Classical music reviews

This is an unbelievable CD. The Faure, Tchaikovsky, and the Bruch are some of the best recordings out there. The Saint-Saens has some really good qualities, but it is not as good as Ma's or Rostroprovich's recordings of the peice. Chang shows great maturity in these recordings. She displays unbelievable technique and musicality. She is to be commended for this great performance. I recommend this performance to everyone. My favorite is the Faure because of the infallible tone that Chang possesess. The Faure is the best recoding that I have ever heard. I have heard the Faure played and played the Faure nemerous amounts of time and I have never heard a performance as goog as this. I am a doublebass player, and I can appreciate the musical difficulty of this piece. This is an Unbelievable CD.

This piece is so beautiful, I'm amazed that it has so little recognition. And with a cellist that has an almost inconcievable talent, I hope that it does get heard. The 6th Variation brings me to tears everytime that I hear it. This is one of Tchaikovsky's best pieces, and by far the best performence of it!

The great cellist Rostropovich took a special interest in the exceptionally-gifted young cellist, Han-Na Chang, and conducts the accompaniment on her debut recording. Listening to this incredible young artist one can understand why Rostropovich regarded her as special. Personally, I've never heard a better performance of Tchaikovsky's Roccoco Variations and her performance of the Saint Saens Concerto can stand comparison with that by the incomperable Rostropovich. The performance of Bruch's Kol Nidrei is also quite beautiful. Chang is an exceptionally-gifted young artist whose performances have a maturity which belies her age. Highly recommended.

I wish we have a dvd for this exceptional beauty of music to
contenplate in our lives on both past and present. I love all
his concert which reflects true meanings to most people lives.
Wonderful orchestra, music, lyrics and arrangement-work of
genius!

I have all the Helmut Lotti Goes Classic CD's and the Final Edition is like icing on the cake--save the best for last--it is simply magnificent!! I recommend it as I do all of Helmut's work to anyone who appreciates beautiful music done by a class A singer. He has so much talent in him I can't believe it. I know I will enjoy his singing forever as my entire family does also.

I First hard about Helmut Lotti through my boss (my friend). He saw H.T. on P.T.TV.George can speek and understand all of Lotti music. To me he is a five star in anything he sings. Nancy martel

I received and listened to this CD yesterday. As a musician myself,I was aware of Pletnev's musicianship before, but after hearing his renditions on this CD, I am thrilled with his musicality. The Corelli Variations are masterfully played, sensuous in feeling, and one can imagine how Rachmaninov might have played them on this same Steinway piano. Pletnev moves from one composer to another with distinct interpretations appropriate for each. His superb piano technique serves to enlighten but not to impress the listener. The Chopin Grand Polonaise is brilliant, witty, and again, so easily accomplished, that the technique serves the music as it always should. Of the 4 Etudes-Tableaux, I found new depth and meaning in op. 35 No 5., "Appassionato". Having worked on this piece myself as a professional musician (pianist-organist) I well appreciated the difficulty both with execution and interpretation. This is the first CD I have of Mikhail Pletnev and I play to add more to my collection. I highly recommend it.

The full-bodied tone of Rachmaninov's restored grand is fabulous, but the real showcase is Pletnev's engaging pianism. The Corelli variations are arguably the best on record due to the artist's variegated tonal palette and articulation. The Beethoven and Chopin are given atypical performances ("fussy" comes to mind when hearing "Das Lebewohl's" second movement), but the poise and energy are exemplary. The Mendelssohn is a surprise: models of sheer control coupled with elegance (desert island material!). The remaining Rachmaninov fillers are masterfully executed, although it must be said that the concluding e-flat minor etude-tableau is bloodlessly dispatched. Worth it for the Corelli and Mendelssohn alone.

I recently returned to this recording after the release of Pletnev's live Carnegie Hall recital and it continues to amaze me. Using Rachmaninoff's own restored 1933 Steinway was indeed a daring enterprising and rewarding venture for this artist. So, does an older piano really sound better? It is rather suprising just how different a modern concert grand from 1933 sounds from one of more recent vintage. Pletnev capitalizes upon the differences in his recital of works which Rachmaninoff himself played in recital but did not record. If not better sounding it certainly is a very interesting aural experience.

