Rachmaninov: Piano Concerto No. 2; Tchaikovsky: Piano Concerto No. 1

Rachmaninov: Piano Concerto No. 2; Tchaikovsky: Piano Concerto No. 1

Product Details

Amazon Sales Rank: #9870 in Music

Released on: 1996-02-13

Number of discs: 1

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Editorial Reviews

Amazon.com essential recording
Although the late Sviatoslav Richter spent his later years concentrating on Bach, Beethoven, and Haydn, he never completely abandoned the music of his native country. His reading of Rachmaninov's most popular concerto, captured in fine late-'50s stereo, is one of the most glorious ever recorded. Richter's amazing technique is completely up to the demands of Rachmaninov's difficult writing, and he plays the heart-on-sleeve melodies with such refined intensity that they never sound sentimental. This performance is a truly amazing example of great pianism, very strongly supported by the fine orchestra and its little-known conductor. Unfortunately, the accompanying Tchaikovsky is a dud. Karajan and Richter recorded this work together as a favor to a record-company executive, but they don't seem to be in sympathy. The conductor's excessive refinement holds the pianist back, and the result is much too restrained for the music. Never mind. The Rachmaninov alone is easily worth the price of this disc. --Leslie Gerber

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Customer Reviews

Almost the Best
For the 2nd Piano Concerto this is the best. Richter crafts his individualistic interpretation that somehow finds further beauty in the score. The only reason for the review title is that if you are enraptured with this piece and love this interpretation to dire obsession, well, there is possibly one better recording. Surprise, it's by the same pianist, Richter, and in the same year, 1959. Do a search for "Rachmaninov" and "Richter." It's on the Yedang label, among others, and conducted by Kurt Sanderling.

Richter's interpretation is identical, not surprising given it's the same year. All you can do is play each version, one beside the other, and pick your favorite moments from each... a slight accent here, a clearer run there, it's a tossup. The other recording is less clear (live?) but has better bass response, which makes a difference. Sit back and marvel at the vast talent.

Richter's version of Rachmaninov's Second is the one all others are measured against and for good reason!
The great Russian pianist took up the cause for Rachmaninov's at the time much-maligned works. I'm an enthusiast of modern music but I can't resist the warmth of the Romantics either. In our hearts, I think more people have a Romantic sensibilily than a Modernist one.

The second of Rachmaninov's concertos is one of his most famous works and one of the most lushy and slushy in the Romantic piano/orchestral repertoire. The concerto was prominently featured in the David Lean romance "Brief Encounter". Obviously they didn't use this Richter recording since it didn't exist yet.

From the grave opening to the stunning slow movement and the scintillating energy of the finale, this recording has Richter delivering the goods for the benefit of his Russian countryman's music. Listen especially to the last 2 and a half minutes of the slow movement, Richter plays with such raptness and feeling, it is heart melting and dreamy. Guaranteed to drown you in beautiful sound! I haven't heard anyone else play with such understanding. If you want a comparison recording, try Van Cliburn with Fritz Reiner. It's another great performance but not as good as Richter's. The conductor working with Richter is Stanislaw Wislocki and he leads the orchestra from Warsaw.

The coupling on this CD is Tchaikovsky's 1st, a concerto that is even more famous than the Rachmaninov. Unfortunately Richter and the great Austrian conductor Herbert von Karajan did not see eye to eye in matters of interpretation. Karajan, conducting the Vienna Symphony ( not the Philharmonic! ) goes for the long line, the lush texture, the grand backcloth. Richter goes for more energy, trying to break free of Karajan's pompous orchestral back up. I love Karajan as a conductor but he doesn't collaborate well with instrumental soloists usually. It's a strange performance that doesn't compete with the more famous accounts of this masterpiece. But that does not matter, if you want the best recording of Rachmaninov's 2nd concerto, this CD is it.

