Classical music reviews

Highly recommended, specially for those Bach enthusiasts. This
recording is also a moving guitar performance by Parkening.

BACH ON GUITAR now there's a novalty...NO, actually Bach on Guitar is an excellent combination. To my knowlege Bach did not compose for the classical guitar directly, however he did write some Lute pieces which can be played on guitar with a little "tweaking". However much of Bach's music can be transcribed to to classical Guitar. (Notice that I said Classical Guitar not the "machine gun" noise you would hear from a rock guitar with the 1000watt--120db amplifiers blairing at you like a in a Rock concert!!)
Christopher Parkening, I think, demonstrates this quite well.
The music that eminates from his Guitar blends perfectly this the Orchestra accompaniment. In listen to him play...I find myself humming or whisling some of these "mind stickers" duing the day. I rate this CD six+ stars..unfortunately only 5 stars is is allowed!!!!
BUY IT You'll like it!!!!!!!!

Christopher Parkening is a genius. If anyone doubts that, I give and advice: hear this album. His technique is impressive, his notes are so clean! And his feeling, his passion in his playing is very beautiful, it really represents the soul of it, I'm sure that Bach would be very pleased and proud of Parkening's playing.
AMAZING!!!!!

This is the best album I own. I love it!! I've made gifts of it to all my friends. They love it. I keep trying to find more of Tim Gorman's work. Where are you Tim Gorman? Please do more albums.

This is one of the best albums I've ever heard. All my friends are crazy about it. I've given it as gifts. Why hasn't Tim Gorman done more? This is the only album I can find that he did. I love his music.

This is a particularly beautifully arranged collection of classical favorites. It is very relaxing and soothing, but also quite moving. I bought a copy of it to listen to as background music at work. Since that time I have bought five more copies to give to friends, because everyone who hears it just has to have it. The arrangement of Debussy's Clair de Lune, in particular, is very moving. It brings tears to my eyes every time I listen to it.

Aaron Copland can be and should be considered the father of American concert music. He decisively created a style of music that needed to be made as we were reaching maturity as a country. This collection of his orchestral works gives a great outline of the music that makes Copland such a innovative composer.
I personally find that the most interesting part of this collection is the inclusion of rehearsal audio from the same recording of Appalachian Spring that appears on the CD. This offers a unique opportunity to hear what Copland's vision of his music was. I am one who personally believes that no performance of a concert orchestral piece can be heard as it was meant to be unless the composer is leading the ensemble. By hearing Copland conducting a rehearsal of one of his masterworks, the listener is given a greater appreciation for exactly what Copland's vision was for his own music.

A definite must have for lovers of the young tradition of American Music.

When I first was introduced to classical music, little attention was being paid to anything American. Edward McDowell was occasionally played. And Los Angeles classical music station, KFAC, would very occasionally play something by Morton Gould. Gershwin was largely ignored And there was Aaron Copland.

For my fairly young ears, the western flavor of the music was esciting. I could picture western movie-like scenes to the accompaniment of "Billy the Kid" and "Rodeo". Indeed, such music is highly pictorial.

But now I'm also familiar with "Fanfare for the Common Man" and Appalachian Spring. I very much recommend this.

The point about these recordings is not whether they are 'definitive' or musically superior to other versions; the point is that they automatically should recieve a five-star rating just for existing. Of course Aaron Copland was not much of a conductor, and his interpretations are not always technically 'the best.' But who cares? Here are several recordings of one of the greatest composers of the last century, conducted by the composer himself. Why set these up for comparison with the Bernstein or Slatkin versions? Different versions are different, yes, but they are not necessaruly better or worse just because they are different. Personally, I'm glad to have both of them. There is no one 'right' or 'wrong' way to play this music, and Copland himself admitted that he had no desire to create a 'definitive' recording.

