Bach: Goldberg Variations, BWV 988 (The Historic 1953 Debut Recording)
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Audio CD (27 October, 1992)
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Editorial Review

In the main, sonic differences between Sony Classical's 20-bit remastering of this landmark 1955 recording and its previous incarnation in the CBS Great Performances series (CBS MYK 38479) are subtle rather than striking. Tape hiss is reduced, while ambient studio noise is heightened, bringing Glenn Gould's trademark humming and squeaky chair more into the foreground. One can also perceive slight changes in microphone setups between certain variations.Gould completists, however, will want this Glenn Gould Edition transfer for two fugues recorded in 1957, drastically different from the pianist's perverse remakes 13 years later for his complete Well Tempered Clavier Book II. Any respectable piano collection, however, should include Gould's debut Goldbergs, at any price. --Jed Distler ... Read more

Reviews (10)

Do you want the Fugues too?
I love both of Glenn Gould's versions of Goldberg Variations, the first in 1955 (this one) made him famous, while the last one in 1981 was his swan song. The 1981 version definitely has the fuller modern sound and Gould goes deeper, yet 1955 is historic, the sound is still excellent, and Gould's technique is just amazing! However, this particular packaging includes more than Goldberg Variations. Two fugues from Well Tempered Clavier are added to the end. Good music definitely, but personally, I just want the Goldberg Variations with no additives. If you don't object to the extras, then by all means get this CD. But if you are like me, look for the older "Great Performances" version by CBS/Columbia. It has only Goldberg Variations, with no fugues.

If you are new to Glenn Gould, just remember that even now, twenty years after his death, his work remains controversial. Everyone agrees that he was a masterful pianist, one of the best ever, but many people just don't like his eccentric approach to Bach. They find the fast parts too fast, and slow is too slow. In the 1981 version, many object to Gould's tuneless humming in the background. Eccentric? You bet. But nobody else could even get away with it. "That nut is a genius," as Szell was once heard to quip.

Anyone who finds Gould too eccentric, or perverse, should try Angela Hewitt or Rosalyn Tureck. I love their versions of Goldberg Variations too! Rosalyn Tureck spent her entire career of about 60 years studying Bach, and recorded Goldberg Variations at least three times. All are excellent. Angela Hewitt is just masterful, and plays with sheer devotion.

A powerfull wake-up call
From a theorical point of view, art critics in general, across history (I refer here to the "Ancient" versus "Modern" quarrels that, in many ways, are as redundant, since the Renaissance up to know, as the biological generation phenomenon itself) can be distribute and tell apart following two types of argument intrinsically linked to each opposing and corresponding standpoint : whether an artist has to strive in order to reproduce a traditionnally given model, a somewhat dogmatical state of things, only justifiable by refrence to a timeless necessity of confirming one mind to this "already there" good and ideal state of things simultaneously related to a fondational will (Nature, God, the Composer, the Master, etc.) , or whether, at the opposite (or nearly so), artist (and, by extension, ordinary man who lives by some aspects in the wake of avant-garde artists), can, or even must, in order to achieve great works of beauty and imagination, appropriate, transform and re-invent given state of things (including previously inherited artistic forms and medias), integrating to it a new, or different, way of living, of appearing, of expressing - for those now-living at least - the world itself, the human's passions and desperate will to last in this human-made world itself.
The first rather stiff, static, rigid picture of the Classics (the "given states of things") which appeared as a premise and as a end of the orthodox (A.Brendel...), pro-Ancient and other neo-platonicists looking back to an original, motionless, merely castrating, selfsufficient purity of the start (the Score, the Book, etc.), this picture strongly contrasts with the one given by the second standpoint : works of art's lives and length both depend on the posterity's hability and availability to invest creativity and imagination in the dynamic, transformative, reciprocal receiving of these works, whoever this posterity and these works are, and precisely because of such an indetermination...
Simply stated, such is the background from which I used, since years now, to think and to understand the polemics surrounding Glenn Gould (but also James Joyce) as a 20th century artist, as one of the first artist to engage himself, systematically, in active reinvention processes toward great composers, toward the reception, rendition and transmission of their works, and to go further and further in this reappropriation, recreation of sacro-saint musical canons, over-reproduced in a rather austere, stale and narrowmind posture up to then.
At least, the very spirit of baroque art is, in anticipation of the clear-cut, phallic and uncompromising Classical "paradigm" that unfortunately came later, refractory to the docile "reproduction of the same" for which numerous musicians so often wasted their talents while playing (or refusing, for some stupid reasons, to play) Bach in particular.
In that sense, Gould's unexpected, unforeseeable appearance with the 1955 Goldberg notably, in the musical history (not less), was, and is still (in the form of a dazzling, fireworking declaration of spiritual freedom relating to the process of receiving and reintroducing life into works that, especially in Bach's case, where widely open at their very inception for such creative, transformative rendition) a powerfull wake-up call for contemporary and succeeding pianistic generations, barely incapable since then of doing as if such an event had not happen, had not transform their way of seeing and doing things now.

Wonderful!
This CD is wonderful for properly qualified musicians. ... Read more

Asin: B0000028NE
Subjects:  1. Classical    2. Keyboard    3. Orchestral & Symphonic   

Bach: Six Unaccompanied Cello Suites
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Audio CD (25 October, 1990)
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Editorial Review

This is Yo-Yo Ma's first recording of Bach's Cello Suites, digitally recorded in 1983 and first issued on LP. He has since made a second recording of the Suites in 1998, taken from the soundtrack of a video series, so it's interesting that the earlier set remains available. If you've been lucky enough to hear Ma play this music in concert, you'll realize that neither set represents his Bach at its best. This rendition is generally quite straightforward, beautifully played and musically sound but sometimes not very emotional. The second set is more expressive but frequently seems self-conscious. Either of these recordings is a worthy representation of Bach's superb music, but neither attains the mature eloquence of Starker's final recording, a level Ma will probably reach himself in his third recording. --Leslie Gerber ... Read more

Reviews (29)

sweet
Pablo Casals was the first to regard these suites as concert pieces rather than mere technical exercises, or so we are told. Rostropovich approaches them with great reverence, but perhaps too much reverence. Depending on your mood or musical philosophy you may well prefer the happy medium we have here.

(I think of the guitar: the rich vibrato of Andre Segovia and Christopher Parkening in contradistinction to the dryer sound preferred by many modern guitarists, and someone such as Ron Rendek, say, falls more or less in-between.)

