Classical music reviews

I bought this recording for Astrid Varnay's Senta and the conducting of Hans Knappertsbusch. Both lived up to my expectations. I don't know of another recording of the Dutchman conducted by Knappertsbusch, and the only other readily-available source of Varnay in this role is an issue on Teldec from the same season at Bayreuth, with similar same cast and under Josef Keilberth. Given the choice, I'd take the present recording, though it is not without its faults.

Knappertsbusch's conducting is very different from most Wagner interpreters we hear on record. During his lifetime he was sometimes considered a genius and sometimes an old-fashioned bore. Generally he takes much slower tempi than other conductors, and quite often his performances are a bit messy. In this case, he brings new and ingenious insights to the drama through his broad tempi and insightful mastery of the score. For those not used to his conducting but familiar with the opera, this recording may sound all wrong. It may seem far too slow sometimes - especially in comparison to other versions - but in my opinion what he does is wonderful. For those familiar with and appreciative of Knappertsbusch, this recording will certainly raise a smile of respect and pleasure at the greatness of his approach. It's definitely worth listening to just to see aspects of the music which are usually hidden.

Astrid Varnay was one of the great Wagner sopranos of the past century. Her prominence at Bayreuth from its first opening after the war is noteworthy: for a decade she was the star soprano of that festival, and her recordings of Brunnhilde from that period are cherished by record collectors. Her approach to the role of Senta is characteristically insightful, and she gives some of the most beautiful singing I've ever heard in this role. It is not a role with the depth of character of Brunnhilde or even Isolde, but her approach to this role is just as thorough. Some could criticise for a certain holding back vocally, but not me. She delivers shining high notes, meaningfully declaimed texts, and technical skill of an extremely high level.

Hermann Uhde is quite good dramatically in a lot of passages, and his singing is *more* in tune in this recording than elsewhere, but he is severely out of time with the orchestra for a great deal of the opera. Knappertsbusch does a good job (uncharacteristically) of pulling the divergent forces of singer and orchestra together, but Uhde gets so lost that it requires a lot of jumping around for the conductor to get control. In his duet with Senta he is all over the map and Varnay is the only thing holding it together. Altogether though, his performance is noteworthy for an impeccable dramatic intent and his fantastic voice. Now if fate had given us Hans Hotter in this role instead, THAT would have made it priceless.

Wolfgang Windgassen can be heard in particularly good voice in the role of Erik. He sings this role with beauty and real feeling - something rarely heard among Eriks (or Windgassens). Ludwig Weber is a wayward and crude Daland. He is terribly out of time with the orchestra, and is never particularly close to the note. I find nothing whatsoever to recommend in his performance on this disk. Josef Traxel - with resonant voice, accurate and charmingly youthful singing, and clear tone - is the saving grace of their scenes together in Act I.

So for those seeking to hear the Senta of one of Bayreuth's greatest singers of the past, and for those who want to hear perhaps its greatest conductor, this recording offers a glimpse of their great skill and artistry. For those who want an all-round recording of the Flying Dutchman, and who want to enjoy the whole opera from beginning to end, other recordings might be a more suitable choice. Karajan's studio recording of this opera .... or the Bayreuth recording with Thomas Stewart and Gwyneth Jones conducted by B�hm are excellent.

The sound quality of this recording is of a very high standard for a live recording from 1955. Apart from it being mono, there is nothing about the sound which should bother any listener focussed on the work. The different parts of the orchestra as well as the words and voices of the singers are heard very clearly and there is little distortion or background noise. The opera is performed as one act (i.e. three acts without a break or intermission), and takes two disks. A note for the hesitant: this is a Bayreuth recording which may be forced out of the catalogue by the greedy Bayreuth administration, so I would get it while it's available. The same fate has befallen many of Bayreuth's finest recordings over the past few years, most notably the 1953 Krauss Ring, which also featured the astonishing Astrid Varnay.

