Classical music reviews

The Gramophone is no measure of popular taste, but they hated this Solti Beethoven Ninth from 1986, finding it at times 'extraordinarily tedious.' That opinion reflects Solti's currently unfashionable slow tempos (satisfying only to 90-year-old Germns, the Gramophone says). In fact, this reading isn't radically different from Solti's original 1972 Ninth except in the sharper, more detailed, and aggressive digital sound. Not everyone will like the earsplitting timpani thwacks that begin the Scherzo, but others will be thrilled.

As before, we get broad tempos in the first movement without much attempt at mystery or soul-searching. Solti's 18-min. timing is slow compared to Toscanini at 14 min. and Karajan (1963) at 15 min. The Scherzo is straightforward but a little more aggressive than the first time around, and the Adagio, as before, is very slow, even compared to Klemperer, without a great deal of inner life and tension. The finale is superbly sung by both soloists and chorus, yet this time around Hans Sotin's bass recitatives can't match the combinaiton of authority and songfulness that made Martti Talvela outstanding in the first Solti version.

It's hard to miss that the Choral Sym. brings out lots of Amazon reviewers who trumpet that "the greatest" CD has arrived when it is more helpful to describe what's actually happening in any given performance.

Anyone whose neck hairs don't rise when listening to the Ninth Symphony's choral part has no soul.
Pastors should periodically play it to keep their flock from ever doubting there's a god.
In case you miss the point, the Ninth is the closest that a piece of music has ever come to perfection, especially when the climax approaches the stratosphere as the bass, tenor, alto and soprano soloists sing dueling arias. Even more miraculous: Beethoven wrote the Ninth after lead poisoning rendered him totally deaf.
So if you're going to eavesdrop on the heavenly spheres for a while, make sure your recording features at least one angel-on-earth among the soloists.
And soprano Jessye Norman's wings always lift her to the rafters of even the most imposing concert hall.

I like this piece because of its musical conventions. The best of all classical symphonies.

There's no question about it : this cat's got a "SINGular" voice! The few people in this world who have a REALLY remarkable gift are invariably recognized at a young age. I was in chorus with Jubilant Sykes at John Adams Junior High School in Santa Monica, California in 1972, and our voice coach, Linda Anderson ascertained that she had found a world-class singer in Jubilant in no-time flat! In her ears, there was "him", and then "all the other children." I'll never forget auditioning at Anderson's piano. She gave me this funny look. "With Jubilant?" I queried hopefully. "No", she answered. "With all the other kids?" I asked dejectedly. "No", she shook her head again, "with all the other whining dogs at the kennel." My music aspirations had come to an ignoble end. But Jubilant was headed for big things; we all knew that.

I still have the lp recording from the Santa Monica Unified School District's, 1972, STAIRWAY OF THE STARS concert which included Jubilant (with hair) as the featured soloist.

(*AN ASIDE: This 1972 public school district-sanctioned performance included the Judeo-Christian musical compositions, 'In The Beginning Of Creation' [a choral "portrayal of the Lord's creation of order out of chaos."]; 'When I Was Sinkin' Down'; 'Great God A'mighty'; 'Sit Down, Servant'; and 'Alleluia.' Obviously the A.C.L.U. and other Communist front organizations had not yet discovered that with the help of liberal revisionist judges, they could banish such public religious expression under the completely bogus, NONEXISTENT principle of "Separation Of Church And State." Try to find it in the Constitution! And be sure to read David Barton's great book, 'ORIGNAL INTENT : The Courts, The Constitution, & Religion.')

'JUBILANT' is an excellent showcase for its singer's God-given gift. The simple Jazz-inflected arrangements are the perfect complement to Jubilant's soulful, Good News-inspired voice. Watch those tear ducts when in 'MARY, DID YOU KNOW?' he sings:
DID YOU KNOW THAT YOUR BABY BOY HAS COME TO MAKE YOU NEW?
THIS CHILD THAT YOU DELIVERED
HE WILL SOON DELIVER YOU.....
DID YOU KNOW THAT YOUR BABY BOY HAS WALKED WHERE ANGELS TROD?
AND WHEN YOU KISS YOUR LITTLE BABY
YOU'VE KISSED THE FACE OF GOD?

