done.

The opening movement has a very great sense of hushed intensity in the strings...and once the first thematic bits of material are introduced the whole performance never lets up. Sadly, there are some very bad horn moments throughout but what is here is all Furtwangler who outshines Szell...Karajan, and Klemperer put together...sadly too few people realize how fine Bohm was and if you need a Stereo version go to the last reading Bohm did of the 9th on DG.

This is a fantastic reading of a monumental work. The tempi are significantly slower than many modern recordings or performances, but I find that aspect all the more enriching. In many ways, it is harder to play slower, as it is more physically and emotionally draining. However, here, emotions are evident. The great master Furtwangler clearly had a full grasp of this great score. Transitions are clean and precise.
One of the best parts is that it is a live recording, of an orchestra that is not quite top tier. There are some sloppy moments, and coughing is clearly audible, but these, in a certain way, add to the performance, as the piece becomes more human, less ethereal and unaccessable.
This is a legendary recording, and for good reason. I would anyday prefer this emotionally honest recording, with a few not perfect sections, to a sterile, un- involved, and note-perfect performance.