Sets a new performance standard
While I have heard only one other piece played in a different style for whom I can compare to, I must admit that I believe this is an almost perfect rendition of all Bach's Cello Suites. I wonder where any criticism can come in, except to say that maybe his breathing is annoying. But who can stop their breath? Especially when you need to put so much heart into this beautiful thing... Perhaps it's disappointing to note that these musical melodies will activate not just your pleasure centers, but also the faces you take when you think. This will change a dinner's mood to philosophical and otherwise. You'll be forced--that's the key ingredient to good music--to pay attention. You can't walk around, you must sit, and, listen.

There is no other way to say this: the performance is flawless. It has no style. He has become a perfect melody of nothing, allowing the full style of Bach himself to come through, throwing away his ego's tendency to improvise. Noting that the pieces were meant to be played in full, these are the only cello recordings I believe that can be viewed, heard, smelt, felt, and understood through the whole recording. Other artists playing these works manage to gather up large emotional swells within us, but only for the beginning five minutes or so. Or so the first minute shows us, until we get bored and stop the music. These are pure rhythm-meditations, designed to make us think. Not for relaxation, but for peace.

Exquisite!
A lot could be written about this recording. Let me just say that this is everything music should be: profoundly moving, simultaneously cerebral and visceral, and timeless. With out a doubt, Bach is pure genius and Ma does these compositions justice. ... Read more

Asin: B0000025QM
Subjects:  1. Chamber    2. Chamber Music & Recitals    3. Classical   

Complete Beethoven Edition, Vol. 1: Symphonies
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Audio CD (14 October, 1997)
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Editorial Review

This 1963 set was conceived as an integral recording, and released as such, rather than piecemeal. It is consistent in terms of sound and interpretation, and the solid performances hold up to repeated hearing. Karajan may not have been as highly individualistic an interpreter as some in the generation that preceded him, but he possessed the same kind of authority--as these readings show. They emphasize tautness of line, grip, momentum, and mechanical precision, and convey exceptional energy without the roughhewn qualities some interpetations emphasize. The highlight of the set is a suave, darkly handsome account of the Eroica,. The only disappointment is a senselessly rushed Pastorale. The Berlin Philharmonic, which had chosen Karajan as its conductor for life just six years before the sessions began, plays with extraordinary discipline, power in reserve, and an understated but convincing sense of expression. One notes already the superb string ensemble and excellent work in the winds that would come to be seen as the orchestra's stock--in-trade, even if the horns are still rather weak and the trumpets thin. Here is the well-dressed, darkly handsome Beethoven of the portraits painted circa 1800, in performances that are dashing and determined but never in danger of careening out of control. The sound is good for the vintage: balanced, reasonably detailed though not close, and clear. DG's latest remastering has brought out as never before the original recordings' warmth and atmosphere. --Ted Libbey ... Read more

Reviews (6)

The greatest composer at work.
For years I always held myself off not to buy any Beethoven album. And I was luckily abble to resist any temptation and good musical sets. But when I heard that DG was about to start to release a 87 cd piece with all Beethovens stuff on it, I surely wanted to have that set. So now Im buying every mounth 1 or 2 parts. The Symphonies is the first one in the box, and so my introduction to the set in its entirely. And I really am not dissapointed till now. The Symphonies are a fabulous piece of musical achievements. Although at first I did not like them all, I was totally taken by several ones, like the second or the 5th, the 7th and especially the 9th. No other man can made such beautifull and swelling music as Beethoven. I have a complete Wagner too, and many other classical recordings. But the drama of Beethoven is unsurpassed. I however have no materials to combine it with, so I dont know if the recordings are good. But concidered the reputation of Karajan, I think wrong is a word we should use. All I know it are good recordings in sound, they sound all very nice and to me its played very smooth. I however have a 9th that was conducted by Bohm, and that one was indeed more slow. That 9th is there 79 min, so I always liked the slow aproach, but I cannot deny that the tightness and the smoothness Karajan is doing them is amazing too.

Too me I always thought no musical composer was such a man of his age as Wagner or Beethoven. They could have been drowned to deep in the romance tub. And the music is expressing this romance time very much, I think therefor the drama in these 2 composers is indeed so extrordinary ans special. To mee they are and always will be the best and greatest musicians that ever lived.

"The Karajan Sound" doesn't work for Beethoven
While I was initially very enthusiastic about this cycle, comparing it with several other sets has drastically reduced my opinion of it.Karajan's tempi cannot be faulted - flowing slow movements and electrifying fast movements; and though he does not take all the repeats, he's not alone in omitting many of them!The only places I find the missing repeats a serious problem are in the scherzos of the Sixth and Seventh Symphonies.And of course, the playing of the Berlin Philharmonic is incredibly beautiful; sometimes the beauty of the playing is beyond belief.The orchestral playing cannot be faulted - or can it?

In my opinion, it can; not in the technical aspect, but in the actual sound produced.Karajan had a very distinctive, unique orchestral sound that he used, basically without modification, for every piece he ever performed.The characteristics of this sound are refined beauty, streamlined, aerodynamic smoothness, and a texture heavily dominated by the strings.While this texture may work for Romantic works by composers such as Bruckner and Mahler, it definitely does not sound right in works of the Classical period, by composers such as Mozart, Haydn and Beethoven.Classical works require a leaner, more transparent, sound than the "Karajan Sound."Beethoven, contrary to popular belief, is a CLASSICAL composer, not a Romantic one.A good Beethoven sound requires A) incisive but resonant timpani, B) pure and transparent strings, C) sonorous, powerful brass and D) radiant woodwinds.The Karajan Sound gives us resonant but not especially incisive timpani, in addition to gorgeous but opaque string textures which dominate the rest of the orchestra.Therefore, I think Karajan's sound is inappropriate for Beethoven, and so seriously undermines the performance.

The drawbacks of this sound are apparent in every symphony, in every movement.Take, for example, the first movement of the Ninth.The opening tremolo is ominous but unclear, and when the first subject emerges from the mists, the sound is dominated by those cloying string textures.What makes this especially disappointing is that Karajan is one of the very few people who judge the tempo in this movement correctly - some are too fast (Toscanini), others are too slow (Solti, Bernstein, Davis, Giulini, etc.).Just comparing Karajan with superior performances by a conductor like Klemperer will make my point.In that first movement of the Ninth, Klemperer's opening tremolo is perfectly clear, but is no less ominous or mysterious than Karajan's, and the first subject is given in an ideal blend of brass, timpani and strings.Another particular disappointment is the Allegretto of the Seventh.Karajan is one of the very few to take it at a true, flowing Allegretto, but the overweight string textures ruin it again.