Another reviewer accused this recording to be in poor sound. I can't understand his opinion. The sound for 1959 ( the Rachmaninov 2nd ) is terrific and the Original Image Bit-Processing remastering job from DG has given it extra depth and bass, which is a major plus. I don't find any reservations here, this is great. A must purchase for Richter enthusiasts!

Great performance, poor remastering
Previous reviews extoll the virtues of Richter's performance, and indeed it is magnificent. Unfortunately, the remastering of this recording did not produce a quality result. The dynamics are poor, resulting in fuzzy strings, and horns and a less than vibrant sound from Richter's piano. There is no sense of "presence". This is a valuable recording for those with two or more copies of the Rach 2, who want this one as a historic performance or for collectors of Richter. If this is your first copy and you have a decent sound system, steer clear.

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Tchaikovsky: Ballet Suites

Tchaikovsky: Ballet Suites

Product Details

Amazon Sales Rank: #69824 in Music

Released on: 1994-09-20

Number of discs: 1

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Customer Reviews

A Spectacular Technical Recording with Stunning Playing by the Vienna Philharmonic
I tend to find Tchaikovsky very prone to schlock. That schlock is at the forefront in the Ballet Suites. But the schlock is irresistable. Some of the most catchy melodies in the orchestral repertoire. These works are most commonly performed, as concert works, as Suites, though one can find recordings of the complete works. If one's in the mood for what Tchaikovsky offers up in these works (tunes that stick in your head, basically), this is a great recording to have of these works. The sound quality and engineering are amazing. The performance by the Vienna Philharmonic (particular the string section) is flat-out perfect. If these works are for you, this recording is for you.

Spectacular!
Great music, great conducting and great performances by the VP. There may be other recordings that are just as good, but I don't see how they could be any better unless you just prefer other selections. A treat for your ears.

Levine's approach is symphonic, the orchestra is sublime
We haven't had a disc of Tchaikovsky ballet excerpts from the Vienna Phil., I believe, since Karajan's four decades ago (a great recording on Decca in plush remastered sound). Here under James Levine in 1992 the orchestra is even better--more fluid, sparkling and alive than under Karajan. This is well-worn music that every collector already owns, and it's easy to overlook Levine as a Tchaikovsky conductor. Here he defies all expectations.

True, he doesn't take a balletic aproach. Levine's tempos in general are too fast to dance to. But in the symphonic vein he has chosen, Levine works miracles. The urgent virtuosity of the playing--aided by excellent recorded sound--is jaw-dropping, and the violin soloist in the long Swan Lake scene (#4) is beyond compare for delicacy and poetry. Karajan's only fault in this music wass to blow it up out of proportion; Previn's was to apply routine phrasing. Levine makes these suites totally riveting and sensuously luxurious without any trace of pomposity. Highly recommended.

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The Only Classical CD You'll Ever Need!

The Only Classical CD You'll Ever Need!

Product Details

Amazon Sales Rank: #10242 in Music

Released on: 1994-07-19

Number of discs: 1

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Customer Reviews

OMG! Think of the Money I Could Have Saved!
There's one horrible omission from this anthology of "Zerspoilerte Musik" however. How could they claim that this is "the only classical CD you'll ever need" without a single track of Glenn Gould playing Bach!

Great For Newcomers
As an 18 year old univeristy student i would have to rate "The Only Classical Cd You'll Ever Need" as excellent. I dont know much about classical music but i was able to recognize almost every song and able to appreciate the music. Classical music is excellent to study to when i am up late for an exam and amazing to calm down to will i am simply resting. For anyone who has never been interested in classical music i would recomend this CD as a great start to an appreciation for an amazing genre of music.

Classical for Complete Beginners
If you're totally and completely new to the genre, this is a fairly good cd, strictly for the purpose of getting to know the popular and familiar classics that everyone knows, but can't place. However.
I found the recording of some of the tracks to be of pretty poor quality, especially the Swan Lake waltz. It sounds as though it were recorded during dinner - lots of talking, clatterinig dishes, and overall movement in the background that's very distracting. I also found the Air on the G string, track two, to be what I would call an okay performance. You can definitely find better recordings of these and a few other tracks.
Also, if you really want to delve wholly into classical music, not just listen to the popular few, try a cd that also encompasses opera, and more "modern" classical music, such as Gershwin.
So, as I've said, for the absolute beginner it's alright, but try to find these same tracks and a few additions on another cd with better quality, and it would be your money better spent.