Compare this performance of the E flat-minor Etude-Tableaux with the new live performance and the criticism of under pedalling voiced by one reviewer makes sense; Pletnev is here playing in a smaller very dry acoutic--not Carnegie Hall. It is rather like
being in the Horowitz living room; there are some acoustic drawbacks. Nevertheless the artistic merits here and indeed the spirit of the surroundings--Rachmaninoff's piano in his own house-- prevails. Fans of this pianist and of the composer-pianist himself will not be disappointed.

Timmins is a mining town in Ontario, Canada where Shania Twain lived for several years of her childhood. The Timmins youth singers (now the Timmins concert singers), founded by Rosanne Simunovic, are a choir in which there are about two female singers to every male singer. They have recorded a series of Christmas albums, of which this was the first. Helped by the appearance of both Patricia O'Callaghan and Kevin Closs as soloists, this 1994 album has proved hugely successful and deservedly so.

The songs are a great mix of old chestnuts and original material. If you are looking for a collection of obvious songs, you'll find some here, but not many. Classical composer John Rutter wrote the first two songs (Good ale and Blow blow thou winter wind) and also arranged the ancient but rarely recorded Here we come a-wassailing. Old-fashioned Christmas, Unto you this night, Let their celestial concerts unite, Let there be praise and I Remember December are among the songs that are new to me.

Patricia was originally a member of the Timmins youth singers and has since become a successful cabaret singer. Patricia has a clear, operatic soprano voice, which she controls perfectly as you can hear on the three songs she sings - Have yourself a very merry Christmas, O Holy Night/Cantique De Noel (both featuring her as soloist) and I remember December (which also features Kevin Closs).

Kevin is a renowned Celtic folk singer-songwriter and would seem to be an unlikely choice of guest on an album of choral music but his contribution is outstanding. He is the featured soloist on The Christmas song and Unto you this night.

This is an interesting choral Christmas album made more so by the addition of Kevin and Patricia as soloists on selected songs.

Rosanne Simunovic, the accomplished founder and conductor of the Timmins Youth Singers (subsequently called the Timmins Concert Singers), told me in recent correspondence that I Remember December is the group's most popular CD. It is easy to see why.

Snow, children, and Christmas make for a potent blend, and that potential is realized on I Remember December. This CD features 15 wonderful tracks, nicely blending popular favorites with classical compositions. On the classical side, Composer John Rutter, a great favorite of mine, has three winning songs here, beginning with the opening number Good Ale. Although it may be somewhat disconcerting to have youngsters boisterously singing "Bring me good ale!", the upbeat and celebratory tune sets the tone for this fine holiday offering. As the young singers move into Rutter's Blow, Blow, Thou Winter Wind, the ambiance becomes much moodier, and you can almost feel the cutting winter wind whipping through Timmins. The final Rutter number, Here We Come A-Wassailing, is a natural fit for these young voices; you can just picture the children moving up and down the snowy streets, wassailing with natural joy and energy.

As for popular numbers, Christmas Is presents a wonderful solo by featured guest artist Kevin Closs, and when the Timmins Youth Singers do The Most Wonderful Time Of The Year, the sentiment rings entirely true. The short, but fun, Jingle Bells almost explodes with cheeriness; the young singers' enthusiasm permeates every note.

I Remember December ends on another high note (literally). Guest performer Patricia O'Callaghan (a former member of the Timmins Youth Singers) possesses a crystalline soprano voice and joins with Kevin Closs on the title number. Their voices form a lovely blend on this bittersweet tale of holiday memories. It should be noted, too, that O'Callaghan does a masterful job on the prior cut, singing a gorgeous soprano solo on O Holy Night/Cantique De Noel.

