Classical music reviews

For many buyers the choice for a complete cycle of the Shostakovich quartets will come down to three: the Borodin, Emerson, and Fitzwilliam quartets. I own the latter two and can offer a comparison.

Fitzwilliam: This set, made between 1975-77 in a church in Surrey, has the advantage of price. Although the 15 quartets are spread out over 6 CDs as compared to 5 for the Emersons, Decca offers this cycle at roughly half the cost of the DG cycle (it's much cheaper than that, even, on the used market). The performances eschew Russian soul, grit, and emotional extremes such as one hears from the Borodin Quartet. The Fitzwilliam Quartet sounds soulful but stops short of impassioned. As much as it is possible, they make this music friendly and easy to listen to without sacrificing all of its bite and sarcasm. They are not a virtuoso group (English critics actually praise them for this lack, as if the Emersons' technical mastery was a sign of glibness), so individual solo lines, of which there are many in these quartets, sound medium well played, not dazzling. Decca's sound as transferred to CD can be a bit shrill and congested but is certainly good enough. One large missing ingredient is tonal variation--the Fitzwilliam doesn't search out the peculiar tonalities that are implied in Shostakovich's string writing, which can be eerie, ghostly, brutal, and caustic by turns.

Emerson: Recorded in Aspen at intervals between 1994 and 1999, these are live performances from the music festival and are thus not ideal sonically. What's most lacking is solidity and body. Even so, the recorded sound is considerably more detailed than in the Fitzwilliam set, or any other of the four I listened to. When this cycle was first issued in 1999 it swept the field for good reason. The Emersons are head and shoulders above any other quartet for sheer virtuosity in this music. Not that virtuosity is required very often, but the many solo lines are rendered with exquisite technique, and the Emersons pay very close attention to changes in tonality. As a result, these performances are more varied and interesting to listen to than any competitor that I sampled (including the Fitzwilliam, Brodsky, Borodin, St. Petersburg, and Shostakovich quartets on various labels).

The drawbacks are price (it's hard to find even a used set for under $70) and the prevalent accusation, from some quarters, that the Emersons lack Russian soul--they are supposedly too cool, detached, and efficient. Yet this charge can be turned around to say that the Emersons make Shostakovich sound more modern by removing a layer of sentiment. It's really up to the listener to decide, yet I found that cool detachment is not prevalent here--not by any means--and the reviewer below who thinks that the tempos are uniformly too fast is not aware of the field; the Emersons are not extreme in their allegros, at least not very often, and when they play a movement for virtuosic speed, it's almost alwaays to good effect.

I bbught this set because I heard the Emersons play Shostakovich in concert on two occasions, and I was deeply struck by how much better these quartets sound when they are given superlative musicianship. I am not one to believe that Shostakovich was a great master of quartet writing compared to Bartok, Schoenberg, and Janacek among moderns. But he found an idiom, often spare and therefore one-dimenisonal, that is easy to absorb. The Emersons go a step further and give that spare idiom all kinds of shading and colors that often make it sound better than it is.

In sum, I did what many collectors befoe me have done. I gave away the Fitzwilliam set, which was a good stop gap for many years, and relish the Emerson set as a great achievement, especially for a non-Russian ensemble.

It is extremely difficult for a westerner, living in today's modern democracies, to have the full grasp of the extent of censorship and control of the Stalinist regime. During most of his creative life, Shostakovich was under surveillance, and some of his works were publicly censored by the self-intitled followers of the "Socialist Realism". The tension of censorship is reflected in his body of symphonies. The uneveness and limitations of some of his symphonies are a reflection of his limitations under Stalin. His string quartets, however, are mostly free from these limitations. For one, it is extremely difficult to establish what is "socialist realism" in a string quartet. Since Shostakovich was not a follower of serialism, he could afford to translate into the string quartet medium most of his tortured inner self. These quartets are filled with humanism. They are not easy listening in the sense of Hadyn and Mozart. They are rather deep, touching pieces, like the late Beethoven, Schummann, or Bartok. These recordings by the Fitzwilliam Quartet have an immense authority at a reasonable price. Lovers of string quartet cannot afford to be without the entire Shostakovich set, and anynone buying this collection will enjoy a lifetime of rewarding listening.