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Hommage a Messiaen: 8 Preludes; Selection from: Quatre Etudes de rythme

Hommage a Messiaen: 8 Preludes; Selection from: Quatre Etudes de rythme

Product Details

Amazon Sales Rank: #32049 in Music

Released on: 2008-10-14

Number of discs: 1

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Editorial Reviews

Album Description
The centenary of Olivier Messiaen's birth provides an occasion for surveying his place in the landscape of musical creation. This recording, which brings together some relatively neglected pieces from his abundant output, represents both an act of homage to the composer and a reflection on the special position his works occupy in 20th-century music. In three segments, it presents compositions of three different types, each written at a difficult time in his life and emphasizing the fundamental role of the piano in his oeuvre. The Préludes are among Messiaen's earliest pieces, written in 1928-29, when he was 20 and still a student at the Paris Conservatoire. Later he described them as a "collection of successive states of mind and personal feelings". All eight were composed under the shock of the death of his mother, the poet Cécile Sauvage. She is "the dove" of "La Colombe", while the heart-rending "Cloches d'angoisse et larmes d'adieu" gives us an idea of the traumatic effect of her death on so gentle and sensitive a youth. Pieces dealing with grief and mourning are contrasted with others of great luminosity. Thus the "Chant d'extase", placed at the heart of this sombre landscape, allows us a foretaste of the luminous grace of some of the Vingt Regards sur l'Enfant Jésus. The cascading gems of "Les Sons impalpables du rêve" cast a musical spell entirely worthy of the finest works of the 1930s. Messiaen ends his cycle with "Un Reflet dans le vent", a piece that is by turns angry and lyrical. This may be a lesson in optimism on the part of a man of faith who was capable of turning to the light in the blackest of all possible circumstances (an ability also manifested in his Quatuor pour la fin du temps, written in a prisoner-of-war camp). But it could also be an expression of the hope awoken in him by the work's dedicatee, the pianist Henriette Roget, with whom he was in love. The surreal titles of some of these Préludes adumbrate texts that the composer - who had a fondness for the poetry of Paul Éluard - would later write and set to music, especially those of his song cycle Harawi. But what is most impressive about them is the world of colour they inhabit, a world both highly personal and already strongly defined. Each piece involves detailed associations between sound and colour. According to the composer, the fifth Prélude is "polymodal, superimposing an orange-blue ostinato on chordal cascades in a violet-purple mode that is invested with the timbre of a brass instrument". But it is in "Cloches d'angoisse et larmes d'adieu", the masterpiece of the cycle, that the composer most fully discloses his individual treatment of sonority. As Messiaen himself explains: "The bell-like sound combines many modes; the deep resonant tone of the bells and all their high harmonics resolve into luminous vibrations." His subtle use of resonance, inviting us to listen "inside" the bells, turned him into a prophet for generations to come, particularly the composers of spectral music. The composer's passion for nature and birdsong finally became omnipresent in the 1950s, resulting in a series of naturalist works that illustrate two of the more remarkable qualities of Messiaen as man and artist: his exceptional listening powers and his bound¬less capacity for astonishment. The precision and fidelity of his birdsong transcriptions reveal both his amazing ear and his tremendous concern for detail. But as a source of inspiration, this new-found interest also allowed him to escape from the