Considering that these immature voices are relatively untrained, the Timmins Youth Singers demonstrate a surprisingly even musicianship throughout. Timmins, the hometown of Shania Twain ("Timmins' Singing Sweetheart"), obviously must have music magic in the water. After all, Timmins (in northern Ontario) is not a major metropolitan area (population about 43,000); supporting a quality vocal ensemble like this one in such a setting is no small feat. In fact, in recent times, the Timmins Concert Singers have gone on sabbatical, although their web site and their conductor remain quite active. The group already leaves a substantial legacy of music (A Christmas Legacy and Scenes From A Dream, both also reviewed on this site) for their many fans throughout North America.

If you are looking for a well-balanced set of memorable holiday songs presented by a talented youth choir, you have found the right CD. You will remember to put I Remember December on your audio system each December year after year after year.

--Carol Swanson

This CD really captures the magic and enthusiasm of the Holiday season. Great performances by the Timmins Youth Singers, Patricia O'Callaghan and Kevin Closs...all under the direction of Rosanne Simunovic. Beautiful artistry, superb production and repertoire. This CD is all you will need to complete your Holiday season. Enjoy it...if you don't have it...buy it now!!

This album is a masterpiece of deftly rendered tunes performed by an artist of rare talent and dedication. With smoothness & precision, and a pace that varies from sparkling to peaceful, Sheehan takes you effortlessly on a most pleasant musical ride.

Every song on this album is a winner. Its hard to pick a favorite. From the Flatt/Scrugs feel of Hog Farm to the beauty of Trip to Spain or Sleepy Eyes there is not a note out of place. Every song is perfectly played. The moods he creates on such masterpieces as Jump Into the Fire and Governors Mountain cannot be explained in words. You have to hear this to believe it.

See him live and you will understand that this is really a solo album, no overdubs.

Fans of Jorma's Embryonic Journey type of music will love this album. Folks who live near Ringwood NJ and have chance to catch this master live will feel real lucky. Just ask him to play Governor Mountain, sit back and prepare to have your mind blown!

As if the sheer masterly of solo acoustic guitar was not enough, check out his newest release "Modern Man" and see that he can also play banjo and sing and write not only music but lyrics to go with it. He also proves that he knows how to use guest musicians to really enhance performances. But first, pick up Solo Guitar, ITS THE REAL DEAL!

john sheehan is a great guitar player. i have seen him quite a few times. he has played onstage with greats tal farlow , adrian legg,grover kemble, and many others. this is a great cd . if you can , get a copy of his latest cd MODERN MAN. it is also great.you will not regret it.

Ohter violinists are virtuosos, but Isaac Stern was the benign godfather of New York classical music for thirty years. No amount of gratitude can reward him for saving Carnegie Hall from the wrecking ball. Here, several of his most intimate younger colleagues--Perlman, Zukerman, and Mehta--celebrate Stern with joyous performances of Bach, Vivaldi, and Mozart.

Others below have commented on the uniqueness of this live-concert CD, but I'd like to highlight the Mozart Sinfonia Concertante. Zukerman has made a second career as a great violist, and here he and Stern are unsurpassed for closeness of spirit. Tempos are a bit slower than usual, especially in the second movement Andante, which is unabashedly romantic, but what would Isaac Stern be without a little shmaltz? I have always liked him best as a collaborator, especially in chamber music, and he doesn't disappoint here. Mehta keeps the orchestral texture of the NY Phil. light and bright. For a non-period recording, I would put this one at the top, along with EMI's CD of David and Igor Oistrakh.

I was raised on this recording, along with many others of Perlman, Metha, Zukerman and Stern. My mother had this recording on vinyl, and I have been searching for it on CD forever. And here it is, FINALLY! I have never heard another recording that so perfectly, wholly and palpably captures the pure joy of music-making, the adoration of the music of these composers, and the breathtaking exhilaration of creating art with other prodigiously talented, sensitive musicians.

He is the true musician who, ever and always, sublimates his own ego in devotion the the creation of beauty for its own sake. On this recording, all four of these incredible musicians do exactly that. The result is absolutely astonishing. It seems no matter how many times you listen to this recording, it always takes your breath away. And that is truly a feat. Oh, to have seen the live performance!

What a 60th anniversary! Extremely impressed with the lively Bach Concerto in D minor for 2 violins (Vivace). Truly a masterpiece. Stern and Pearlman at their best!