I was more than a little pleased that my local public library acquired this wonderful CD set. While I tend to lean towards listening to full orchestras and symphonies, I must comment that this quartet has performed these compositions in such a tight but well-balanced manner that I was inspired to listen to the works over and over.

Possibly the most significant facet of this set is that it provided me with a wonderful documentation of the clear musical growth of Dmitri Shostakovich over a period of years, albeit the very earliest of these compositions was spectacular.

For the newbie to classical music, this CD set is a good acquisition although I would acquire Shostakovich's 5th, 9th and possibly the 13th Symphonies first. Also, if you like to play classical CDs as wallpaper while you read, this is the set for you!

Es imposible no ser un admirador de Eugene Ormandy y la Orquesta de Filadelfia, si te encuentras frente a estas grabaciones.
Sibelius es un compositor de elite, genial y sus obras estan destinadas a impresionarnos ya sea en la grandeza de lo patriotico, en la finura sentimental de sus conciertos o en la magia sin igual de sus fantasias y leyendas. Pero nada de esto seria reconocido si no esta la magnificencia de un gran director y la perfeccion de una gran orquesta, y eso es lo que este CD contiene perfeccion y grandeza, Finlandia es completamente impresionante, grandiosa, me deja sin aliento, la mejor version, Karajan, Colin Davis y hasta J�rvi quedan atras porque escucharan lo mejor de lo mejor.
Le siguen para impresionar la sutil y grandiosa En Saga, El vals triste, El cisne de Tuonela y la menos apreciada y por mi admirada suite Karelia, esta alla marcia es sublime.
Para a�adir al conjunto el mas bien ponderado Leonard Bernstein se hace cargo de La hija de Pohjola en una gran version.
Es de Sibelius un CD imperdible con las mejores versiones disponibles de estas obras.

This CD is really good.
All performances by E. Ormandy and his Philadelphia Orchestra, except Pohjola's Daughter. This symphonic poem performed by Bernstein and perhaps the best Sibelius recording of Bernstein (actually he recorded all symphonies with NYP)

Best tracks:

As it is, Ormandy's "Finlandia" is best (with Charles Mackerras' recording with Royal Philharmonic Orchestra).
What a music and what a interpretation?! The Sound of Philadephia is excellent on this from start to finish. Especially, I like that, the wind ensemble (especially brass) are amazing in "Allegro".

Valse triste is one of the best compositions by Sibelius, no doubt, and this performance is very effective, emotional...

Karelia is very good, especially Intermezzo (1st movement) is superb. This piece is short and pure. This is a tale about a haunting scene at Middle Age

In other words: this CD is very highly recommended

This CD was my first introduction to Sibelius outside of Finlandia, and what an introduction it was! Ormandy really knew how to get into this music, and it still contains the best Karelia suite I've heard. For some reason, the intermezzo and march are both taken too slowly on other recordings, but not here -- they are lively and spirited, full of energy.

Finlandia here is well done, though there are so many recordings of it I can't say there aren't better. I've certainly heard far worse. This recording of Valse Triste, is one of my favorites -- it starts on the faster side, but settles into a nice lyrical pace. The Swan of Tuonela is one of the few pieces I think needs to be stretched out as well as can be, and certainly here it's done well. I prefer a couple other, slower, ones, but this suits me fine as well.

This recording of Pohjola's Daughter, as noted, seems to be a favorite, at least at Sony -- I can think of no less than 4 individual CDs and three box sets with this recording. It's a very good read, though this is one piece I don't think I've ever heard a recording I don't like. This is the only piece on the disc with Bernstein/NYPO instead of Ormandy/PO, but that does not detract from it.

The gem of the CD, however, is the final piece, En Saga. It's the piece that in fact took longest to warm up to, but once I did I realized just how good a composer Sibelius was. And this recording is still tops in my book -- no other that I've heard takes it this fast (unlike many Essential Classics releases, there are no cuts anywhere on this CD, so the shortened time IS due to tempo here), and the wonderful melodic hooks and clashing harmonies all over this piece just light up under Ormandy's baton.