Aside from the drawbacks in the approach, however, this is a great set.As mentioned, the tempos are perfect (with the exception of the Pastoral, a disaster in every way - repeats, texture and tempos), and the orchestra is never less than beautiful.In addition, this Ninth boasts arguably the finest solo quartet on records (Janowitz, Rössel-Majdan, Kmentt and Berry).

The sound is good for the most part, but sometimes sounds hazy and indistinct.The timpani are placed rather far back in the sound spectrum, which is a serious problem, particularly in places like the Scherzo of the Ninth, where the timpani are obviously crucial.Even more serious, though, is the backward balance and shifting perspectives on the chorus in the finale.The presentation in DG's Complete Beethoven Edition is gorgeous, with multiple informative essays and wonderful color reproductions of relevant documents and paintings.

Overall, although these recordings have garnered much acclaim over forty years, I don't think they really justify it.Karajan was never at his best in Classical repertoire.His strengths were the Romantic masters like Bruckner and Strauss, where he pulled off some overwhelming performances.He should also be heard in Puccini.But in Beethoven?I don't think so.

I am still searching for the best Beethoven symphony set.Klemperer (EMI) is very high on the list for his monumental grandeur and glorious orchestra (the Philharmonia), but his set is let down by extremely slow tempi in fast movements (in particular the Scherzos of the Sixth and Ninth and much of the Eighth).Davis (Philips) has wonderful playing, if a bit on the fat side, from the Staatskapelle Dresden, but he falls into the slow tempi trap, which is far more serious here than with Klemperer because Davis doesn't come close to Klemperer's electricity.Toscanini on RCA takes a very fast, intense approach.Karajan's performances have always been called Toscaninian, but I refuse to accept that because Toscanini's lean orchestral texture is on the other side of the spectrum from Karajan's.Toscanini's approach works marvelously in the early symphonies, but his very rigid approach, with an almost total lack of rubato, makes for serious problems in the later symphonies.Barenboim (Teldec) is currently at the top of my list for his wonderful orchestra and superb tempi, in addition to his intense, magisterial conducting.His failing is that he is in many places altogether too eccentric; the opening of the Ninth, for instance, is far too slow to be coherent, while the finale of the Seventh falls apart because of absurd tempo fluctuations.The set that looks most promising to me at the moment is Böhm's Vienna Philharmonic set from the 1970's, where slow tempos are present but are not nearly so much of a problem as in Klemperer and Davis because of Böhm's rhythmic pointing and lyrical incandescence - in addition to a glorious sound from the Vienna Philharmonic that meets all four requirements of the "Beethoven Sound" I listed above.If the rest of the cycle is anything like half as good as his 1971 Pastoral, it will jump to the top of my list!!

The must have for the classical music or Beethoven lover.
von Karajan did many things very well.This is one of them. I have theolder version of this set on CD.I also have some of the originallyreleased records and cassettes of the 1960's Karajan Beethoven Symphonycycle.He has recorded these a number of times.The 70's version, well, Idid not like the sound.The 80's recordings were digital, but heavilymixed, and the sound and performance not up to the 60's version.

Thisversion is the complete set of Beethoven's nine symphonies.

Performanceis historically classic...wonderful.Recording is excellent, better thanmany new ones.Karajan is a master at Beethoven.He also has tworecordings out of Beethoven's Triple Concerto (one with Rostopovich, onewith YoYo Ma)...both wonderful.These symphonies are a must for anyoneinterested in classical music.I have purchased many renderings ofBeethoven's Ninth.All but this Karajan 1960's versions have gone to theused CD shops.This is what all recordings of Beethoven should be measuredby.

I don't like Karajan with Mahler, or some other composers, but withthis set, he is close to perfection.

And the price is a bargain.

Fivestars easily. ... Read more

Asin: B000001GZ4
Subjects:  1. Box Sets (Audio Only)    2. Classical    3. Orchestral & Symphonic    4. Symphonic   

Great Performances From The Library Of Congress, Vol. 6: Budapest String Quartet In Concert At The Library of Congress
Average Customer Review:
Audio CD (18 February, 1997)
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Editorial Review

This three-CD set presents live performances from the Library of Congress by the most famouschamber ensemble of them all. Dates range from 1941 to 1960, capturing the Budapest in its prime.Compared with their more sedate, though still hugely impressive studio recordings, the group plays herewith greater abandon and risk-taking. It pays off handsomely in more nuanced phrasing, greater intensity,especially in slow movements, and some recklessly fast speeds that add to the thrills. As expected, the 1960performances are better-sounding sonically, though not completely without intonation problems; the earlierperformances are almost flawless, but in boxy, dated sound. These interpretations still stand high amongthe best available, presenting a highly dramatic, thrustful Beethoven with the added excitement only liveconcert performances can give. --Dan Davis ... Read more

Reviews (4)

The Library Recordings vs The Studio Recordings
As much as I love the Budapesters I couldn't get past the quality of the library recordings.You cannot hear the instruments articulate very well in some parts.I don't know if this is because the library has poor acoustics or the microphones where placed incorrectly.You loose some notes and even whole phrases at times in a blurr.The studio recordings are far superior in sound quality.If you already have these quartets in a modern recording and just want to add the superiority of the Budapesters then I would recommend this set so long as you know that there are sound limitations.If this is your first buy of these quartets I recommend buying the scattered and incomplete Sony Essential Classics recordings of the Budapesters playing these pieces.I know the CD generation will not like the library recordings, but if you are used to listening to music with a grain of salt for the quality of the recording then you can enjoy the library recordings.

These are the Late Beethoven Quartets
...This is a live performance at the Library of Congress. But it is THE LATE BEETHOVEN STRING QUARTETS.

This is GREAT STUFF. These quartets have a very special and devoted audience because of their exquisite beauty.Most who hear them love these pieces very deeply. I think this is a common effect.

It is important to know that Beethoven explored things in these pieces that other musicians have been coming to grips with for well over a century and a half. These are not pieces about only charm and grace (although there is plenty of charm and grace in these pieces). These are pieces that go deep into the human soul.

If you listen very closely these pieces can seem awfully strange.But if you listen even more closely their wonder shines through. Then awhile later you realize they own you and they become transcendent and they become a special part of your life.