Este disco realiza un repaso bastante acertado a la carrera de la mitica contralto Kathleen Ferrier, una de esas voces que hicieron historia y que pasaron a la historia, y con razon.
Junto a unos duetos de Purcell y Mendelshon, y otras canciones, asi como unas arias de Haendel, en las que Ferrier ya va mostrando su gran talento, lo mejor de este disco esta indudablemente en la seleccion del 'Orfeo ed Euridice' de Gluck, tomada de unas funciones en directo a principios de los 50. La Ferrier sienta catedra en la interpretacion del personaje: lo lleva dentro, y lo canta de una forma admirable. Sin duda esta es una de las mejores encarnaciones de 'Orfeo' jamas escuchadas.
El otro pilar del disco son los 'Kindertotenlieder' de Mahler, otra de las maximas especialidades de Ferrier, de los que realiza una version antologica, por voz, diccion y expresion, magistralmente dirigida por Bruno Walter. Un lujazo, vamos.
El disco se consigue actualmente a precio medio, y las remasterizaciones son de calidades variadas (puesto que las grabaciones son de a�os diferentes) pero el nivel general de las mismas es bastante bueno.
Indudablemente este es un disco que hay que poseer, ya que quizas se trate de uno de los mejores documentos existentes para apreciar el tremendo talento de la gran Kathleen Ferrier.

Voice fans, rejoice -- EMI has finally remastered these recordings and released them as one CD at budget price!
While Mahler's "Kindertotenlieder" would be the chief reason for purchasing this CD right away, it also contains several morsels, equally fascinating. Purcell and Mendelsohn's duets, Handel's arias, Greene's spirituals, and 3 live arias from Gluck's "Orfeo ed Euridice". In general, particularly Mahler, the sound is nothing short of phenomenal. BUT why could not these engineers do the same for "Orfeo" selections? There's a lot of noise on these. On all the selection Ferrier's exceptionally dark mezzo (or contralto with a huge upper register) shines brilliantly. Of course, Mahler's songs bemoaning the death of children are not an easy listen by any means. But the melodies are amazingly harmonious and Bruno Walter's superb orchestra provides ideal background for them, with Ferrier's voice blending gorgeously with strings. Only Mussorgsky could take a subject such as this and make it so breathtakingly captivating. It's actually frightening in by itself. Gerald Moore (well-known for his collaboration with Dietrich Fischer-Dieskau) accompanies expertly on Purcell and Mendelsohn's selections.
It would be a treat to hear Ferrier in more alto repertoire; I am just not sure how many were commercially available at the time. Right now, Vivica Genaux is the leading artist in this area, but it would be fascinating to compare these two.
For the sheer vocal marvel experience, do not delay in getting this CD.

Nothing will change my opinion that Mahler should be approached with caution. Like Wagner, the scale and power of his work means that it is simply not for everyone, but inspite of that, this recording is an indespensible part of any serious music lover's collection. Music like this simply is not made any more, but rather this is a glimpse into a past where artists and not accountants ran the music industry.

Mahler's wife Alma bitterly opposed his setting of Ruckert's Kindertotenlieder to music and considering the death of their daughter soon after, it's doubtful if she ever forgave him for it. But the finished work has an indescribable beauty that Kathleen Ferrier and Mahler's prot�g� Bruno Walter give full expression to in away that no other interpreter's have even approached. More than 50 years on this is both a lasting tribute to the artists involved and an indictment of the decline in standards since.

Excellent, amazing, recommend.

(excelente para conhecermos melhor uma das mais importantes e conhecidas sopramos de todo o mundo)

I have loved her voice since 1981 when I destroyed a Bidu Sayoa LP "French Songs and Arias" listening to it repeat for hours (Guess I could make a hat out of that record now).
I cannot add anything original to previous comments lauding her silvery tone or elegant. intelligent, brave, sophisticated, subtle, balanced sense of style. Emotion and control!
I would not normally have chosen a recording of the Debussy piece with its chorus and orchestration but am won over after several listens. I find her "Un bel di vedremo" refreshing and satisfying.
The liner notes insightfully outline her career; translated lyrics, for the Debussy piece at least, would have been welcome. Great sound quality with notes on sound transference technique from LP to CD.