This modestly priced CD set contains a generous sampling of Copland's familiar so-called 'populist' works - Appalachian Spring, Rodeo, Billy the Kid, Quiet City, El Salon Mexico, Danzon Cubano - and the less familiar Nonet and Down a Country Lane. It also contains a fascinating track of excerpts from rehearsals of Appalachian Spring. Highly recommended.

This recording is phenomenal! It starts with Copland's "Fanfare for the Common Man." It can only be described as earth-shaking. The bass drum hits will knock you off your chair. It ends with Copland's "Third Symphony," which is a triumph. The Minnesota Orchestra played wonderfully and the recording by Reference Recordings/Keith O. Johnson is beyond compare.

If you love Copland, this CD is for you!

I would probably have to say so. My old fave used to be Bernstein's '86 version, but the ensemble overall is more together in this recording than Lenny's. Besides, Minnesota's strings sound better than virtually any other American orchestra today--particularly the basses (although I may be a bit biased--I study with one of them). Since I've seen them perform the 3rd twice, I can honestly say you would have to strain to hear a difference between listening to the CD and sitting in Orchestra Hall. In addition, despite it probably being a commercially-driven move, having Copland's 3 most well-known works all in one spot isn't too bad. Own this recording!!

I had the extreme pleasure of being under the conduction of Eiji Oue a few years ago for several concerts and rehearsals throughout the country. He is an inspiring individual both in his musical abilities and personal character and his ability to hear the smallest details of the music was amazing. He is by far the most extraordinary conductor I have ever worked with and no music collection is complete until it contains some of his works. I just can't say enough good things about him.

His interpretations of these Copland works is equally impressive as he brings out the little nuances of the music and accentuates the high points. His recordings are not to be missed and this one is no exception. The Third Symphony is first-rate in every way. This cd will become a treasured part of your collection for years to come and the HDCD format makes the performances that much more lifelike.

After listening to "The Virtuoso Trombone," also by Christian Lindberg, and playing "Air" by Bach (track 8) as a solo, I bought this CD. As a trombonist, I can tell how great Christian Lindberg really is. But even my friends who hear his work are amazed at his talents. My favorite on this CD is "Overture to The Barber of Seville," but I honestly listen to all of the songs on the album and enjoy them all. Even a casual listener of classical music would love this CD and I hightly recommend it.

This is a very interesting and very well-done CD, arranging a number of familiar compositions for trombone with piano accompaniment. It works quite well, giving an altogether new sound to these works, old wine in new bottles, which is very enjoyable.

I am truly delighted with this CD. Lindberg has created a great tribute to his instrument and to much of the music he has chosen to "steal". I think that there were a couple of choices that, while fun, to be sure, were less than ideal ones. The Mozart, in particular suffered somewhat, especially in articulation, not least as a result of the unfortunate fact that there a few things quite as awkward as a "turn" on a trombone, even in the hands of a master -- it was a bit disappointing, despite being interesting. But I quibble. The Rossini was a tour-de-force, and the "Albinoni" and Schubert were beautifully done. The real glory, however, occurs when Lindberg chooses to sing, as occurs in the Schumann Romances (especially No. 2) and in the Bach air (the last track on the CD). These are perhaps two of the most "stolen" pieces of their types, especially the Schumann set, written originally for oboe, but which every string and wind (and now trombone) player adores for their achingly beautiful melodic lines. Lindberg lets his heart fly in the Schumann without getting schmaltzy, and I can listen to these over and over and love them more each time. I play a different instrument, but I can now love the trombone for what Lindberg has given us here. As for the Bach air, from its first sustained note, one already feels Lindberg's reverence for this music, this limpid epitome of baroque melodic genius. There were moments when I just closed my eyes and held my breath and felt grateful to something greater than myself. This CD is a gift to trombonists everywhere, and to us all. Buy one for yourself and another one for a trombonist you love.

The most beautiful music I have ever heard!

I was at a restaurant when I first heard Gary's music, being played on the establishment's system. I was so impressed with the quality of the music, and its sheer beauty, that I asked the owner of the restaurant where he had gotten it? I have been "hooked of Gary" ever since - and before "Dances with Strings", I didn't care for violin music at all! The others are equally beautiful. This is not "Muzak," this is extremely fine quality music that anyone should appreciate.