I hope you enjoy it!

this is an addition to my larger view of this recording...this is not to be confused with the contemporaneous recording released by London Records, with the roster, save for Erik, who is sung instead by rudolf lustig, and the conductor, Josef Keilberth. this performance was more widely circulated on records, but is not as good as the one conducted by Kna. The principals are also sing better and the whole is more dramatic. This is still an excellent recording and was my favorite until i found out about this one.

It would be hard to find any perfect recording of a Wagner opera, but this is pretty damn close to it.
this was the premiere of the 1955 bayreuth festival, the first performance of "dutchman" at postwar bayreuth. No wonder the performance is electrifying.
Knappertsbusch was a notoriously lazy conductor, but there's nothing lackadasical about his conducting here. He gets it right from the very beginning: one can almost see the sails of the dutchman's ship going up with the ascending bass line in the beginning of the overture..absolutely thrilling in this performance.
Knappertsbusch's overall "big-boned" approach to this opera makes dutchman seem just as important and mature a work that wagner ever wrote, kna treats it as if it were as refined and as great a work as meistersinger or tristan. Fabulous.
First voices we hear are of the incomparable bayreuth chorus. They need no introduction, though some balances between choruses in the long third act choral scene aren't the greatest and sometimes the voices get lost, but it is certainly great choral singing.
Ludwig Weber was getting to be an old man, but he's still the best Daland I've ever heard. Never has there been a greater voice in this role. Hermann Uhde's dutchman and Astrid varnay's Senta are just as incredible, Uhde haunting and Varnay poised on lifting the dutchman's curse.
I haven't heard Schorr in "die frist is um," but Uhde is quite amazing here, truly sounding like someone who hadn't been on land for seven years: out of touch, wretched, and definitely rough-edged.
The smaller roles of Mary and the Steersman are taken by elisabeth sch�rtel and josef traxel, respectively and are sung very well.
Last, but not least, is Wolfgang windgassen as the tormented Erik. He is extremely musical here, esp. in Erik's third act ballad, an awkward piece for any tenor. I always thought Erik was a stupid character, that is, until I heard Windgassen sing it.
There are other good dutchman airas sung as well as senta's ballads, and overtures, but Knappertsbusch's performance tops them all. A must have for any admirer of this opera.

Hi everybody!!

This is a stunning set of Wagner pieces. You must get it!!! I very very highly recommend it because Birgit Nilsson and Hans Hotter are incredible - just pure incredible!!! Talk about power! This is nuclear power. And beautiful nuclear power too!!

I have always loved Nilsson, and when I saw her in performance, I have to say, I was more than stunned! Her voice literally has your own head vibrating with the power of the flood of sound. It is a super loud voice, but not only loud, it is one of those voices that literally fill the space no matter how quietly she sings. Would that we had more voices like this today, voices that thrilled the soul because they filled the theatre.

For me, and this is just me, Nilsson is WAGNER. I have heard her sing Puccini (turandot), and Aida (which is better presented by more Italianate singers). The German wing of the world of opera is well served by Nilsson.

The first thing that struck me about this recording was that it was closer (though none of her recordings come that close) in capturing the real grandeur of her singing, and her sound. Recordings seem to capture a "stuck in the throat" sort of sound at times that simply is never heard in performance. Each selection is masterly sung, and I have to say, masterly conducted as well. Wagner is orchestra as well as singing, and a badly conceived orchestral presentation only ruins him, no matter how great the singing. This orchestra is brought to its very best, and the magic of the music is there in full. The lyrical nature of Wagner is very present as well. That is a good thing, as often he is conducted as if he is nothing more than a sea of sound, and the real lyrical beauty of his music is lost. Sometimes even the singers "bark" rather than sing his phrases and we are left wondering why he is considered music at all.

Well, in this recording there is none of that. It is highly lyrical, and very well balanced. Some may think Nilsson is recorded too close, but actually, I am not sure that is the case, for when she performed live the orchestra often became quite subdued in comparison to her voice.