For extra fun, get the Dover edition of the score of the complete Beethoven String Quartets and follow along.

The sound of these recordings is awfully good for their age, but don't expect it sounding like it came from the latest equipment.

These pieces are so important that you will want to collect several versions of them. I also recommend the Guarneri Quartet recordings. There are several others.

Pure Magic
This set of recordings is absolutely incredible.The depth of feeling that the Budapest puts into this music very persuasively depicts the spiritual intensity that Beethoven put into composing this music.Beethoven's last five quartet and the Grosse Fuge are quite possibly the single greatest pieces of music ever written, and the Budapest plays the music like they are.Incidentally, I must respectfully disagree with the previous review; I find the Heiliger Dankgesang completely satisfying; The Budapest plays it just right, giving the slow lyrical passages an almost unbelievably deep tone quality, and contrasting this beautifully with the bright, cheerful passages, which are performed to perfection.Very highly recommended, one of the best recordings I have. ... Read more

Asin: B000003GJU
Subjects:  1. Chamber    2. Chamber Music & Recitals    3. Classical   

Beethoven: The Piano Concertos
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Audio CD (24 June, 1997)
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Editorial Review

Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth Concerto is enlivened, at least intellectually, by Solti's approach, constantly revealing interesting unfamiliar details in the orchestral score. Ashkenazy's detachment makes this a frosty but fascinating experience. The "Emperor" is a good routine performance, nothing special. The Bagatelles aren't much of a bonus, since they're rather dully played. (Why not the "Choral" Fantasy?) There's nothing actively bad about this set, and it's reasonably priced. But Beethoven deserves better, and gets it from many performers, including the fascinating Uchida-Sanderling collaborations. --Leslie Gerber ... Read more

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Reviews (16)

Wonderful set!
Ashkenazy is more sweet in his playing than profound, Solti and the CSO are on fire, and the Decca sound is excellent!Good job!

What is Ashkenazy up to?
After purchasing Ashkenazy's complete set of the Mozart concertos, I decided to get this one of the Beethoven concertos.Although some of the reviewers had voiced complaints about this set, I felt that it couldn't be that bad.Indeed, it's not that bad, but its not that good either.

To me, it seems as if Ashkenazy has no sense of style.His approaches to these concertos are more lyrical and romantic rather than classical.Take the first, for example.Ashkenazy treats the piano line as if he were playing Chopin.Solti, on the other hand, seems to feel that louder is better.Thus we have a very bizarre dialogue between piano and orchestra in the C major concerto.The second isn't much better.Although Ashkenazy gives a much better reading, Solti again feels that the CSO must play as forcefully as possible.The concerto is rather bland in the first place and Ashkenazy's approach is nothing special.The third concerto is wonderfully played by both Ashkenazy and the CSO.Ashkenazy treatment of the piano line is more classical while Solti's boisterous approach actually works in this powerful work.However, poor recording conditions (the evident hiss in the background) ruin the largo.The G major concerto is the most interesting in the set.Solti's treatment of the orchestra accompaniment is quite inspired - this is Solti at his most tender.However, Ashkenazy's icy interpretation is detached, it seems as if he and Solti are on two entirely different pages.Although the recording is remarkable in its beauty, Ashkenazy's lack of warmth leaves a chilling cloud over the performance.The fifth is nothing special.Solti is back to being loud and Ashkenazy gives a good, routine performance.

All in all, even at a budget price, this set is not highly recommended.

Beautiful, but not perfect
This is a good set of the piano concertos. However, the main problem is in the Fifth (Emperor): the second movement is extremely slow and faltering. This is one of the most beautiful pieces ever composed and the second movement MUST be perfect, as the version of Perahia: astonishing sensible, rhythmic.

Having problems in the Fifth is almost unforgivable in a concert like this, and is the main reason to give only 3 stars instead of 5. ... Read more

Asin: B0000041K9
Subjects:  1. Box Sets (Audio Only)    2. Classical    3. Concerto    4. Keyboard    5. Orchestral & Symphonic   

Bizet: Carmen
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Audio CD (27 February, 2001)
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Reviews (5)

So-so 1949 soundrack with Gigli
Source: 1949 soundtrack for a filmed version of "Carmen" that was never completed.

Sound: Sounds just like the soundtrack of a 1949 movie.

Text: The opera is sung in Italian and uses the spurious recitatives tacked onto the score after Bizet's death.

Documentation: No libretto.Short summary of plot by act.Track listing shows Italian titles without timings.No identification of cast members singing.(For those interested, Disks 1 and 2 each time out to just above 72 minutes.)

In considering this set, I am tempted to follow the course of fans of the great divas who focus entirely on their particular goddess while ignoring shortcomings of the recording around her.I hereby declare that I am an unabashed fan of the extraordinary Beniamino Gigli, so here goes: This is Gigli at age 59 singing Carmen in Italian.He is terrific.Every Gigli fan must have this!

Having said that, I can now concentrate on why this is not a great recording of "Carmen."A failing of the set is the sound balance.Vocal soloists are very much at the front, while the orchestra and chorus are distantly in the background.Come to think of it, that is not necessarily so bad a thing, since the sounds generated by the band are pretty awful and the chorus seems both small and tentative.

Gigli's voice is less lustrous than on earlier recordings, but he is still head and shoulders above almost all of his successors in sheer, glorious sound.His interpretation of Don Jose is pure verismo--Bizet by way of Cavalleria Rusticana.Gigli is no love-sick shnook, but a passionate and dangerous loser whose internal fires are banked dangerously high from beginning to end.He sings the Flower aria in just the way that Canio might sing it while waiting to go on stage in "Pagliacci."

Ebe Stignani, one of the greatest Italian mezzos, was a famous Carmen in Italy from the 1930s and onward.If her voice sounds a little too old and a little too thick for an ideal Carmen, she still has moments of insight and plenty of verve.

Gino Bechi was a fine dramatic performer, wonderful in an opera such as Andrea Chenier, but wholly without the sheer vocal beauty that the role of Escamillo demands.

Rina Gigli, who passed away in 2000, was the daughter of Beniamino.She made her operatic debut opposite her father in La Traviata in 1943.She had a 35-year career, solidly placed in the B-list of European singers.As Micaela, she is just awful--elderly sounding and harsh.This is the only performance of Carmen I have ever heard in which it is clear why Don Jose left home and remains reluctant to return.

The conducting is, to say the least, uninspired, coming to life only for Gigli and Stignani--and not always for her.