This is a great CD by the lengendary Brazilian soprano, Bidu Sayao. A better performance of the Debussy does not exist even though it was recorded about 50 years ago. Sayao has not been surpassed. Also, the Mozart arias are a special treat as are the Bellini, Verdi, and Puccini. Sayao was a wonderful artist and very unique in her interpretations. This CD offers great singing and should be acquired by record collectors who value sensitivity, style, and voice qualities above and beyond the superficial. The tragedy is that Sayao was not recorded as frequently as she deserved -so what we have are limited treasures.

Are the acoustics here crappy? yes
Does Horowitz hit some wrong notes? yes
You cannot cast judgement on Horowitz playing based on this CD. He is THE pianist of the 20th century. Before some anonymous posters opine that he is incompetent they have to understand what the classical music community thinks. Not for nothing when Horowitz returned to Moscow all of the conservatories came to a halt and students physically fought to be able to listen to him. Keep in mind that Russia/Soviet Union in the 20 century was the epicenter of the piano community. Yes some of his recordings are better than others. He was more technically proficient in his earlier years. Horowitz is one of the only pianists who is not exclusively melody oriented but rather brings out the inner melodies in the other hand and voices. Horowitz is amazing.

One would think that after hundreds of years of keyboard playing the art of innovation would hit the wall of diminishing returns but Horowitz is an antidote to that. I am generally concerned though that Horowitz reached a height that might not be met by subsequent pianists.

Horowitz at his relaxed finest. His lifetime achievement is clear in the mastery of his instrument and art in his music. Every note carries with it the absolute assuredness of the better part of a century of virtuosity. The Soirees de Vienne alone make this disk a must for piano collections. Too bad DG did their usual mediocre recording job...the piano is muffled and the engineer almost loses the soft passages altogether.

Absolutely outstanding. The man was a genius!

Hearing the whole Firebird without seeing any aciton on stage is a long haul--there are evocative stretches that contain little forward motion. Gergiev and the recording engineers sustain attention by illuminating every small orchestral detail, and that works--up to a point. I began to feel that I was immersed in shimmering sound at the expense of drama. Maybe something a bit more gutsy? Or maybe I will stick with the suite, which has no dead spots.

No one needs debate the merits of Firebird; it is one of the great ballets of all time and a worthwhile addition to any collection. I don't like Prometheus as much, but this is a reflection on Scriabin's composing, not on Kirov's playing, Gergiev's conducting, or the engineering on this disc.

In fact, the engineering on this CD is excellent, and the complete Firebird ballet is played expertly throughout. The famous Danse Infernale is driving, and the Finale is soaring and triumphant.

However, this disc does not receive a full five stars because in my mind it lacks a certain "je ne sais quoi." I really enjoy it, but I sense Gergiev and Kirov hold back a little; I sense that they could have taken it to the next level of excitement but didn't. Don't get me wrong; this CD is great, but I just expected more. And one more thing; in the microsecond of silence just before the crescendo of the last note of Firebird, there is a small scratch on the recording. I can't determine if it came on the tape they used to record the performance or from a rustle of paper or a percussionist picking up something in the concert hall, but it just barely mars the most essential moment of the entire piece. I try to overlook it, but it's something small that stands out in a big way, sort of like a splinter or a tiny pebble stuck in your shoe.

Otherwise, this is a great disc which deserves nearly all of the kudos it receives, and I don't know of a better performance to recommend instead.

Both pieces on this recording show why Gergiev is one of the most acclaimed conductors in the world in this repertoire. The excitement of this recording was confirmed when I heard Gergiev and the Kirov live, performing the complete "Firebird" at Carnegie Hall. No question, there are many good versions of this extraordinary piece, but this one certainly ranks among the best.

In terms of sheer, visceral excitement, this is hard to beat, and it is coupled with an equally breathless performance of the Scriabin "Prometheus." The final few measures, and the final chord, make as thrilling an ending as I have heard in classical music.