If there's any complaints, it's that the sound seems a bit odd. This is most noticable in Finlandia and Valse Triste, but the winds seem a bit more overbearing than normal. A minor complaint though, and in fact seems oddly appropriate in the Valse. I can safely recommend this disc, even if you already own the recording of Pohjola, to both Sibelius newbies and vets.

Pepe Romero's tribute to his late father Celedonio is not only a beautiful celebration of the life of one of the most important guitarists ever, but a great triumph simply on the merits of the pieces presented and the performances thereof. Of particular interest are the heartfelt renderings of transcriptions of piano works by Schumann, Brahms, Schubert and Chopin; while the Romero family has always taken pains to make sure the world has the opportunity to enjoy the riches of the Spanish guitar repetoire, Pepe's beautiful performances of the transcriptions referred to above allow him to display the full breadth of his musical understanding. Wonderful!

I can't add too much to what as already been said in praise of this wonderful CD. Pepe is brilliant. I recently saw him in concert and his confidence with the instrument blew me away. I have never seen such confident, fluid, beautiful movement on the classical guitar. And it comes out in the music.

Emotionally stunning, technically flawless, Pepe is the best and this is my favorite classical guitar record.

This CD, a collection of songs that Pepe Romero learned from and shared with his father, is a finely, wonderfully, lovingly crafted work evoking in the listener the emotions that the music brings to Mr. Romero. They are all songs played not as displays of technical skill, though the skill is impressive, but as celebrations of the joy and love that music and relationships can bring. Ranging from pieces by Bach to Pepe's father, Celedonio, there isn't a clinker in the bunch, and much to be savored sweetly on a sunny morning with a coffee in hand.

This is one of the best Elektra recording. Karl Bohm, who very close friend of Strauss, is one of the best performer of the composer. And Staatskapelle Dresden is the Strauss' most admired orchestra. Inge Borkh, is may be the best Strauss soprano, also she is amazing in Salome, too and she recorded with Fritz Reiner. Dietrich Fischer Dieskau is already excellent baritone and he sung Orest role, with emotion. In other words: This is a dream cast recording!

I think, Elektra is the most horrific (more than Salome, with it's music, orchestration, colours) opera of Richard Strauss. It is written in very border of tonality. Strauss called very large orchestra, includes bass oboe, 5 clarinet, basset-horns, 8 horns, 6 trumptes, conrabass-trombone (!), 5 tubas, large percussion, almostly 70-80 strings...!

Also, this is the first complete recording of Elektra. I suppose, Karl Bohm is more succesful performed, than Sir Georg Solti, who is another famous Strauss conductor. I think, Solti is ill-tempered and his orchestra not play plump, powerful or effective. However, Karl Bohm (I always more admire him) and his orchestra performed with these special features and they are more perfect.

This set has full libretto and Karl Bohm's a review on this opera. Highly recommended.

This is one of the best Elektras around. I think that it is better than the ones under Barenboim and Sawallisch. But Nilsson in the Solti version is more steady and secure than Inge Borkh. Also, Astrid Varnay sings more securely than Borkh. Nonetheless, Inge Borkh characterizes very well and her interpretation is excellent. She really does get into her character. This would work well as a sole representation or a first recommendation. But seriously, I wouldn't want to be without the Nilsson (Decca) or Varnay (available on Gala and Koch Schwann).