Gigli, even in the wrong language and the wrong style, is always worth five stars, but for the recording as a whole--three stars.

A MINORITY VIEW: A CARMEN TO BE TREASURED
OK, everybody else did not like this Carmen.I loved it.What this Carmen has, so-so sound, Italian translation and all, is PASSION.Gigli was nearly 60 when he took this on, and his technique is flawless.He know exactly how to muster his vocal power.The final duet wherein he kills Carmen is thrilling.The often forgotten Gino Bechi is a thrilling Escamillo.Make no mistake, this is NOT a perfect Carmen, but this is gutsy singing and true emotion.This Carmen gets more play in my household than any of the other dozen or so collecting dust on the shelves.Gigli fans must have this in their libraries.

Very disappointing - had to return it
The recording is old.I was really looking forward to trying this out on my new stereo after attending the performance at Metropolitan, and even though I was sitting at quite some distance away from the stage, through all the coughing, chair squeaking and a fair amount of second-rate singing, I still could hear an exceptional masterpiece.You can imagine my disappointment.I'll still keep looking for another version. ... Read more

Asin: B000056PGC
Sales Rank: 308760
Subjects:  1. Classical    2. Opera    3. Opera / Operetta / Oratorio   

Johannes Brahms: The Symphonies
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Audio CD (11 February, 1992)
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Reviews (27)

Very good
This is the Brahms Symphonies set to get. Every performance is great, and the sound is pretty high quality. I do not notice any problems with the acoustics. Highly recommended.

Bold and Raunchy Brahms
If you like your Brahms on the lame side like Georg Szell then this might not be for you.However, I love the freedom and emoting this orchestra does for Solti...much more exciting then the Cleveland orchestra foray.

Some of the Greatest Symphonies in History
Johannes Brahms is, I believe, one of the greatest composers that ever lived, and is certainly high on my list of favorites. His symphonies are full of various feelings - happy, sad, or angry - that other composers simply avoid. I've come to the point where happy and merry music just won't do.

After listening to the collection, I've been amazed by firsts and lasts: the First and Fourth Symphonies; and each of their First and Fourth Movements. These pieces of music evoke some of the strongest feelings, which is why I consider these my favorites.

Overall, the rest of the Symphonies are pretty good as well, with two bonus tracks: the Academic Festival and Tragic Overtures. Anyone who admires Brahms MUST OWN this collection. It is a high-quality collection that has a very clear sound which is worth every dollar it costs. You will not regret it. ... Read more

Asin: B0000041Z5
Sales Rank: 22226
Subjects:  1. Classical    2. Orchestral    3. Symphonic   

Great Romantic Concertos
Average Customer Review:
Audio CD (07 December, 1993)
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Reviews (6)

Get Your Warhorses Here
Yep, they are all here, all the romantic violin concerti that you know and love.I suppose that is the strongest appeal of this collection:you have at your fingertips an excellent compendium of romantic violin music played by one of the better romantic violinists of his generation.

When one approaches the individual pieces, is one getting the best performances to be found?Probably not.I have always preferred Szeryng's performance of the Brahms, for example.Probably every reviewer could name an individual performance preferable to the performances in this collection.Still, the strong consistency of the performances makes this, as an overall collection, hard to beat.

My only quibbles:why include the Paganini #1 and not, for example, the Sibelius?Without taking anything away from Paganini for his contribution to violin technique, let's face it:compared to the other pieces in this collection, the Paganini #1 is just the musical equivalent of cotton candy.It does not stand up well in comparison.

My other complaint is the somewhat tinny sound quality on the Bruch #1.Perlman's tone sounds almost raspy at times, as does the sound of the orchestra.Was he stiking the mike to close to his violin like Heifetz always did?I didn't notice it on any of the other pieces.It is a little strange.

My quibbles are minor ones, though.Overall, I am quite happy with the quality of this collection.

A must for any serious music fan, except for the Brahms
This collection of concertos provides the perfect medium for Perlman to express his technical and musical virtuosity. The Beethoven, while conspicuously lacking the bravura element, is fiercely demanding of the soloist's tone and phrasing; Perlman rises up to the level flawlessly, but he does not stop there. The other concerti, while megalithic in their technical demands, are more forgiving musically; this is true especially with the Paganini concerto. Perlman, however, makes them as musically complex as the Beethoven; he develops the musical depth of these very technical concerti while meeting the technical demands. The ricochet bowing and double-stop harmonics in the Finale of the Paganini are executed without a hitch, and that would probably be enough to wow an audience, but Perlman still attends to the phrasing and sound, taking advantage of the technical facility with which he executes the concerto to develop the work beyond technicality. Without this musical aspect, the Paganini would be nothing more than an etude with orchestral accompaniment. Perlman has shown an affinity for Paginini in his recording of the 24 Caprices, where he takes 24 very difficult etudes and transforms them into mini-masterpieces.

My only complaint in this CD collection is with the Brahms. The first movement of the Brahms is very long, almost as long as that of the Beethoven, yet the orchestra and soloist keep the tempo excruciatingly slow, eliminating the forward momentum needed to drive such a piece. I would recommend getting a recording of Heifetz playing Brahms with the Chicago Symphony, Fritz Reiner conducting. This is the only recording where I have heard Brahms played the way it should be.

There is no one better!
I first heard Perlman play the Tchaikovsky live when I was nine years old in Heinz Hall with the Pittsburgh Symphony and Andre Previn. What an experience!!Ever since that performance, I have been looking for a recording to bring back that moment!I don't think that this will EVER happen, but this recording is about as close as I will ever get!This recording of compositions for the violin ranks up there with my favorites. Perlman is the quintessential violinist, if not musician of the 20th, and now, 21st centuries. If you are a fan of classical music, or just getting started into the realm of literature, this is a must have set for the foundation of any great CD library!
Five incredibly humbled stars! ... Read more

Asin: B000002S57
Sales Rank: 49665
Subjects:  1. Classical    2. Concerto   

Selections From The Chopin Collection
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98
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Reviews (5)

rubinstein was the best
Let's clear up some confusion among other reviewers. The writer is correct in referring to a "Heroic" by Chopin--it's the Polonaise in A flat, Op. 53, #6, which is commonly called the "Heroic" Polonaise. That, and Nocturne in A flat (Op. 9, #2), are my favorite pieces on this recording, although they are all very good.Too bad Rubinstein is no longer with us--he may have been the greatest master of them all, the way Segovia was on the guitar.