I've been listening to Jubilant since 1972, and to 'JUBILANT' since 1998. My only complaint with this excellent collection of "Good News" songs is that I've always had a difficult time finding the proper volume in which to play it. His voice rises and falls considerably as a natural result of his vocal style and phrasing, and if I play this cd loud enough to discern the quieter moments, it becomes too loud when he goes to the rafters. But any lower and I can't hear some passages well enough. Still, this is a small price to pay for music this glorious. Don't let it cause you to hesitate in making this purchase if the idea of hearing great Gospel painted by a certifiably great voice appeals to you!

Sure, Jubilant has ALWAYS been a tremendous singer; in that, there can be NO argument! He surely deserves all of the accolades he's received. But I'll tell ya what : not in a million tries could he have beat me in a game of Wiffle Ball out on the playground, and afterall, which is more important, music or Wiffle Ball?

(*Jubilant, I'm proud of you, and God must be pleased with the way you're handling His gift; thanks for sharing it with us, Brother!)

I first heard Jubilant sing at Grace Community Church in Sun Valley, CA a few years ago, in my first years of college. I leaned over to my friends and said, "Wow, he should do Broadway." Little did I know he was already a top selling artist for Sony Classical, etc.
I later attended a vocal master class he administered at my college and was amazed not only at his voice, but at his presence and gracious manner in dealing with terrified students.
I would probably buy anything with his name on it for those reasons, and still visit Grace Community occasionally, hoping he'll make another infrequent appearance. :)

What an outstanding singer and CD! I first heard about him on NPR a month ago. JUBILANT is a set of spirituals that are done in a jazz style. Some new and traditional. While a baritone, he can reach both bass and tenor notes with comfort and real ease. He is primarily a classical artist having sung opera at the Met and in Europe, but he has such a tendor style that he holds back when appropriate and knocks the socks off notes when it is right. The CD has upright bass, trumpet, guitar musicians with him and more. Just fantastic!

Philip Glass gets a bad rap as a one-trick pony and this album is one of the best pieces of evidence that he isn't. True, this record sometimes employs Glass's strong minimalist roots and the familiar ascending/descending melodic lines repeated over and over again like some sort of avant-garde military marching band that are his staple. But most of it is very different, and these sections are usually short and shift rapidly, unlike the epic, 20-minute builds of "Koyaanisqatsi." At times it is ambient, at other times rousing and spirited. "The Anthem" (part two of which was used to great effect in "The Truman Show" along with selections from Glass's similar "Anima Mundi" score) manages to be both, and is powerfully symbolic of what "Powaqqatsi" ("life in transformation," if I recall the loosely translated definition of the word) is about. While this record runs a little long, it's brilliantly creative New Age classical and works both with the movie and on its own.

Powaqqatsi is my favorite of the the three qatsi films (although I haven't seen all of the last one in the trilogy).

This is also my favorite piece of music of the movies, and the best word I can think to describe is "glorious".

Philip Glass has created something enormous here. He plays with 2 or 3 themes and repeats them over and over again in different ways, yet the music never becomes dull. Listening to it on CD, it sounds even better than what I remember from the movie ...

I was afraid of minimalist music at one time. In a nutshell, if you are looking to minimalist music, this is a safe way to start. While this wasn't my first minimalist CD, it is by far my favorite. Because it is a soundtrack, no song goes very long and each track is slightly different allowing you to be choosey with what tracks you want to listen to. Yet, this is still minimalist. For those of you who like intelligent composition, the reoccurring themes develop great intrigue in changing meters, different orchestration, and the use of rhythm to develop melody the trade mark of minimalist music. Everyone will like the beautiful native South American melodies intertwined into those of the Indian, African, and Chinese themes. This album is one of three in the "Qatsi trilogy", and while the others have their moments this is by far the best.

I'm a long-time listener of all things rock-'n-roll, from Classic rock, to Alternative, and even a little Metal. I first heard this CD while having dinner at a friends house a long time ago, and I loved it. I've always been enchanted with choir music, so I bought this CD. Well, after years of listening to it to help me to unwind in the evening, I somehow misplaced it. So I came to Amazon to order both I and II. Of the two CD's, the first one is still the best, and it still helps me to relax after a long day. The choir show tremendous range in their singing, the assorted instruments are well-played, and I can almost imagine myself sitting in a centuries-old cathedral, enjoying the music and how it rings throughout the cathedral.