anguish of a life overshadowed first by terrible illness and then by the death of his wife, the violinist Claire Delbos. It is interesting to see this radical move within the wider context of a period marked by other musical aesthetics and languages as well as by techniques that repre¬sented a break with the past. Messiaen made a point of keeping abreast of the work of the younger generation of avant-garde composers, and he himself made an entirely fresh start by writing whole pieces made up of completely new material having no historical point of reference: this was the birdsong that he transcribed systematically. His first "manifesto" was Réveil des oiseaux for piano and orchestra (1953), which is made up entirely of birdsong. By the end of the 1950s, this radicalism, coupled with his love of systemization, had led him to write the vast Catalogue d'oiseaux for piano solo (1956-58), from which two excerpts are included here. "La Bouscarle" (Cetti's Warbler) presents a great variety of birdcalls and suggests a miniature piece of ornithological theatre. The characterization of each call recalls how Messiaen, some years earlier, had defined the dimensions of his musical vocabulary by "individualizing" every sound in a different way. Here each bird has its own timbre, its own speed, its own distinctive musical behaviour. Although written while Messiaen was recovering from a serious illness, the piece still has a great sense of spontaneity and is bathed in light and colour. "L'Alouette Lulu" (Woodlark), conversely, is a night-piece for just two protagonists, a nocturnal poem that bewitches us with its mysterious realism. Like the other pieces that make up the Catalogue d'oiseaux, these two "moments musicaux" seduce us with their immediate freshness, total originality and incredible sonorities. But they also represent an extraordinary example of Messiaen's powers of perception. Just as we hear birds in nature without knowing which will sing and when, or for how long or where and at what distance, so we are invited here to experience the unexpected in an open acoustic space. This instance of listening with no beginning or end or any real sense of direction is related to experiments in open form and the aes¬thetics of chance that other composers actively engaged in research were undertaking at the time. The two Îles de feu both date from 1950 and are studies in rhythm of phenomenal energy. A lover of exoticism, Messiaen dedicated them to Papua, "in other words, all the Papuans", some of whose rites he found seductively attractive by dint of their violence. In the present pieces, this violence finds expression in wild dances, hammered rhythms and a furious hand-to-hand battle with the instrument. In Île de feu II, passages in this vein alternate with more distanced moments of rhythmic speculation in which each sound is affected by a different duration and also by a different "profile". These passages reflect the research into rhythm that Messiaen undertook at the end of the 1940s, when his reflections on time led him to create a new vocabulary and to organize his new time values in an altogether revolutionary way. The end of the piece borrows from another type of music found elsewhere in the world, using what Messiaen himself described as "the rules derived from the `jātis', classical Hindu melodies of the Vedic period". The two Îles de feu form a dazzling pair of works attesting to Messiaen's powerful interest in neo-primitivism - one thinks of his fascination with The Rite of Spring and his respect for André Jolivet's Mana. Their very particular virtuosity and gestural language certainly owe a great deal to the pianism of Yvonne Loriod, the composer's second wife, who following the war became his preferred interpreter and a source of inspiration. The effulgence of their sonorities, their savage energy and their rhythmic boldness make an impressive impact.