If you only buy 1 CD of Chopin solo pieces, buy this one!
An outstanding compilation of pieces, played brilliantly by the best Chopin interpreter of the recording era.I only wish there had been room for the Scherzo No. 2.

Master of Chopin.
An excellent starter kit (and keeper!) for those about to embark on the glorious world of Chopin.Overall, may not have quite as much "oomph" as a certain few others, but Rubinstein's stunningperformance of the G minor ballade is more than worth the price ofadmission. ... Read more

Asin: B000003EQK
Sales Rank: 176739
Subjects:  1. Classical    2. Keyboard   

Elgar: Pomp and Circumstance Marches Op. 39; Enigma Variations Op. 36
Average Customer Review:
Audio CD (17 October, 1995)
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Reviews (9)

More than Pomp
This compendium of Elgar's music is beautiful and powerful.The familiar tune of Pomp and Circumstance is played in its most beautiful entirety.And while it is familiar, it is just one of many pieces that are filled with passion and feeling.

Don't let the price fool you... This is a WONDERFUL album!
I knew I was getting a bargain [price] when I purchased this CD, but I'm happy to say both musically and technically, it's knocked my socks off!The warmth and vigor with which the London Symphony Orchestra (no slouchy establishment, needless to say) interprets and delivers Elgar's lush compositions is remarkable.What impressed me most, however, is the quality of the recording itself.The stereo separation of the instruments simulates sitting on the front row of an orchestra hall nearly perfectly, and the sound is crisp and clear.Priced under [small amt], this was a welcome suprise and bonus!

If you have yet to experience Sir Edward Elgar's works and you enjoy orchestral music, please do yourself a favor and purchase this album.You'll be rewarded with Elgar's charming, passionate creations.His variations are at times both robust and delicate, powerful and tender, witty and affectionate, as each variation is crafted after and named for one of Elgar's acquaintences, including his wife.

The liner notes sum up this album's work nicely by quoting critic Neville Cardus: "I feel that Elgar's music is usually either opening something or closing something institutional... we have in Elgar the laureate rather than the poet."And you couldn't have a better introduction to "the laureate" than through this collection.

P.S.Did I mention the Pomp & Circumstance Marches?Truly impressive.The "one" we all know is but a small portion of March #1.It is one of the most recognizable themes in the world of music.I couldn't help but hear in the back of my mind, "But wait!There's more!"And they're all worth hearing!

Excellent
Everybody who ever graduated from high school knows the first Pomp and Circumstance march. what they dont know is that there were four others just as good if not better than the first. This is a great collection of pieces by Elgar to have. ... Read more

Asin: B000000UVS
Sales Rank: 1650
Subjects:  1. Classical    2. Orchestral    3. Orchestral & Symphonic   

Mahler: The Complete Symphonies
Average Customer Review:
Audio CD (30 January, 2001)
list price: $69.98 -- our price: $69.98
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Editorial Review

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde ... Read more

Features

• Box set

Reviews (21)

An Awesome Set of Mahler Symphonies!!!
Sony Music's 12-disc set "Mahler: The Complete Symphonies" collects nearly all of the mammoth symphonies by the great Austrian composer Gustav Mahler under the baton of the late, great Leonard Bernstein.
Essentially, the set brings the individual "Bernstein Century" discs together in one place for a price that is way cheaper than the single discs combined. The only things missing from this set are the complete 10th symphony which Bernstein refused to conduct appart from its first movement (which is included here) and "Das Lied von der Erde" which is more of a symphonic song-cycle rather than an actual symphony (still awesome though).
The sheer epic power of these symphonies is unpredicented and uncovers the undeniable fact that Mahler was indeed a true genius. While the complexity and extended length of these symphonies may be overwhelming to some, their imporatance is something that is clearly never overshadowed.
The set also includes an extensive booklet with track details, essays from Bernstein and Tim Page as well as lyrics to all the symphonies that feature choirs and/or soloists.
Hands down, this is an essential addition to anyone's music collection. Maestro Bernstein has indeed brought out the very best in these amazing Mahler symphonies and the performances here are flawless.
Highly, Highly Recommended!!!

Recommended first listens on this set: Symphony Nos. 2, 3, 7, 8 and 9.

Groundbreaking Cycle!!!
You have before you one of the great testimonials of the passion and beauty of Mahler's music.Bernstein really gets inside the music of Mahler in a way very few conductors do..I find in some regards the sound of the NY PHIL not as refined as some but with wondeful expression and faithfully following the letter of the score Bernsten achieves dynamic performances from the NY PHil.

The 5th is given a superbly controlled reading and the finest performance here is the Ninth...superbly played and without affectation!!!

Only 9 of Mahler's 10 completed symphonies??
According to the contents listed, the set contains 2 Kindertotenlieder recordings (one with Jennie Tourel, one with Janet Baker), but NO symphony Das Lied von der Erde.Is this correct? ... Read more

Asin: B0000589BP
Subjects:  1. Box Sets (Audio Only)    2. Classical    3. Orchestral    4. Orchestral & Symphonic    5. Symphonic    6. Vocal   

Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Average Customer Review:
Audio CD (15 August, 1995)
list price: $16.98 -- our price: $13.99
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Editorial Review

This is madness in action. Martha Argerich's RachmaninoffThird is the fastest and most physically exciting you'll ever hear. She'srecorded live, and the balances are a little strange as a result. You can alsotell that Riccardo Chailly and his orchestra are having a hell of time trying tokeep up with her, while anticipating what she's about to do next--but so what?This is as close as you can come to an experience of spontaneous combustion, andsurvive. The Tchaikovsky is, if possible, even wilder, with quite a few missednotes. But with an artist like Argerich, you simply can't judge the performanceone note at a time. So go ahead: live dangerously. --David Hurwitz ... Read more

Reviews (50)

Too many mistakes!
Professional pianists make 0-2 mistakes during a performance of a great concerto
but argerich, despite some great moments (i liked the opening of rach3) makes a lot of noticable mistakes here
e.g the opening of the 3rd movement of tchaikovsky1 - a VERY noticable mistake.. also during rach 3 on all movements.. mistakes here and there..

A real gem
Wow, after all the superlatives expressed and accolades showered on this CD by so many reviewers, I'm not sure I can add anything else but I'll try.I just want to share simply how I felt about it although I'm not a strictly classical music person.