Buy it. You won't be disappointed.

This album offers music that is profoundly moving and sumbline. It takes the listener onto an inner journal of extraordinary emotional depths and heights

The first song I've heard on this CD is "Miserere Mei..." and I loved it the first minute. I've heard it from a friend who likes classical, and I would've never bought this on my own.

All other versions of these songs I've heard since don't compare to the versions on this CD. Maybe because it was my first listen, maybe they're just good.

I heard the Concerto 2 today on the radio, and I while it was competently played, I kept thinking of how slowly it was paced. And I yearned to hear the Gilels version (with Fritz Reiner and the CSO). Imagine my extreme surprise to hear it was Gilels! But played with nothing like the fire and wit and playfulness of his 1958 version. Perhaps Brahms would have wanted it played this way, with more majesty and solemnity, but it's not for me.

Brahms's monumental piano concertos are my very favorite piano concertos. Therefore, I own many recordings of same. Nevertheless, this recording with Gilels and Jochum is my absolute favorite! It is a recording that I've listened to, at least, once a week for many years. Gilels and Jochum truly play these "monsters of the form" wonderfully capturing Brahms's fierceness as well as his tenderness beautifully.

Truth be known, I slightly prefer the 1st concerto-I know that is a musical sacrilege. My god, Gilels plays the hell out of that work delivering those (what I call) "trills of death" in the first movement in such a manner that it still sends chills up and down my spine no matter how many time I have listened to the work.

DGG has done a superb job in it transfer to this "new" CD form. I owned the original vinyl recordings; however, I feel these CDs give the recording more depth with the sound being far richer.

If you want to hear a legendary and sublime recording of the Brahms's Piano Concertos,buy these discs.

These readings are legendary. I searched and searched for a good set, first trying Bernstein-Zimerman (horrid recording quaity) then trying some older recordings (Serkin/Szell, Rubinstein/Ormandy), then going to an old favorite of mine on the keyboard (Pollini/Abbado), but I was not really a fan of a) either the ensembles' un-Brahmsian (in my opinion) accompaniment or b) the soloists' interpretations or execution. However, these recordings, when I first bought them in the old DG Galleria release, were a revelation. Gilels' playing can best be described as monumental, and Jochum's direction is Brahmsian to the core. The result is a rarity in that both concertos are amongst the greatest ever readings of the works (especially for #2, where there is no one else close). And now, with the new DG Originals transfer, the sound matches the performances; gone are the whiny strings and the somewhat hollow sound from the original transfer, and in its place we have a recording that sounds almost brand new, with great clarity on the brass, piano sound, and amazing definition in the strings. If you must only have one recording of these two concertos, than this is the one to get.
With all that said, let me make one other suggestion for Piano Concerto No. 2: A new, import-only DG Originals release featuring Geza Anda and Herbert von Karajan with the Berlin Philharmonic from 1968. A slightly different interpretation of the piano part, but an accompaniment no less Brahmsian than Jochum's from meastro Karajan. If you are looking for another astounding recording of the 2nd piano concerto (in addition to Grieg's Piano Concerto), you should check this release out.
Still, if I'm stranded on a desert island, I'm bringing the Jochum-Gilels set.

I bought "A Celtic Tale" to replace a copy I had bought years ago that had gone bad. The thing that I liked best about the disc was the legend that was told on the disc, so, boy, was I surprised when the new one I ordered just has the music with no story. The music is very good, but, if you are looking to hear the story, apparently it's been removed from a newer release somehow, and, for what reason I don't know, because it was a good story.

This is a beautiful album. When I listen to the music, I can clearly see the story unfolding in my mind. The music really "gets me" in my stomach.

An absolutely beautiful album. The music really paints the story for you. These two brothers have made this legend into a musical masterpiece. I highly recommend this for any music lover, especially those of celtic love.