Now, I have to say, Nilsson is not the only revelation when listening to this disk, her partner in the various scenes she sings is simply unbelievable. Now that is the best bass singing I have ever heard. The interpretations are riviting, and the quality of the voice is truly grand, touching, and moving.

This is well worth the money. I would buy it anytime if I were a lover of fine music and fine artistry.

This is a superb achievement by Birgit Nilsson, Hans Hotter and Walter Legge. The Philharmonia plays gorgeously and my goodness, listen to Birgit Nilsson sing!! Absolutely nobody today can sing like Nilsson!! You don't know what you are missing out if you haven't listened to this.

Besides this, you should get the Solo CD by Birgit Nilsson- another superb achievement.

I think buried in all the commercialism and over-stimulation that the Christmas season is a wish for some time for reflection on the year that just flashed by. This album serves as a small refuge from all the hype that is today's Christmas.

I've had this album as a holiday season mainstay since I discovered it shortly after it's release. It is moving, thoughtful compositions full of nuance and so well composed I have yet to tire of it--17 years later. Mostly I play it during the holidays and it has aged along with me.

Each year, it recalls more memories for me. While all the tracks are unique improvisations of well known themes, it is the the last track, the long track, that is my personal favorite. I would take it into the afterlife if I could.

I close my eyes and get lost in David Lanz's Improvisations on a Theme (adapted from Pachelbel's Canon in D major) Guaranteed to sweep you away.....

This CD is just superb, especially the 3rd song, 'What Child is this ?'. Anyone would fall in love with Piano music after listening to these scores. Jones are especially good and deserves a major award on this. Only for tranquil people though, this is not pop music.

I'm a big fan of religious choral classical music, and this album was not nearly as good as I was expecting it to be. It is good music, and the performers do a fine job, but it is not as awe inspiring as most of the music I listen to.

The music has very little variance of dynamics. Many people like music where one setting of the volume control works throughout the entire piece, but I prefer music that has quieter parts and louder parts. Music is more expressive when it changes dynamics, or especially when the composer tastefully uses silence. These composers did not use any silence at all in their pieces. That, combined with the performers swinging their notes made the pieces feel too hurried. The embellishments were also annoying, because some of the notes just felt unimportant, almost like they were only put in to avoid the singer singing one note for too long. But the embellishments made the piece feel too busy, and not contemplative enough. The only modern piece on the CD (the 19th track, composed by Moody) fits in well with the CD, and is definitely in the old style.

The music does sound distinctively western European, and not similar to the orthodox Christian tradition. As much as I've criticized some aspects of the music in the above paragraph, I do like the music. It does a good job of helping one attain the peaceful spiritual mood it attempts to instill.

However, I give it only a 3 because there are many other pieces which do a better job at giving the listener a peaceful, sometimes mournful, contemplative content mood. I can't go around giving a 5 to every CD I like - it would be unfair to my truly favorite CDs. Some choral pieces that I prefer include Rachmaninov's Vespers & Liturgy to St John, Silvestrov's 4th movement of his Requiem to Larissa, both Szymanowski & Dvorak's Stabat Maters, Henryk Gorecki's 3rd Symphony, Avet Terterian's 6th Symphony, most of Arvo Part's later music (after his switch to tintinnabuli), and a few other modern works from that part of the world.

I do realize that not everyone has the same tastes as me, so there will be those who love this music more than they would love the pieces that inspire me the most. However, reviews are a place to not just hear from those who are the biggest fans of a type of music, but to hear from those who are buying the music even though it is not completely their style of music.

ECM did a fine job on its side. The sound quality is great, and the liner notes were fabulous. There was even more music on this CD than one often finds on ECM releases (they often put well under an hour of music on one CD).

I do recommend this CD, as it is quite accessible to those who do not regularly listen to classical music. It is beautiful music, yet it is still music that most people can appreciate.

Trio Mediaeval is the name chosen by three Scandinavian singers who specialize in the early music of the church. Gregorian chant or Plainsong is one of the oldest forms of Western religious music and though much of the original chanting was one-part intoning by the monks, the composers of the time gradually created polyphony and the results are well sampled on this beautifully recorded CD.