When I first heard this CD, I ask myself what's all the fuss and hype was about.What's with the great reviews and even personal comments I've heard like "this is awesome, man!" - this coming from a total stranger who saw me buying it in the music shop.The Rach 2 I've heard and loved, but I've never came across the Rach 3 before in all my 50 years.My immediate reaction on hearing the CD on a modest hi-fi set-up was pure disappointment.Initial impression I get is that the Rach 3 sound like a mangled mess of musical notes, filled with seemingly loud, meandering and unmelodic banging on the piano.It seemed someone possessed, even mad was playing the music!Frankly, I don't know what to make out of the music, of what it was all about, particularly why it has been described as romantic when it doesn't evoke the slightest bit of romanticism in me.I considered the experience one mainly of confusion and the music a lot of "sound and fury signifying nothing".

Feeling dissatisfied and frustrated after listening to the CD a couple of times, I borrowed the high-end audio system of a friend and played this CD again late one night.This was then that I got a "revelation" of the Rach 3.What beauty, what passion, what wonder that lies in this piece of music!How thrilling, exciting, exhilarating the performance was.To me, it was like I was standing in the conductor's rostrum, listening to every beautiful note, every captivating sound, coming from both the piano and the orchestra. I can feel the atmosphere of the concert hall as the music float, soar and swirl into space.Musical notes upon musical notes produced by a pair of magical hands was coming out fast and furious - the high and low, soft and loud, slow and fast, simple and complex, harmonious and discordant, converging and diverging, agitated and soothing etc.Everything was full, rich, detailed and warm.Overall, it was all moving, evocative, and passionate.I was transfixed, fascinated, mesmerised by the music - or possessed by it if you will.I could not pull myself away until the very end of the concerto, until the final climax, until the last note has died away.With no offence meant, the experience wasn't so much like a wild orgy, as someone described it, but more like great love making with an earth moving climax.Or put another way, the music invokes in me the sense of great and mighty rushes of water flowing down a mountain relentlessly and inexorably to its final destination, culminating in a awesome waterfall (Niagara?) - all these remind me ofhuman passions sometimes.Interspersed in between are the swirls and twirls of whirlpools and undercurrents, as well as quiet moments of tranquillity, peace and reflection.Now I can understand why some people find classical music so addictive and all consuming.This is what great music is and should be - music that touch, move, inspire and communicate with the listener.

I believe this experience was possible mainly because Martha Argerich is such a consummate yet sensitive master at the piano. Only performers like her appear to disappear into the performance and let the music come to life.Virtuoso performers who have big egos and think too highly of themselves tend to draw attention to themselves (see how great I am!) rather than to the music. I find their performances tend to be technical, cold, distant and uninvolving (regardless of how brilliant some think they are) betraying hints of aloofness, disdain, indifference to and even contempt for the music that's being played.Not so here.Here, the music comes through loud and clear to make direct contact with us at the right places, the heart first and then the mind.

Since then, I have listened to about fifteen other recordings of the Rach 3 by great artiste like Horowitz/Reiner/RCA/1951, Janis/Dorati/LSO/Mercury/1958. Some may be technically brilliant but leave me cold, disinterested and bored.These tend to emphasise more about the virtuosity/virtuoso than the musicality/music as mentioned earlier.This CD is neither the greatest nor the best but it is among the top 3 and is a MUST BUY.Get this and also the one by Byron Janis.Together, they form an ideal collection, offering comparisons and contrasts - one is a live performance the other is not, one is by a man and the other a woman, one approaches the music in a relatively more noble, controlled manner the other more in a free and abandon-like manner etc.Both are superb even if Byron Janis is the better, in my opinion.

Lastly, one word of "caution" - do not listen to the Tchaikovsky Concerto immediately after the Rachmaninoff on this CD.Don't be mistaken; the Tch 1 is also one of the best around, although it is not as good as the Rach 3 in terms of recording, not performance.This Tchaikovsky is also an ideal addition to that by Van Cliburn/Kondrasin/RCA/1958.It is just that immediately after feasting at say a grand Chinese banquet, I can guarantee that you will be too satiated to enjoy a grand Japanese banquet next.The Rach 3 will still be swirling inside you such that the Tch 1 will appear relatively bland and flat!So space things out and slowly savour and enjoy the quite different experiences!

Great, but not the greatest
I'm sorry to contradict David Hurwitz, but Argerich's Rach 3 is NOT "the fastest and physically exciting you will ever hear": this honour goes to Hurwitz's near-namesake Vladimir Horowitz in his 1941 live version with Sir John Barbirolli. In this wild rendition, Horowitz plays the concerto faster than anybody before or since, Rachmaninov and Argerich included.In fact, here Horowitz is faster than Argerich in all of the most virtuosic passages, and much faster in the end climax. Argerich - or anyone else, for that matter - simply can't equal Horowitz's white heat, whiplash kind of technical brilliance and command, his unique power, speed and tonal control. ... Read more

Asin: B0000041DF
Subjects:  1. Classical    2. Concerto   

Saint-Saens: Symphony No. 3; Carnaval des animaux
Average Customer Review:
Audio CD (14 April, 1992)
list price: $9.98 -- our price: $9.98
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Reviews (4)

Save your money and get the Levine / Preston recording
This is truly the worst recordings I've ever heard of the Saint-Saens 3rd symphony.It sounds like the orchestra and organ parts were recorded during different studio sessions and matched in post processing.The organ part was clearly recorded on a instrument of German influence and is all wrong for this French Romantic era symphony.Also its obvious that the organ part was boosted during post processing because there's no way that the registrations the organist is using in the recording would carry over a full orchestra in real life.

The Carnival of the animals is ok.Although at times the piano drowns out the other insturments.Again, bad post-processing.

I wonder how the people who produced this recording are able to sleep at night.

A Sleeping Tiger Awakens!
This is a a truly remarkable recording of the Saint-Saens 3rd. It has been described that the organ's first appearance in this symphony, is of a quiet, behind the scenes, gently supportive, cat-napping tiger. Only after the increasingly rousing 2nd half, does the tiger fully awaken with a pounce that lands it directly front and center, and snarling! The tiger now leaps, blazing forth in great prominence, headlong into the finale. Man, that is one THUNDEROUS C major chord that opens the Maestoso-Allegro!You better be holding on to your hat!Really, though, I have heard maybe one other recording that tops this for having every bit just perfect--andthat was Charles Munch in Boston, recorded in 1959.But Dutoit and Hurford should snag all the praise they can get for this sonically resplendent recording. Saint-Saens did some ofhis absolute best orchestral writing in this 3rd (his last) symphony. You will be moved by the quiet, poetic strings and soft, sustained organ pedal notes in the first half. You will be launched, with gooseflesh, right out of your chair during the finale, and you will be in love with this Gallic beauty.