This disc absolutely delighted me. I can think of only one other countertenor who could have "pulled off" the variety of songs Daniels performs on this album. Most of them are quite well-known at least to singers and actually could be considered trite but not the way David Daniels sings them. He is so skillful with strong tone production when needed and always perfect diction. I marvel at the way he can implement the highly dramatic Italian aria and then sing the light "wispy" French songs. My personal favorites are "Adelaide" by Schubert. "Ou voulez-vous aller?" by Gounod and "I'll Sail Upon the DogStar by Purcell. In fact, if you are a Daniel's fan you MUST hear the Dog Star!!!!!

This is a truly unique voice. David Daniels has an opulent timbre which he uses here to achieve sheer excellence. As much as I hate for his career to be upstaged by anything, knowing that he was tutored by Marilyn Horne seems to establish her vocal qualities as a suitable metaphor. It's that rich, opulent tone and secure vibrato that you don't get with some mezzos, let alone countertenors. No thin-ness here; no `hoot' and nothing shrill. He still has control though, and produces clean, even tones where appropriate. Think of the dramatic requirements of `Der Tod und das Madchen' and the celestial purity of `Absence' or `Ser'- he more than merely achieves the standards, he surpassed them and has set his own seal of distinction.

The choice of songs/arias is itself brilliant and Mr. Daniels' technique needs high praise. As a very minor observation, his diction, though good, doesn't come across as completely idiomatic. This is a VERY minor issue though. The pianist, Martin Katz is very responsive to the style of singing. Mr. Daniels' ability to sustain a phrase with grace and beauty is matched by Mr. Katz's sensitive touch and timing.

In parting, I recommend the ethereal experience of `Orpheus with his lute' (my favourite). The words, a Shakespearean sonnet, are of a straightforward beauty and the melody is from another realm but the singing? Mr. Daniels vocal control and phrasing are exquisite and his tone is sublime. Close your eyes and listen to this one quiet evening. "In sweet music is such art, killing care and grief of heart. Fall asleep, or hearing die." A lute and a song- a simple combination; yet profoundly moving beyond the raging elements. Thank you David.

Countertenor David Daniels takes a breather from his beloved Handel arias this time around for a recording of sheer beauty and most often tranquility, all the more surprising given the wide variety of tempos and international breadth of the program spanning five centuries. German leider from Beethoven and Schubert sits alongside Italian baroque songs followed by alternating French and English art songs. The 22 selections, once again reflecting his consummate musical taste, require him to sing in four different languages, and this South Carolina-born and -bred singer handles the daunting task with complete ease.

The result is a seamless recital, and the disc flows like an unfolding dream starting with Beethoven's enchanting "Adelaide". Schubert's "Naucht and Traume" highlights the purity of his tone and is as perfectly performed as any of his most moving opera arias. The Gounod pieces, especially "L'Absent" and the title track, have a sonorous quality that feel very much like lullabies, the sole exception being the lively "Ou voulez-vous aller?". Poulenc's "La belle Jeunesse" continues along this vein, a whirling dervish of a number referred in the accompanying booklet as an "invitation to debauchery". But these tracks are more the exception as Daniels achieves a lovely sense of vocal beatitude throughout.

The standout tracks have to be the three beautiful and somewhat more contemporary-sounding Vaughan Williams songs capped off by "Hands, eyes and heart", short and poignant, it is my favorite moment on this recording. The Renaissance-era Purcell selections provide the appropriate ending though, in particular, "Evening Hymn" sparked by the growing melismas on the hallelujahs. Whether he exhibits an astounding vibrato or the purest of tones, the man knows how to use his incredibly flexible voice and apply it intelligently to each song. Martin Katz accompanies with great precision and completely recognizes the individual style each song requires. It makes for a perfect pairing between singer and piano. This is a recording to treasure.

YOU STUPID,PATHETIC,INSIPID PIECE OF DIRT - THE ROLE IS LEONORA NOT ELVIRA. YOU KNOW NOTHING, ABSOLUTELY NOTHING ABOUT SINGING, SO DO US ALL A FAVOR AND STOP POSTING REVIEWS HERE.

This recording is a must have for any real lover of singing: Corelli and
Price together, LIVE, not to mention Simionato.

Karajan keeps things at a white hot clip, and the velvet of Price with
the trumpeting of Corelli make for the kind of over-the-top opera
experience one lives for.

