Classical music reviews

Recently I heard the first movement of J.S.'s harpsichord concerto in D and instantly fell in love with it. So, upon surveying the field for this work, found this recording by Leonhardt to be well received as well as the right price.

Am not disappointed with it either, as the sound, pace and articulation on this is exceptional.

Of course, I am totally impressed with the Allegro of J.S.'s with its grandeur. Interesting the evolution here from violin concerto to harpsichord, which occured in the 1730's.

Harpsichord was one of Bach's favorites, and the influence he gave to this unique sounding instrument continues to flourish. His son carries on that tradition admirably with his concerto offering on this disc.

This is well worth having for baroque devotees in their collection.

These are the second recordings which Gustav Leonhardt made of these two d minor concertos by J.S. Bach and his second son, C.P.E. The first were made in the early 1960s with Collegium Aureum and issued separately, coupled with other works (at modern pitch). When Telefunken compiled Leonhardt's recordings of the Bach harpsichord concertos into a set in the late 1960's, the only work not included was the great d minor, BWV 1052. Leonhardt had already recorded this for BASF, and Telefunken instead utilised a very fine performance by Herbert Tachezi and Concentus Musicus Wien to complete the set. It was inevitable, though, that Leonhardt would re-record the works for Wolf Erichson's SEON label, and these performances represent the Dutch master and his string playing colleagues at their very best. Tempos are moderate, rhythms sturdy yet flexible, and Leonhardt's sense of colour and fine articulation combine with his strong overall direction to guarantee a wonderful pair of performances, very well recorded. The harpsichord used is a "Paris" Dowd from 1975 (after Blanchet) and it comes across very well indeed. The two d minor concertos by the Bachs, father and son combine to produce a perfect cd pairing. This record created a sensation when it first appeared, and the performances have lost none of their magic and power over the years. They have never been bettered. Strongly recommended to those who like Bach performed with imagination and fire by some of the finest seminal musicians of our day.

I just bought this disc last year, and I can't believe it's already out-of-print! It's a great recording. The Seon label dates back to the 1970's. Sony has recently reissued the Seon recordings. The remastering is so good you'd never believe they were originally analog recordings.

This ADD release is wonderful. The sound quality is fantastic, and the performances outstanding. I like the way C.P.E. Bach's concerto has been placed on the same disc with this father's; you can compare the two, and see where the father influenced the son (as well as hear how C.P.E. was influenced by Mozart, Hadyn, etc.).

Harpsichord and orchestra blend together in each concerto to form a cohesive whole. Sometimes the harpsichord tends to dominate a recording, but never here. If you can still find this disc, I strongly encourge you to buy it. It's nicely priced, and features some excellent keyboarding.

Hae-won Chang has recorded two volumes of Bach's keyboard concerti. At the moment, Amazon carries only the second volume. But both are excellent recordings of all the seven surviving solo keyboard concerti on piano. Chang's articulation is crisp and expressively colorful, helping carry the often-suppressed counterpoint in these works above the orchestra--especially notable for concerti 1052 and 1054 on the first volume. Some of the performances here stand up to some of the other great recordings of these works on piano. The 1052, for instance, on volume one, is dramatic with unwaning impetus, rivaling even Gould's performance with Bernstein. Although the 1055 concerto is less successful, the famous 1056 concerto presented in volume two is dramatic in its first movement surging tempo, preparing for the calm and tastefully rendered second movement. And the third movement, so often, it seems, played with banging and clanging by many pianists, rings clearly here, mirroring the first movement's rush. The orchestra, of modern size, is up to the task as well; the 1058 concerto shows off the strings and continuo especially well in their brightness and range of force. One cannot go wrong with this set when looking for consistently fresh and clear performances on piano of Bach's solo keyboard concerti.

The Naxos disc is really a great bargain, considering the wonderful and colourful performance of the soloist. Chang plays much better than Gavrilov, who seems to be unable to produce anything except staccato in Bach's concertos. Really nice!

Hae-won Chang plays these keyboard concertos beautifully and is sympathetically accompanied. This is playing of real distinction - direct and unforced: the CD would be a first recommendation even if three times the price.

This CD is 67:52 in length and provides 20 songs and arias from three live BBC radio broadcasts, as follows: 2 from the Dec. 1958 broadcast, 8 from the Dec. 1960 broadcast, and 10 from the Dec. 1961 broadcast. None are well-known operatic arias; none have orchestral accompaniment; all but the first two are accompanied by her husband (and teacher/coach/conductor) Richard Bonynge at the keyboard. (The 1961 broadcast is devoted to eighteenth century music and is accompanied by Bonynge on harpsichord.)