Grandeur
Saint-Saens' Symphony #3, especially the first four movements (op. 78), truly resounds the grandeur of France. The fourth piece, Sym No.3 in c, 'Organ' Op.78: Maestoso-Allegro, was played during London's grandest World's Exposition in 1900, complete with cathedral pipe organ and full grand paino. This was written at a time when Europe had not yet lost its wondrous magic to existentialism and the industrial machine. Its a beautiful composition that holds in it the glory and genius of the Fin de Siecle spirit. This recording on the London label is the best I've yet to hear, and its tenor recalls the age of giants- of Hugo, Napoleon, and Europe's great flowering World's Expostitions. So refreshing to hear in our troubling modern time. Ecoutez soigneusement, pour c'est le grandeur! ... Read more

Asin: B0000041YT
Sales Rank: 22118
Subjects:  1. Chamber    2. Classical    3. Symphonic   

Jacqueline du Pré & Daniel Barenboim - Schumann: Cello & Piano Concerto
Average Customer Review:
Audio CD (16 March, 1993)
list price: $10.98
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Reviews (2)

Sunshine and shadow - as portrayed by du Pre.
No one played the Schumann concerto like Jackie - it is simply gorgeous! It must surely count among her most glorious recordings. I say this because everything she does here is perfect: the tone of her cello, the tempi (although to some ears, the second movement might be extraordinarily slow)etc... It is impossible to tell you everything that is right about what she does - there are too many things discuss, and one has to listen to it to believe it. The whole concerto is spaciously laid out, and it suits the Romanticism of Schumann's music (who, of course, was a true Romantic). The second movement is unmatched in its heartbreaking beauty - not even Rostropovich with Bernstein (who was, incidentally, a conductor who conducted Jackie very frequently in this piece)- and the last movement is played with furious passion from both soloist and orchestra alike. In the end, Jackie and Barenboim triumph joyfully (sadly not the fate that was in store for Schumann).

The piano concerto is another matter. It is a very good recording and performance, with Barenboim showing the contemplative side of this piece, rather than the virtuosic side, as it isoften played. A minor drawback is the conducting. Fischer-Dieskau is great as a singer, not as a conductor (well, at least for this piece anyway). Sure, it is good enough, but when one listens from a whole point of view, it lacks in depth and fire. To be fair, though, he does support Barenboim more than well, and the overall structure is good. But it is ultimately amatuerish conducting which mars the performance. However, the Introduction and Allegro apassionato, is a welcome inclusion, as it is not recorded often enough. Overall a beautifully satisfying performance. Highly recommended, and at mid price too!

Gradations and Harmony like Sun and Fog (or mist)
It had been described by Clara Schumann that while her husband was in anasylum he devoted much effort to making corrections upon his cello concerto(I850). There are fluctations in overall mood, a sort of interplay betweenlight and shadow, a series of gradations and tonalities particularlyprevalent in the interaction between the cello and piano, which, aftermanaging to find their own placement during the progression of the workevenly settles into a sort of polished harmony before then arriving at itspassioned finale. Unlike the trademark eloquent passion and rhapsodic angstof her recording of the Chopin Sonatas (see e.g., Sonata for Celloa ndPiano in G Minor BI60/Opus 65; a good starting point for anyone interestedin the cellist), du Pre does interpret the Schumann concerto in acontemplative and classic manner. With Barenboim, this recording manages toconvey much of the talent, competence (and virtousity)for which she wasknown ... Read more

Asin: B000002S4L
Sales Rank: 234802
Subjects:  1. Classical    2. Concerto   

Dmitri Shostakovich: Symphonies Nos. 5 & 9
Average Customer Review:
Audio CD (22 October, 2002)
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Reviews (3)

Five Stars for Clarity and Pacing
There is a tendency by some conductors to rip through the beginning of the last movement of the fifth symphony (example, see Andre Previn's recording); however, listen to this recording and you will hear the tempo start a bit sluggishly and build to the faster tempo, which in my opinion is much more effective and exciting.Consistent with Telarc recordings, transparency and details are abundant throughout the fifth and ninth symphonies.

For me, the highlight of the fifth symphony as recorded by Levi and the Atlanta Symphony is the haunting and eery third movement.Although quite lovely, there is not a sense of true peace, which I'm quite sure was the aim of Shostakovich.I'm reminded of a particular section in Holst's The Planets when I listen to the aural beauty of the strings.I must say that some Telarc recordings lack strength in the strings as the company tends to favor the brass and percussion more heavily, but in this recording, the strings are very strong, which is great.

The ninth symphony, although less popular than the fifth, is a joy to listen to, however, I don't listen to it as much as the fifth.

A great interpretation of the century's greatest symphony
Personally, I consider Shostakovich's Fifth Symphony to be the greatest symphony of the 20th Century. It is a heroic statement of the struggle of the individual to stand up with integrity against the ever-present dehumanising forces of policital and economic oppression. It is the anatomy of the human soul and its longing for integrity and creative freedom. DDS wrote this symphony as though his life depended on it (which in fact it did). If you have not read the story behind this work, then before you immerse yourself into it, you really must.

When this symphony is performed as it is performed here by the ASO under Levi's baton, it will literally shake you to the very core of your soul. Levi wrings every ounce of emotional force out of this work. Listen to the very last bars of this symphony with the volume turned up on your audio system: that final THUD!! at the end of this masterpiece will send chills down your spine!

Great disc overall.
As for the Fifth Symphony, Levi and the ASO do a wonderful job bringing out all the different moods and messages here. Captivating would be a good adjective. The solos are both intensely musical and executed with finesse.The tempos seem to fit the music just right and nothing is too flashy as ischaracteristic of some of Levi's recordings.

Regarding the NinthSymphony, this is just the kind of music that Levi is right at home with.Again, all the solos are excellent and the parody and sarcasm are portrayedwonderfully.

Overall, this is a disc well worth your attention. The ASOhas a great sound for Shostakovich, and while Levi isn't always up thetask, here he makes a very convincing performance. ... Read more

Asin: B000003CW1
Sales Rank: 36202
Subjects:  1. Classical    2. Orchestral & Symphonic    3. Symphonic