While it is often touted that Solti's (or should I say Nilsson's?) recording of Elektra is the one you should buy first. As much as I love that performance, and think it is probably the best introduction to this work along side this recording, this is really the better performance. The only (slight) reservation which I could have is the fact the the Staatskapelle Dresden, who play absolutely magnificently and right in the idiom of the music, could have been recorded with some more detail. Not that anything is obscured, but the Solti recording (because of the recording, not the interpretation) lets you hear just a few things with more clarity. There is also very occasional and very slight distortion on the voice when they hit the high notes (maybe twice in the whole recording, and for about 1/4 of a second). But the performance is magnicent. Bohm is in his element, and the Staatskapelle Dresden, as I hinted before, give him their all, which is quite a lot. Inge Borkh was the best interpreter of the role, even more so than Nilsson. She was as steady as Nilsson (except for her high C, but still, that is not bad), and she brought a more detailed character to Elektra, better conveying her fractured mental state and different moods. Jean Madeira delivers everything as Klytamnestra. Her voice is totally secure for the whole time she is on stage, and her voice is sumptuous. She avoids the histrionics that ruin some performances of the role, but still manages to convey the Klytamnestra's mania and twisted sickness. Marianne Schech as Chrysothemis is excellent, her tone suffieciently different from Borkh's so that you can tell them apart. Dietrich Fischer-Dieskau as Orest is wonderful, warm and serious at the same time. He has no trouble with the notes, and manages to sound just perfect for the role, as if it was written for him. Lastly, Fritz Uhl is a pefectly suspicious, conniving, depraved Aegisth. All of the supporting roles are filled well, with the luxury casting of Gerhard Unger (the best character opera singer that ever lived) as the junger Diener. If you at first don't love the opera, that's ok. When I first heard it I hated it. But, after a few hearings, it is now one of my favorites. Buy it, play it, love it, and spread the joy of this opera and recording on to some of your friends.

This is a recording worth listening to over and over again. The peerless playing of these CSO principals as well as the excellent conducting from Barenboim make this CD the best there is in this repetoire. The Oboist Mr. Klein is sadly no longer playing much anymore due to a rare case of focal dystonia...he is an incredible musician and this performance of the Oboe Concerto is absolutely flawless with superb range in the bass register as well.

I orignially purchased this CD to hear Alex Klein's rendition of the oboe concerto, but was simply delighted by the mastery given to every one of the pieces on this disc.

Dale Clevenger's performance of the first horn concerto is outstaning. From the opening fanfare, he plays through it all with spirit, sensitivity, and beautiful phrasing--not letting us down in his stature as one of the most formidable American horn players in this half of the twentieth century. My one problem is that his tone is a bit thin, which may be simply a product of the American school of playing.

Perhaps the hightlight of this album is the Duett-concertino for clarinet, bassoon and strings. Not only is it an absolutely charming piece, it is beautifully played by Combs and McGill, who weave in and out of each other with a luscious tone and gorgeously silky phrasing.

As an oboist, Alex Klein has never failed to knock me backwards with his flying fingers, incredible breathing and unique musicality. This recording is simply frightening. The first movement is taken at its true "Allegro moderato" tempo, and the opening, restless fifty-seven bars are played entirely unflinchingly and absolutely beautifully...I don't know how he does it. The rest of the piece is played just as incredibly, and the last movement sparkles with gusto and virtuosity. All throughout the piece, Klein and the orchestra connect absolutely perfectly (listen to the clarinet in the first movement).

I don't particularly like the selection of the Andante for horn and piano and the two piano pieces at the end...they just don't seem to go very well with the full orchestral pieces before them. Sill, they are very nicely played, particularly the Tr�umerei from the last set.

From the opening Horn Concerto, this Straussian rendering of his wind compositions is simply put, exhilirating listening! I can't get enough of hearing it, and I propose that likely many of you music conisseurs will as well. Recorded by members of the famed Chicago Symphony, it is very well done.

This collection features five compositions, his Horn Concerto No. 1 in E flat major and a second horn piece, this a Andante for Horn and Piano. As Strauss' father was a renown horn player himself and young Richard was made to accompany him at home much on the piano, that these pieces were of special import to him.
Dale Clevenger provides the solo work here, done with richness of tone and gusto in phrasing. I become enchanted more with the Horn Concerto with each listening. A great opener to this strong CD.

Next comes my favorite piece, even though I am partial to oboe numbers. This delightful Duet-Concertino for Clarinet and Bassoon is magnificently rendered by Larry Combs and David McGill. It bubbles and percolates with brilliant exhanges between the two instruments. Seductive and subtle, with magnificent light string accompanyment, this truly has become my favorite piece.