Not only does this a cappela trio of women's voices demonstrate a clarity of tone and pitch and timbre, they move through these at times complex harmonies with utter ease. In addition to excerpts from the Anonymous Tournai Mass, the Trio weaves the mysteries of English and Italian chant and even includes a truly beautiful contemporary setting of the chant form by Ivan Moody entitled 'Words of the Angel'.

This is one of those recordings that soothes the mind and soul and confirms the importance of medieval music on the development of music through the ages. A new recording by this group entitled "Stella Maris" is promised soon and having heard that recording it is even better! The Trio Mediaeval is a fine performing arts group that should have a long life. Highly recommended. Grady Harp, September 05

The title of this CD does a wonderful job to tell what's included. It's the best music I've ever heard. I believe that if there do exist angels in Heaven, their songs could not be better than the ones on this CD!

I bought this CD because I am a clarinetist who is learning the viola, and I really love the Brahms Clarinet Quintet.

I think that this quintet definitely works better with clarinet, although Bashmet has done a good job with this arrangement. The only real problem I have with it at times is that, in spots where all the strings are playing with the soloist, the solo viola part often gets lost in the texture. The solo line in this quintet often interweaves with the string parts and plays accompanimental lines. Even in the clarinet version, the texture can be a bit dense at times, but because of the clarinet's different tone color, it can still be heard. One spot where this is particularly noticeable is in the end of the first movement. The clarinet has some really cool runs, and they're completely lost in the texture when played on viola. Of course, even when the solo line is covered up, the music is still amazing and beautiful, so it's not that big of a deal.

It is in the places where the solo line is more exposed that Bashmet really shines. The 2nd movement, in particular, is wonderful and Bashmet plays it as well (if not better) than any clarinetist I've heard.

Bashmet places with a really beautiful sound. From the limited amount of viola recordings I've heard, it seems like many violist play with either a dull, sort of scratchy sound, or an overly bright and nasal sound. Bashmet does neither. His sound is always warm and round, without ever losing its clarity or projection.

Like another reviewer, I also play chamber music and received this CD from a fellow musician. Brahms is really difficult and to even pull it off is a feat. For the Brahms, I love the clarinet version, but this is even better. Here we have a violist with soul. The first movement of the Brahms knocks my socks off.

I am a string quartet player and this was given to me from a fellow chamber music player as a gift. The Brahms is absolutely stirring - the quality of the viola playing in the Brahms will blow you away and the flawless yet original blending of all the instruments to a single vision. I have always heard this piece as a clarinet quintet, but this is my favorite rendition now. The Shostokovitch contains dissonences which might be inaccessible to some novice ears, but listen a few times more and you WILL appreciate.

Zino Francescatti is in my opinion is the best virtuoso violinist I have ever heard. If you listen to his performance of the Mendelssohn E minor concerto as well as other artists there is no comparison. First, the tempo is faster and more active. He has more power and precision then Perlman. The notes do not get lost at the end of long passages or cresendos. The younger performers have nothing on Zino.

Francescatti is often forgotten in the US because of his frequent stays in his native France and his Italian heritage, but surely ranks among Milstein, Stern, Kreisler, Elamn and others in terms of the great violin interperters of this century. While Heifetz brught the level of violin playing to a new, unforgiving level, Francescatti proved that one could have flair and unending warmth without sacrificing technique. The Tchaikovsky here may be my favorite interpertation I've heard yet. While he does not take it at the breakneck speeds of his contemporary Heifetz, bask in the warmth and power of his sound--especially his double-stops (two notes at once) which ring unlike anyone else's--and the styling which he brings to the score. Upon the end of Mvt. 1 of the Tch. Concerto, one could be hard-pressed to find a more dramatic, heart-racing coda that Francescatti's. Becuase he took his time with the rest of the movement, his techincally-astounding speed at the end adds excitement that, had he chosen to start at his max, could not be achieved. Besides that, the Mendelsohn is a Francescatti speciality, as well as the Saint-Saens, whose popularity was practically due to Francescatti's performances. These recordings should not be the only performances of these pieces in a library--becuase of Francescatti's personal interpertation--but they might be the most expressive. In my opinion, Heifetz was unquestionably the best violinist of the cenutry, while Francescatti is who I enjoy listening to the most.