The selections are relatively unconventional and unfamiliar--evidently a point with the concert choices made by Sutherland and Bonynge--which will be welcome and refreshing to many. As the notes point out, "This group is typical of the creative programs Sutherland and Bonynge would present for next 30 years. They created 15 different programs and appeared together 129 times in recital. . . . [They] loved to rediscover music and made a specialty of reintroducing the world to many forgotten bonbons, such as these." Dame Joan is in fresh, youthful voice (her international career began with her Covent Garden Lucia in 1959, and she was 32 to 35 when these recitals were broadcast) and sings handsomely throughout, often displaying an attractive mezzo-like fullness and warmth of tone. But Sutherland opera fans may be somewhat disappointed, not in the singing, but in the material here, which calls for little of the full-throated excitement, dazzling pyrotechnics, and brilliant high notes of her best opera recordings; this is more modest fare, and it is, appropriately, more modestly sung. The sound is decent, clean, eminently listenable monaural, no doubt from airchecks, but has this small annoyance: it is afflicted throughout with a residual level of pre-echo and post-echo that is clearly audible on a high-resolution playback system.

The indispensable Sutherland collections (apart from her complete opera recordings) are The Art of the Prima Donna (2 CDs, all 1960 recordings) and La Stupenda (2 CDs, recordings from 1959 to 1988); these should be owned by anyone interested in Sutherland, coloratura soprano singing, or simply great singing. This recital, while enjoyable, is certainly not of comparable importance. But if you are a Sutherland fan and would like to supplement her meatier operatic endeavors with engagingly sung concert fare from the early years of her international career, this is a good choice.

This recording of Sutherland's earliest records is absolutely brilliant!!! She soars through Arne and Handel as if it were the easiest music ever written. Whether you love Joan Sutherland, great singing or both: BUY THIS!

this are sensational. what singing, what a voice. A MUST HAVE!

Singing in a performance of the Requiem left me irritated with the slow tempos of the Klemperer recording, which was the one I owned until I bought this one. Walter's tempos lend themselves better to Brahms' rhythmic genius. The recording is not without drawbacks, however: the tone quality of the singers is a little too dark for my taste, particularly the basses. Another gripe is that Denn Alles Fleisch is articulated almost stacatto, which detracts from the passion of the movement. Finally, the soprano solo is a little too fast, the only movement where the quicker tempo doesn't quite work.
Other than these negatives, the recording is musically satisfying, with a generally good balance between orchestra and choir. I recommend it over the Klemperer and Shaw recordings for those who are sensitive to dragging tempos.

Bruno Walter went for drama rather than reverence in this 1954 recording of the German Requiem with the NY Phil. As others have noted, he takes vigorous tempos--the overall timing of 62 min. compares with 69 min. for Klemperer and Shaw, 75 min. for Karajan's EMI account from the Seventies. George London is fervent and at times terrifying in his solo singing, rendering the suffering and hope of a sinner in the face of death. At the other extreme, Walter's characteristic tenderness also comes through in the hushed choral singing of the first two movements. One can't expect a dated mono recording to capture the full sound of orchestra and chorus realistically, but this is such a hair-raising experience that it hardly matters.

The filler is an Alto Rhapsody in stereo from 1961, which Walter saves from its usual lugubrious fate. In fact, this is some of his most impassioned conducting in old age, and although neither Mildred Miller nor the Occidental College choir behind her are first-rate, Miller sings with intensity, in keeping iwth Walter's conception. Five stars to both performances.

Bruno Walter was not only one of the very finest conductors of both symphony and opera in the 20th Century, he was an unassuming poet whose every thought and gesture was about the composers' intentions. On the podium he was revered by orchestras and singers and choruses and always demanded (and got) as close to perfection as the moment allowed.

This recording of the Brahms Ein Deutsches Requiem is holy and the contributions by the chorus and the soloists are understated in the way that Walter achieved his most profound effect.

It is in the accompanying "Alto Rhapsody" for Mezzo Soprano, men's chorus, and orchestra that the essence of this great man can be most securely felt. In the early 1960s, knowing that Bruno Walter would not live much longer, John McClure of Columbia Records assembled the 'Columbia Symphony Orchestra' - musicians drawn form the finest of the studio musicians in Los Angeles - and set up a recording site in the American Legion Hall next to the Hollywood Bowl where he facilitated such recordings as this Alto Rhapsody, Brahms 'Schicksalslied', Wagner, Mahler, and others. Bruno Walter himself auditioned choruses for these recordings and elected to engage the Occidental College Concert Choir as trained by Howard Swan to sing the choral elements. For the Mezzo he chose the underrated Mildred Miller. The result is as perfect a concept of the Alto Rhapsody ever recorded. Originally this work was released with Brahms' "Schicksalslied" and Mahler's "Lieder eines fahrenden Gesellen". Would that that old CD be available still.