The Oboe Concerto was inspired by a visiting American oboeist, John deLancie. Amazingly, deLancie of the Pittsburgh and Philadelphia Orchestras, only played this piece once, at Interlochen, Michigan with Eugene Ormandy and the Philadelphia Orchestra. It is demanding for the oboeist, requiring 57 solid measures without rest. Strauss reputedly recommended a mechanical breathing device for this, however, contemporary oboeists insist on overcoming the breathing issue with circular breathing. Here Alex Klein proves his rating as one of tops in the world with a brilliant sinuous and lovely expression. The gentle Adante finish with its subdivision of beats results in a brilliant finish.

A lover and collector of such Concertos, I am delighted to have discovered this one which has captivated my listening and will yours.

This is such a virtuosic, cleanly played, and well recorded CD that I'd feel guilty rating it low. Even so, I expect more than that. Stravinsky needs style. Petrouchka is, after all, a ballet about murder, unrequited love, jealousy, and errie visitations from a ghost. None of that atmosphere is present under Chailly, who moves from section to section with the same bold, extroverted splash. I can see why others love it, but for real chatacter I turn to Temirkanov with the Leningrad Phil. (RCA), which is slashing and spooky, interrupted by spurts of violence, or to Ozawa and the Chicago Sym. (RCA), which is even better played that this CD and recorded in gorgeous Living Stereo. Other performances have caught my fancy from Boulez, Bernstein, and the work's premiere conductor, Pierre Monteux.

The same generally holds for Pulcinella. Chailly conducts a bright, forward, but rather stiff orchestral part--where's the wit or the neo-classical elegance? His vocalists are skillful but faceless. All in all, if you like big-boned Stravinsky in a symphonic style--something the composer himself never used--this is a fine example.

I bought this CD for Pulcinella and love the way that Riccardo Chailly keeps things lively and, well, dancing. Even in the slow numbers, the emphasis on keeping the rhythms danceable is just wonderful. While the Royal Concertgebouw Orchestra is a fine ensemble, Chially leads them in keeping all the sounds beautiful and even the dissonances are exquisite.

The Petrushka is also wonderful. The orchestra sounds are so well combined that the shimmering effects and soaring melodies not only make you want to dance, but sing along. This is a performance I would certainly want to have heard live. It must have been a great session and would be great in a concert hall.

Some make a great deal of the fact that Stravinsky used other composer's music in putting together Pulcinella. This ignores how much he added, how much borrowing was done in the past by composers such as Handel (and nearly everyone else) and how ridiculous the idea that each piece must not only be completely new, but absolutely unqique. That is a formula for the death of art. As Stravinsky himself noted, the best commentary on a piece of music is another piece of music. Amen.

Fine disk, too bad it seems to be unavailable. Somebody should get it back in print because there aren't enough recordings of Pulcinella in my view of things.

Upon hearing this recording of Petrouchka and Pulcinella, I was completely blown away. These are by far the best interpretations of these pieces I have ever heard. In Petrouchka, Riccardo Chailly leads the listener through all the excitement of the Stravinsky's Shrovetide puppet-world with technical perfection and astounding aural beauty. Jacques Zoon and Peter Masseurs do an excellent job as the solo flutist and trumpeter. My favorite part of this CD, however, is Pulcinella. I first heard Pulcinella on Sir Neville Marriner's recording of it with the Academy of St. Martin in the Fields, a somewhat lacking (alright, severely lacking) performance. When I heard Pulcinella again on this CD, it sounded like a completely different piece. Chailly draws incredible excitement from the Royal Concertgebouw, and the technical aspects of the piece are absolutely unbelievable. The soloists, especially Jaap van Zweden, are exceptional, and the singers sing the part with as much light-hearted humor as suits this piece. This is my favorite CD in every aspect (interpretation, technique, character, energy, etc), and if you don't already own it, GET IT NOW!!!!

For anyone familiar with Boulez' 1975 version (with the NY Philharmonic) of the full-length Firebird, this recording will represent a significant departure from Boulez' earlier interpretation. In general, the tempo of the piece is decidedly slower, and the sound of the orchestra is positively languid at times. In the hands of Boulez this time around, Stravinsky sounds more like the musical descendant of Debussy rather than Rimsky-Korsakov. However, the rather Gallic qualities of this interpretation are more than valid, if one reads the program notes --- in many ways, L'Oiseau de feu is more a French ballet than a Russian one.