I've listened to all of Gary Schnitzer's CDs and I like them all. But my favorite by far is Dances With Strings. The selection of material is fairly eclectic an interesting combination. Also I really like the classic versions of "Girl From Impanema," and "Day in the Life of a Fool." They are just excellent. Enjoy.

I love Dana's album and listen to it all the time. I knew her before she publicized her music and had a tape with some of her older music on it. Unfortunately, I lost this tape and was simply devastated. Now, I am glad to be able to listen to more of her music, and each time I listen to her new album it brings me peace and contentment. Thank you Dana!

This album has been my peace and hope through some very tough times in my life. Dana in this album allows you to feel the presence of GOD and the immense love he has for you-in difficult times AND always. This album is truly in a class all its own. I can hardly wait for her next album.

This album is incredibly relaxing... wonderful contemplative music that moves the soul to a place of rest and thoughtfulness. I highly recommend this CD for the artistic person, the spiritual person, or simply the person looking for a place of rest in this world. It is wonderfully both inspiring AND relaxing.

Though I usually prefer a bit more briskness in the faster movements, the Bach pieces for both single and double violins are given fine performances. Especially lovely is the Oistrakhs' reading of the adagio in BMV 1043. Thankfully, the sound does not exhibit the kind of steeliness or stridency fairly often characteristic of other Baroque and Early Classical period recordings....The two Beethoven Romances with Eugene Goossens and the Royal Philharmonic are given expectedly warm, songful readings.

On disc two, the Tchaikovsky Concerto is not as well recorded as the Brahms (discussed later). In comparison, it sounds just a tad boxy and muddy, but it's still okay. At various times in the first movement the pace is a bit slow, with Konwitschny sharing the responsibility. Overall, though, it's a nice performance, with the last movement being particularly enjoyable. This said I still prefer Oistrakh's stereo reading with Ormandy. My absolute favorite is the stunning Heifetz/Reiner.

The biggest attention getter for me in this compilation is the Brahms Concerto. The obvious comparison is with Oistrakh/Klemperer. For quite some time I have considered that performance among the finest---and I still do. But I do not get as much satisfaction from it as this one (in very fine mono) with Konwitschny and the Dresden Staatskapelle. One key reason is that Oistrakh is miked closer than he is with Klemperer. I hear more of his violin, and it sounds wonderful. A sense of warmth and richness is more apparent. Oistrakh seems more relaxed as well. With Klemperer, by comparison, he seems less attuned to beauty, more business-like and slightly restless. With Konwitschny, he seems to be enjoying more thoroughly what he is doing, more focused on making music as opposed to just playing notes. Hear how he brings more suppleness and sensitivity to the adagio. Indeed, throughout the entire performance he is no less virtuostic than he is with Klemperer yet he seems more able to let his emotions speak with greater expressiveness. Though I still enjoy the Oistrakh/Klemperer with its more massive and powerful orchestral approach, it is this Oistrakh/Konwitschny, along with a very different account, the Heifetz/Reiner, that sits at the top of my list of favorites in this magnificent work.

THIS GUY IS GREAT, YOU SEE HIS FACE AND YOU THINK HE�S A REDNECK BUT HIS FINGERS "PLAYS" WITH THE VIOLIN.
HE IS ONE OF THE GREATEST OF ALL TIMES

Oistrakh, that great Russian violinist of sentiment and technical prowess is shown at his best in this collection. The Heifetz/Reiner version of Brahms on RCA seems to be the most famous, but this performance by Oistrakh and Konwitschny is better. Oistrakh has much more heart than Heifetz. Heifetz has always been cold blooded. If you want warmth and sentiment, Oistrakh is your man. Oistrakh also has a Brahms concerto with Klemperer, in stereo. If you must have one in stereo, the one with Klemperer will suffice, since Oistrakh's performance with Szell has not yet been issued on cd. The Beethoven romances are filled with such warmth and emotion, it's bound to give you goose bumps. The Tchaikovsky is also played in the grand, warm Oistrakh manner. Once you hear Oistrakh's deep sense of emotion, you will be hard pressed hearing it by others. There are many good performances, but get Oistrakh's. You'll be glad you did.