The experience of making music with the mighty but gentle Bruno Walter is an unforgettable experience for performers and audiences. Warm memories of being in the chorus for the Alto Rhapsody will always be among the most treasured in my musical experiences. This is a recording for the ages. Grady Harp, December 2004

These three sonatas are in my opinion some of the best compositions of Brahms. They are wonderfully tunefull and each sets a distinct mood (although all three are somewhat melancholic). The interaction of the violin and piano is just fantastic and Perlman and Ashkenazy pull it off well. Sound quality is great as well.

I bought this for my college age daughter's music class and I am enjoying it as well. Violin music, of any sort, is enjoyable to listen to and this one is a wonderful addition to a music library.

I've always enjoyed Brahms' chamber works more than his symphonies. Somehow his intent comes off more clearly; the desperation and anger and melancholy of the music is more exposed, as if juggling an entire orchestra in the composition could dull the edges of these emotions. Of course the quality of any piece is tied with the quality of the performers (who invariably stamp then with their own personalities), and here we have a brilliant union: Perlman and Ashkenazy play flawlessly. Perlman's tonality is clear and sonorous, but never treacly; it still maintains the edge that these pieces require. From the sweet lilting melodies of the first sonata to simmering violence of the third, it is a commanding performance. The piano part in these works is equally demanding, and Ashkenazy is more than a match for Perlman's virtuosity.

If you're looking for the third sonata specifically, Vengerov and Barenboim turn in a more stirring (but somewhat looser) performance on the Teldec label. I actually prefer that version as it's more intense, more intimate. But if you're looking for a complete collection of these wonderful sonatas, you simply can't go wrong with Perlman and Ashkenazy.

I must agree with the previous reviewers whose elaborate praise I need not repeat here. The intonation is flawless, the tempi and the mood could not be more perfectly suitable to the pieces sung. One of the most beautiful aspects of this recording is that it allows - or rather begs - the listener to hear the words as they are being sung and to comprehend them in the context of the music - a quality that is sorely lacking in other renaissance recordings. This is delightfully obvious throughout Stabat Mater (which stands out here as perhaps the most pleasing piece on the album along with the marvelous Miserere mei), especially in the 18th stanza where Mary is invoked to protect the faithful against the consuming fires on the Day of Judgement. The words are sung in perfect clarity, as Josquin here blatantly intended: 'Inflammatus et accensus, per te, Virgo, sim defensus in die iudicii'. Only the text included in the CD pamphlet reads 'Flammis ne urar succensus...etc.'. This of course does not change the stanza's meaning or intention in the least, and does little indeed to detract from the sheer acoustic beauty of the piece. Nevertheless, let the listener be informed that at least three (slightly) different versions of the motet exist. I think it would be nice if recording labels were to avoid such simple and needless discrepencies. If Josquin composed so clearly, if Herreweghe and La chapelle Royale can sing so transparently, then let's frost the cake by allowing this clarity to reach the listener (most of whom are probably unfamiliar to the latin text of this motet. Or perhaps indifferent, but that is another story altogether).
On a positive note, I am sorry that Herreweghe does not record more polyphony from this era. His interpretations are that rare and refined blend between musical proffesionalism and reverent mood. This is where the real harmony lies in renaissance music. I would love to hear Victoria's Requiem performed by Herreweghe and La Chapelle Royale (some other pieces of this caliber readily come to mind as well...).
Another strong recommendation by the same interpreter is Lassus's Lacrimae.

This is one of those rare CDs that I can put on in the morning, and play for the rest of the day...it has simplicity, grace, and majesty all on one disc. I love it for listening, or for background music...it surrounds me with peace and serenity, and is also a wonderful CD for meditation.

This performance by Philippe Herreweghe of these beautiful 16th century motets is impeccable...and the sound is great. It's hard to pick any favorites out of these 7 pieces, as they blend one to the other in one stream of transcendant music.

The enclosed booklet has the words to these sacred works in Latin, and an explanation of the music in 3 languages, though I found the English (a translation from the French), impossible to understand ! The cover painting by the 14th century artist Simone Martini is the perfect complement to this exquisite CD, one of my most treasured, and most often played.

this recording must have been sent from heaven it is great from beginning to end the voices are brilliant it makes you fell great. truely a must for anyone looking for inspirational music.

I bought this CD in June 1994. This is MARVELLOUS !! I love to sing the arias. Now there are quite many similar CDs, like: Opera Without Words, Puccini Without Words, Verdi Without Words, but those are arias "played in instruments" only, while this Karaoke Opera is the "really sung" arias, but in the other CD, the human voices are taken out. This is a better thing for accompaniment to your singing !