Still, I find myself more drawn to the 1975 version, which is much more ferocious & absolutely bristles with menacing energy. Good luck finding it; it has been out of print for years, and if it was ever re-issued on CD, I am unaware of it. The 1975 version is yet another reason that I don't get rid of my record player.

The chances are that you will not be able to compare the two versions, which is a shame. Boulez does a splendid job with two radically different interpretations, and this newer version certainly does justice to Stravinsky in every way. I don't think I have ever heard the CSO sound so lush, and that is entirely due to Boulez. This is a definite must for anyone who loves 20th century ballet.

Another great disc from Pierre Boulez and the Chicago Symphony Orchestra! Packed full of electric energy, this disc is a great reminder that the Firebird is, first and foremost, a ballet and not simply an orchestral showpiece. Stravinksy's music bristles with movement, which is accentuated by Deutsche Grammophon's brilliant soundscape. For 46 minutes the listener is transported through the intangible world of good and evil. When Stravinsky drops you throught the portal on the other side at the finale 'Rejoicing', there can be no doubt that good has triumphed. This is some of the best music ever written. It is a pleasure to hear it in its entirety. The orchestral fantasy 'Fireworks' is a perfect encore to the Firebird with its jubilant percolations. The four Etudes are more modern in tone, but make a delightful curtain closer. "Madrid" especially will capture your attention. In short, this is a Stravinsky disc not to be overlooked!

Pierre Boulez and the Chicago Symphony Orchestra have wrought one of the most emotionally stirring recordings I have heard of Stravinsky's Firebird ballet score. It crackles with warmth, energy, and enthusiasm from the very first note. Boulez's dramatic reading is the latest is a series of exceptional recordings he's made of Stravinsky's music; clearly he's one of its foremost interpreters. Although the Chicago Symphony Orchestra plays brilliantly for its music director, Daniel Barenboim, I have been struck by their exceptional level of playing for Boulez. I doubt I have heard the brass section sparkle with refined, elegant playing as I have heard on Boulez's Chicago Symphony Orchestra recordings for Deutsche Grammophon. The two pieces which follow the rarely heard original Firebird score sound just as radiant too.

This collection of instrumentals is aimed at devotees of classical music who want to understand why many take Zappa so seriously. There's none of the adolescent silliness that has caused some to regard this brilliant freethinker as a misogynist, and almost none of the fervid, wildly imaginative guitar playing that his fans have come to know and love (the exception being the majestic, note-bending, sustain-dripping "The Duke of Prunes"). Eschewing strings as too saccharine, Frank's music (and this collection especially) relies heavily on woodwinds, horns, and the inevitable percussion instruments including piano. Himself a former percussionist, Frank has always favored long staccato runs by marimba and xylophones. This tendency reached its nadir with the synclavier, the programmable keyboard that was Frank's main preoccupation in his later years, represented here by "G-Spot Tornado". Some of these pieces ("Little Umbrellas", "Run Home Slow Theme") feature the insistent beat associated with rock and roll, but others show the influence of Edgar Varese, like the programmatic "Pedro's Dowry" which stumbles along by fits and starts like the recalcitrant mule it describes. Zappa always believed that any sound was a valid tonal color for his art, including non-traditional instruments, and some of these compositions even feature sounds of unidentifiable origin, such as "Dwarf Nebula" and "Uncle Meat: Main Title Theme". The two pieces by "Francesco Zappa" (which this reviewer assumes is one of Frank's put-ons until proven otherwise) have a more staid baroque feel while "Dupree's Paradise" and the title track have plenty of classical grandeur, particularly in the use of horns, reminiscent of Copland. Zappa's legions of devoted fans will probably already have most of these tracks, and may find the shortage of farcical humor and rock and roll instrumentation a serious drawback. This one is really an introduction to the master's serious compositional skills for the uninitiated classical fan who is looking for something a little different. For them, this ranks as a 5-star selection.