Given the year and conditions of the recording, the sound is excellent.
I'm one who can tolerate less that state of the art sound for the
excitement of live historic performances.

Price occasionally interpolates unexpected high notes, and then
caps the "Mira" with a high c that would have best been left at home,
but these are just a few tiny pimples on an otherwise stunning face.
And at these prices, it is a complete steal. Buy it.

This is a fabulous Trovatore but the "Spotlight Reviewer" seems not to know the opera at all! The heroine of "Il Trovatore" is called LEONORA, not ELVIRA. He wrote his review to bash Maria Callas who is still the greatest Leonora to this day. (I'm quoting PRICE here!)

Anyway, Price, Corelli and Simionato made MAGIC here. Not to be missed!

This review will undoubtedly offend the period-instrument crowd. After hearing Robert Shaw's recording, I thought surely it was impossible to have less inspired recording of this piece, unless, of course, your inspiration is to make music that is "correct" instead of music that is good.

Yes, the playing and singing is always accurate and precise, but is that what makes a performance great? Listen to Karajan's recording and you will hear mistakes all over, but you don't care because you are so caught up in the energy and beauty of the performance that you do not care.

The Credo is perhaps the worst movement. Gardiner chooses a ridiculously fast tempo that makes it sound like a drinking song, not a proclamation of faith.

Gardiner being the ultimate literalist chooses not to bring in the chorus at "Pleni sunt coeli." The only other recording I know of is an old LP of Klemperer which I do not think has been released on CD. Though that is what the score says, it does not make musical sense at all, which is why most conductors opt to introduce the chorus there.

By the way, if JEG was so concerned about recreating the "authentic" (whatever that means) sound that Beethoven would have heard, why did he choose to have the singers use ecclesiastical Latin. Would Viennese Latin not be much more appropriate? Just a thought.

If like dull, uninspired recordings of masterpieces, then this is the disc for you. If like me you prefer not to have the life sucked out of music, then stay away from this CD.

Gardiner's is a performance that eschews self-conscious, often grandiose attempts at "profundity" (unlike the Levine, for instance), and instead brings out the cosmic surge and dynamism that is hard wired into this music, but so often buried beneath layers of "solemnity". Fifteen years after I first heard it, it remains my reference for the score, alongside George Szell's similarly dynamic and bracing live performance with the Cleveland Orchestra (only available, I believe, as part of a 6 CD set from the orchestra). There are other ways to play the work, and I own quite a few of those as well; but the Gardiner approach strikes me as a revelation.

If there's a problem with the Gardiner, it's the engineering. This is one of the ugliest-sounding orchestral recordings that I have ever heard - and that's saying a lot. It sounds as if the engineer has employed as many microphones as Beethoven did instruments and voices. Heard through an audiophile system, there is no central sonic image whatsoever, no sense of the music coming alive within the expanse of the listening area. The overall sound is sterile, cold, and virtually un-listenable on revealing audio systems that tend at all towards brightness. As much as I love this performance, it's remains for me a headphones-only affair.

This to me is very moving music and I would not describe myself as a religious person but then I don't have to be to admire great music. The orchestra and the choir play and sing with great passion and precision. John Eliot Gardiner adopts faster speeds than normal but still manages to allow his forces the time to articulate their parts. The soloist blend so well together and for me this disc is a must. I have heard a number of the other versions of this music noted in previous reviews but for me this is the version all other must now be judged by.

This is a great Cd and a great help in planning my wedding music.

I've always enjoyed Great Wedding music and this album is no exception, but while reading some of the customer recommendations posted on this site I discovered a group by the name of MEHDl (pronounced medie). After an online search I found their site (S00THINGMUSIC,C0M) and listened to the samples...
I was instantly blown away by the quality of this music and so I gave it a try and now that I have listened to these CDs several times I really must say that although I'm still a fan of classical music, I find MEHDl to be a great addition to this CD. I had them both in my multi-disc CD player during the wedding and love the way they compliment each other. I highly recommend that you give this artist a try or atleast just go listen to the samples, I have a feeling you'll be glad you did.

We played this one as the guests arrived. Very classy music. Worked like a charm!!