You are an opera freek? You MUST buy one !

Serious classical singers should consider this item heaven sent. Made in 1992, it remains unsurpassed.

Serious classical singers should consider this item heaven sent. Made in 1992, it remains unsurpassed.

I have listened to several CD's by Tim Eyermann under the name East Coast Offering... This latest under his own name tops the group. The guest artists add an additional heaping of jazz talent to the collection. The mix of selections ... originals and standards is a treat to the ears. I've been listening to this CD over and over and haven't tired of it yet. Tim, and this CD, truly deserve national exposure and recognition!

I've been listening to Tim Eyermann for several years and have seen him in person many times too. He's a great performer, very talented and appreciative of his fans. Don't miss your chance to hear one of his best releases yet! I saw him and Larry Coryell perform in person at Seven Springs in Pennsylvania a few years ago--unforgettable!

Tim Eyermann has a great sound that anyone would love to hear. I have seen him in person and he is an excellent performer and musician. Do yourself a favor and buy this CD.

I have heard a good many snippets of this unusual CD. One thing is clear- the King's Singers are not to sneered at: the range they cover given their limited size is almost frightening, particularly given the justice they can do to such weighty material as recorded here.

I am very familiar with the Tavener and Stravinsky on this disc, and it is a constant amazement that with just two counter-tenors against four lower voices, the group managed to achieve a mostly successful balance in them- especially in Tavener's "Funeral Ikos" to which they bring a remarkable shine. It is a pity they tackled the Gorecki "Totus Tuus"; they really could have done with augmentation (just as the Tallis Scholars were augmented to cover the forty parts needed in their recording of Tallis' motet "Spem in alium") and the work does lose something in being scaled down to six parts. That said, the group still manages to capture an intensity in the piece that listeners familiar with it will recognise. Meanwhile, the other works on this disc were written for the group, and in that respect they are easier to listen to. I have performed some Richard Rodney Bennett music in my time and find it to be on the approachable end of the modern music spectrum. He is a thoughtful composer and uses his forces well, as this recording shows.

Not the best showcase of the more familiar works perhaps, but undoubtedly a triumph for the King's Singers.

Another excellent recording from the versatile and virtuosic King's Singers. The theme of this CD is 20th century sacred music. The performances, as usual, are superb. The choice of pieces is very interesting. Some of these pieces were commissioned by the King's Singers themselves. This CD doesn't have the broad appeal of the King's more popular works or probably even of their fine recordings of early music but is very enjoyable.

The King's Singers showcase their incredibly broad talent. But if you thought "Good Vibrations" was their best CD, beware; this is for head-banger King's Singers fans only. This will not be popular among pop music lovers---only artiste-types.

I red the other reviews to this CD and I have to say that I don't agree with them. Sir James is a superstar of the flute but his sound, I found is often heavy and exagerated. Listening to this CD I felt bored and I prefer Pahud, Adorjan and Rampal when he recorded Mozart' Concertos with the Wiener Symphoniker conducted by T. Guschlbauer.

Mozart done well. I listen to this and try to pick out faults and reasons to write a slew of smart-sounding interjectons as to why this recording doesn't deserve five stars... and here I am, still trying. Galway is a bit of a commercial sellout in the fluteworld. His tone is gorgeous, his interpretatons cute, shimmering, and charming. He plays for the money and for the crowd. So in my quest to find a legitamate classical Galway recording I stumbled apon this gem of a disc. He sings the very familiar solos in a deleightfully charming way that no flutist should ever try to imitate. His tone is strong, singing, and breathtaking. His phrases are well communicated and stylish. His articulation is incredibly clean and precise. Intonatoin flawless. Technique amazing. His cadenzas are pleasing. They are a perfect example of Galway's style and charming mentality. Yes, James Galway and Sir Neville Mariner do wonderful justice to Mozart's three flute concertos. This disc is an unregretable buy for anyone. It is a perfect example of Mozart played well. The only comparably extensive and fulfilling Mozart flute recording I have heard is Emmanuel Pahud's.

After listening to these pieces, it is hard to believe that Mozart hated the flute, at least that what it said in the liner notes. It isn't important weather or not Mozart liked or disliked the flute. What is important is that he wrote these beautiful pieces for that instrument. The music on this disc, especially the Concerto for Flute and harp K.299, gliters with Mozart's enthusiasm and optimistic energy. Combine this with James Galway, Marisa Robles (the only harpist that I know of), and the expert Mozartean Neville Marriner, what you get is a great Mozartean experience.