I like STRICTLY GENTEEL: A CLASSICAL INTRODUCTION TO FRANK ZAPPA for two reasons. First, I find the sound engineering to be particularly impressive. Based on what I understand of the tasks involved in producing this CD, I feel sure that great pains were taken to produce it. Second, I like the music. I particularly enjoy listening to it on long drives when I am alone. The only track that seems a bit out of place is Number Nine: Opus 1, No.3, 2nd Movement, Presto. The writer of this track is Francesco Zappa. He is not Frank Zappa but a musician from Milan who lived near the end of the 18th century. In addition, he is probably an ancestor of Frank Zappa (for more details read the liner notes of a CD entitled FRANCESCO ZAPPA or read Zappa's 1984 book entitled, THEM OR US). The rest of the tracks are interpretations of Zappa's original work.

I have been listening to the work of Frank Zappa since I was a teenager in the 1960's. I own his entire listing of LP's/CD's that were produced in the states (most of the European bootlegs are unimpressive). Thus, I can make an important point to the consumer. Every track on this CD can be found elsewhere. However, to acquire all of these tracks would be quite costly. As a result, I think STRICTLY GENTEEL may be the best introduction to Frank Zappa's music - without his lyrics. I highly recommend it.

Not strictly an introduction, this recording is as much a celebration of Zappa's genius as it is a fine collection of the most ambitious and wide ranging of Frank's recorded works. An essential for the well-rounded music collection.

The underlying reason for pairing Shostakovich and Britten on a bargain two-fer isn't the similarity in their music but the fact that they made friends over the Cold War divide. Britten visited the Soviet Union several times to see his great contemporary. Here Previn does a commendable job with each work except one.

The Britten fares best, I think. There are a number of excellent versions of the dark, melancholy Sinfonia da Requiem, not the easiest work for audiences to get into but a favorite among conductors for its dramatic contrasts. Previn's version ranks with Rattle's and Barbirolli's and has the advantage of clear, vivid sonics. There's even more competition in the Four Sea Interludes from Peter Grimes, and Previn's account, again with excellent sonics and impressive playing by the LSO, is very good, if a bit cautious and literal-minded at times.

The Shostakovich Fourth is a mammoth, problematic work that conductors like to take on as a challenge--heaven knows it's not an audience favorite. Previn gives a middle-of-the-road account that puts everything nicely in place, no mean achievement in a welter of themes, moods, and tempos--but without reaching for machine-age propulsiveness as Myung-Whun Chung does on his riveting recording from Philadelphia (DG) or the masterful epic sweep of Gergiev on Philips. Less good is his Fifth Sym. from Chicago. Dedicated as Previn was to Shostakovich, he often sounds foursquare and uninspired. Everything is played quite well, but interest flags. Perhpas part of the reason is that in three of the four movements Previn's timing is a minute slower than the classic Bernstein with the NY Phil. on Sony.

In all, this isn't the coleciton to buy if you want cream-of-the-crop interpretations, but it's a fine bargain on the whole.

The Fourth symphony of Dimitri Shostakovich is a true allegory about the oppression, the anguish and struggle feelings lived by the composer. Shostakovich completed this work in 1936 but withdrew the work after a great number of rehearsals under Fritz Stiedry an it was not until 1961 that the piece was finally premiered in Moscow.

The approach of Previn is excellent, the abrasive and mercurial performance is quit different from Ormandy. If you imagine a giant U each one of both are in every corner.
Ormandy is more sinister and dark; while Previn is more sarcastic and cynical. It' s emotively closer to Mahler.

It is impressive the echoes of the Fifth present throughout the development of the Fourth.

Previn shines with radiant splendor in Britten. His Sinfonia da Requiem with London Symphony is bitter and soberly expressive. The long sonorities and chromatic texture are exuberant. The rhythmic expansiveness and rich shades accent the pain caused by his father' s death.

Four Interludes from Peter Grimes are eloquent. The drama and the sense of horror produce in the listener a similar effect than the horrid injustice committed against the Doctor in Henryk Ibsen 's An Enemy of the people.