I saw the Chad Lawson Trio play a few months ago in Seattle and believe me, they are the real deal. As a group they have an affinity with each other's playing that I haven't seen or heard in a long time. They played so tightly you could tell they were totally on the same wavelength, especially during the improvisations. It was enjoyable to watch and exciting to hear. At the performance I saw they also played selections from their soon-to-be-released album which made me want to buy the album immediately - inventive, lyrical, harmonically refreshing, and engaging. I can't wait to get it! I might also add that I was able to meet and talk with them after the performance and they are all genuinely nice people. Not necessary to enjoy their music, of course, but always a bonus in my book!

This piano trio brings an incredible sense of energy and enthusiasm to a set of songs that could be considered bland, passe, or for children only. This project has such a high "jive" potential, but it ends up being an awesome set of songs and arrangements, most of which have somewhat familiar melodies. The interplay between the three instruments is exceptional, and their sense of "fun" spills over onto the recordings (as it should!). They don't just play through the set melodies and rhythms, but they make each song their own, bringing their own feel and sensibilities to them. I heard one track on a tv music station, ran out and bought the CD, and have loved it ever since.

Forget whether or not you like the movie. . . . If you like a good piano trio, give this CD a shot--I don't think you'll be disappointed!!

As a jazz lover that appreciates talented artists and creative tracks, I highly recommend this CD. These guys take OZ where Guaraldi took Charlie Brown. I listen to this CD regularly and love it more each time.

Similar to Hvorostovsky's 1991 release, Russian Romances, this collection of Russian songs by some of its most renown composers is brimming over with passion and soul. They are songs of love and loss, with solo piano accompaniment, and sung to perfection by one of the great voices of our time; Siberian baritone Dmitri Hvorostovsky has it all, emotional expression, technical skill, breath control and marvelous phrasing, and a dark honey sound that is recognizable after a note or two.

With eleven selections from Tchaikovsky, four from Rachmaninoff, three from Rimsky-Korsakov, and a tragic, solemn piece from Borodin set to words by Pushkin, the melodies abound, and some of my favorites are Rimsky Korsakov's The Clouds Begin to Scatter, Tchaikovsky's It Happened in the Early Spring and Not a Word Beloved, and Rachmaninoff's How I Languish.
Hvorostovsky is one of the finest interpreters this genre of music, and these superb renditions are a worthy addition to any Russian music collection.
Mikhail Arkadiev plays the piano accompaniment beautifully, and the sound balance between instrument and voice is excellent. The booklet insert has the lyrics in English and German, and total playing time is 57'26.

After seeing Mr. Hvorostovsky in the Met playing Germont, I knew that this is something new, I have never heared before. This beautiful c.d of russian songs could not have been sung better. Buy it!!!

This is another five-star recording from the most exciting baritone in opera today. This CD finds him in familiar territory, singing Russian songs as only he can. His phrasing is superb, and his dark baritone adds a haunting dimension to the many reflective numbers presented here.

It is difficult to pick out highlights from this outstanding collection of Tschaikovsky, Borodin et al, but I was particularly taken with the four Rachmaninov songs that conclude the CD. Child, You Are Beautiful Like a Flower is as lovely as its title suggests, and Hvorostovsky sings it in his tenderest fashion. For complete contrast, Spring Waters is given a bravura treatment as the baritone unleashes all the power at his disposal - a thrilling conclusion to the CD.

Hvorostovsky is ably supported throughout by pianist Mikhail Arkadiev, and the sound quality is good, though a tad distorted in Spring Waters. (Perhaps the recording engineers couldn't cope with the voice in full throttle?!) Highly recommended.