Francescatti has a truely beautiful rich tone that is filled with so much warmth and emotion, it gives you goose bumps. He is masterly accompanied by Dimitri Mitropoulos, sadly, a forgotton conductor whose career was ruined by Leonard Bernstein, by "outing" his homosexuality. Here, Zino and Dimitri give the most inspired Mendelssohn performance you will hear. It is not taken at the slow pace that virtually all conductors and soloists take. It has pace, breadth and energy. Just compare Francesccati's performance, to an equally revered performance by Menuhin and Furtwangler. I guarantee you'll be more impressed by Francesccati and Mitropoulos. The Saint-Saens concerto sounds so vivid, it's hard to believe it was recorded in 1950. Except for the mono sound, it's sound like he recorded it yesterday. A great compilation of concertos that deserve to be in any colleciton!

Kostia has one of the most skillful and daring pianos I have ever heard. I first heard him on a Narada sampler, and it was as if all the other musicians were mere amateurs. While his russian heritage overflows in his compositions, his repertoire does include imagery that is beyond comparison. A definite must have for piano lovers out there. Kostia will be a welcomed addition to your CD library.

I ran accross Kostia's recordings while doing simple searches on keyboard artists. What a find! Kostia's Russian heritage seeps into his New Age material in a way that is nothing short of amazing. Anyone with an appreciation for piano will love this recording. It's even better than Suite St. Petersburg - also a wonderful experience. Both are "must haves."

Mark

"10 Pebbles" has become one of my all time favorite recordings. As a musician myself, I can appreciate the artistry and unique compositional style that Kostia brings to the world. His music is that of the heart and spirit - communicating brilliantly through his Russian perspective and American influences the emotions and feelings we all experience. Do yourself a favor, and add this beautifully composed and played musical achievement to your collection.

I love this cd. The minute you put this music on you are transported to another world. It is very soothing and relaxing to listen to. Anyone who likes classical guitar should own this cd.

WOW! This CD is outstanding! Far better then what I expected!! Listening to this Master at work in the car cures road rage!! I highly recomended it!

Highly recommended!!!

This compilation provides quite a bit of music. The recording is good. Definitely a good value.

I'm surprised that all of the other reviewers neglected to mention the shortcomings of this set. Without Siegfried's Funeral March from Die Gotterdammerung and coupled with the fact that the liner notes stink, this is well deserving of 2 stars, but I was generous. Get the EMI set "Orchestral Music" with Szell conducting which has everything that this collection has plus Siegfried's Funeral March, good liner notes and extra selections.

I am not overly fond of opera but there are exceptions. This album is such an exception. I suppose that is because there is little to be heard in the way of singing on it. I like it for the instrumental passages and they are wonderful.

As the title suggests, these are primarily overtures and preludes. They are not as bombastic as Wagner is wont to be but they are very strong. They are evocative of beauty and majesty. It is good orchestral music.

The performances included are all from Germanic orchestras. This music is a part of the culture and it is well done. If I have one complaint, it is a minor one. The pianissimo passages are sometimes so soft as to not be present. They are...understated in the extreme.

All in all, this is a quality recording capable of producing hours of enjoyment from its two disks.

I judge this CD for it's sound quality - very good. The Wagner's music it's not really my type of music, therefore I can't say it's a poor CD. If the music is just OK is not the CD's fault. Simply my taste doesn't match Wagner's music.

I just wasn't happy with the songs that were chosen

This is probably one of the best Mozart CD's that's available. Clear and energetic.

This CD contains the most popular music from Mozart. If you are just start to listen some classical music, this one is a wise choice for you. The price is cheap, and the quality of recording is acceptable.