In what the Fifth final balance, I have my reserves. There is a sensible lack of rage and grief in the First Movement. This First Movement must by itself be able to arouse the hellish Stalin 's fist struggling and menacing us. Pitifully he does not get it.

That' s the reason why I can not give the five stars. The rest of the double album is A-1.

This is very good collection of two giant composers of 20th century. Already, Shostakovich and Britten were both very close friends. I think, sometimes in Britten's music, there are influences from Shostakovich. The performances of all works are very good. Shostakovich symphonies played with Chicago Symphony, Brittens played with London Symphony Orchestra.

Shostakovich's 4th is a lesser-known work. Because, in the years of 4th Symphony, still there is arguements of Lady Macbeth disaster premiere. But later, he answered to these with his ever-famous "The answer of a Russian artist to critics" 5th Symphony, and the premiere of it was a great success. He forgived by critics and he became the grandest symphony composer of Russia (U.S.S.R.).

In this set, there is the excerpts from Britten's most famous opera "Peter Grimes". It's 4 Sea Interludes are ever-famous. Especially, the 2nd, 3rd and 4th are very amazing. The 1st Interlude, "Dawn" is the games of wawes. 2nd interlude is "Sunday Morning". There is a brigth sunny sunday morning, and the bells of morning to be hear. Also, the flute solo plays a bird, who chirped sweetly. The 3rd Interlude is "Moonlight". It is a very romantic, touching music, and comparable with Beethoven's and Debussy's (Clair de lune) moonlight musics. The 4th Interlude is a terrible "Storm". It is very fantastic. All the interludes (also, the opera) are impressive, effective, orchestration are excellent.

Highly recommended.

A wonderful set with a fatal flaw. The playing is gorgeous, the singing often spine-chillingly good (except Barenboim's), and the recording is more than adequate - not ideally detailed, but rich and weighty (great bass drum!). The overall atmosphere is tense, but the listener is not battered with the unvaried hysteria encountered in the Solti/Nilsson edition. This Elektra shows up family ties with Salom�, and has its mellow moments.

But. There really isn't a single excuse to make cuts in this one-act opera, that is of only moderate duration anyway. Let alone FIVE cuts, most of them substantial, as is the case here. The latter half of the recognition scene is chucked out, as is half of Elekra's enticements when she tries to get her sister involved in her murderous plans - so that her final curse falls upon the listener (and Chrysosthemis) rather out of the blue. It is unforgivable, and as far as I am concerned makes this set uncompetitive. More so in the presence of the extraordinary, and complete, recording by Bychkov on H�nssler, which has set new standards for this work.

Barenboim leads the Dresden Staatskapelle in a growling, wholly enthralling reading of Strauss' flawless score. The gripping frenzy of the orchestra under the assured direction of Barenboim is an incredible sonic experience. Elektra's soliloquy has the kind of visceral punch to make you really sit up and take notice. I was totally blown away by this dramatic reading, the urgency unnerving. Deborah Polaski sings the role well (not good enough to erase memories of Behrens, Nilsson or the mighty Borkh), as do the other singers, especially Meier (she's very good, but Resnik owns the role and, therefore, comparison's are inevitable). But as previously stated, in this recording, the orchestra's the one that will make you return time and again. Barenboim is not a consistently gifted conductor, far from it, but when he gets it right, as he does here, it's a wonderful experience. I have no less than four complete recordings of "Elektra" all wonderful, but this one has that kind of raw, rhythmic energy that not even Solti and Bohm managed to produce.

This recording does not displace the classic Solti version. But it is a winsome version. I like it better than the Sawallisch with Eva Marton. I prefer Deborah Polaski to Eva Marton. However, none of the two could match Birgit Nilsson's prowess. In a sense, Hildegard Behren's 2 versions are even better. Well, Behren's top notes are more radiant and firm than Marton or Polaski. I think Behrens sings better in her second version with Rysanek's incredible Klytamnestra, and her incredible laughter at the end. But Behren's first version has the ever dramatic and characterful Christa Ludwig. I would recommend the Solti as a first version, but this works as well - it's a good performance but not the best. Barenboim does provide his own insights which is different from Solti.