From the Artist
The present recording features highly contrastive aspects of Messiaen's personality. The composer was a visionary who retained his independence throughout the 20th century and invited us in the process to rethink the way in which we listen to music. As a man, he was secretive by nature, with the gentleness and modesty of some of his Préludes. He also had the capacity for marvelling at the world around him, which, together with his powers of listening, finds expression in his Catalogue d'oiseaux. And he was intellect¬ually inquisitive, a quality which, like his sense of order, is reflected in his Études de rythme. I hope that this homage in the form of a portrait will encourage others to share my love not only for this great creator of time and colour but also for this mysterious and radiant man.

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Customer Reviews

The Power of Dissonance
With the extended Product Description, which is the actual text of the package booklet, and Jeff Abell's fine review, I find little to add, and in the main I am in agreement with Abell regarding Messiaen as a composer and with this particular recording. Perhaps translating the poetic French titles of the Preludes may help the reader: The Dove; Song of Ecstasy in a Sad Landscape; The Light Number; Dead Instants; The Impalable Sounds of the Dream; Bells of Anguish and Tears of Farewell; Calm Plaint; and A Reflection in the Wind. These works certainly are cast with the melancholy of Messiaen's grief, but they are wonderously complex, moody, and interesting with their dissonant chords and eventual resolution. Indeed, in relief, two picturesque, bird-inspired works (Cetti's warbler and the wood lark) follow, somewhat lightening the mood with humor, though I find their length taxing. The two studies of Isle of Fire are a radical break, with their powerful beat, runs, and crashing of notes. The engineering of the album is excellent, with just enough audio bounce to give depth and clarity to the piano. Finally, the performance of Pierre-Laurent Aimard is sensitive and, when need be, strong. I give ***** for his interpretation. This is a diverse program of mid 20th-century classical invention that deserves repeated listening.

Super performances
With the centenary of his birth approaching in December 2008, there has been a lot of work by Messiaen performed recently. I know it makes me an apostate to say this, but I remain reserved about the greatness of this composer, finding some of his Catholic mysticism unctuous at best. I cannot contest the fact, however, that some of Messiaen's works for piano are really remarkable, and when performed by the astonishing French pianist Pierre Laurent Aimard, become completely compelling. The early 8 Preludes included here sound like music that Debussy might have composed if he'd lived 15 years longer: moody, complex, and gorgeously colored. While I sometimes grow weary of Messiaen's bird imitations, the two excerpts from the Catalogue d'oiseaux included here come off smashingly. So regardless of how you might feel about Messiaen, I recommend this album for the amazing pianism of M. Aimard. He might yet make a convert of me.

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Mahler - The Symphonies / Chicago Symphony Orchestra, Sir Georg Solti

Mahler - The Symphonies / Chicago Symphony Orchestra, Sir Georg Solti

Product Details

Amazon Sales Rank: #47568 in Music

Released on: 1992-02-11

Number of discs: 10

Format: Box set

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Editorial Reviews

Amazon.com
György Solti has come in for his share of hard knocks as a Mahler interpreter, and no one will pretend that he has the same sort of intuitive empathy for this music that Leonard Bernstein has. But he does have the Chicago Symphony Orchestra--no mean advantage--and many of these performances have come up sounding rather well. London also has been smart to include his first (and better) performance of the Fifth, and he generally does quite well by Symphonies Nos. 2, 6, 7, 8, and 9 as well. There may be better performances of the other symphonies available, and every music lover will have personal preferences, but at a budget price this set offers pretty impressive value for the money. It deserves its success. --David Hurwitz

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Customer Reviews

A Staggering Achievement
The Chicago Symphony set the standard for modern orchestras, rising to the top of the orchestral world in the 1960s and staying there into the late 1980s. These recordings span much of that era, and while the recording and editing technologies often fail to do justice to these performances, the final product is still stunning. As an orchestral musician and conductor, I've performed and/or conducted almost all these works. While Solti's interpretations can be a bit extroverted, he has a sense of structure and flow that is unmatched by other conductors. These sprawling symphonies come across as cohesive statements. The Chicago Symphony's playing is consistently excellent and often unbelievably good. No other Mahler symphony set has this high a level of consistency and excellence, though I'm sure someone (probably Berlin & Rattle) will find a higher peak soon enough. Enjoy.

A coarse translation of Mahler's symphonies
Sir Georg Solti's 'in your face' approach is here most evident, one he employed in many recordings of operatic and orchestral works. Sometimes it works, when Mahler is at his most bombastic, but it fails when Mahler becomes more introspective.

I bought this set many years ago for the playing of the Chicago Symphony Orchestra, one of the best in the world when these recordings were made, in 1970-71 and 1980-83. And I was not disappointed. The sound is excellent; and the price for this set was fairly competitive.

The most irritating feature of this set is how the symphonies are cut up, butchered, so that most of them are spread over two discs. Only Nos 1, 4, 5, and 6, are contained on a single disc. Strange, since even the longer symphonies, such as No 2 (Resurrection) and No 8 (Of a Thousand) have been released individually on a single CD.

Solti does provide us with some superb interpretations, however. Symphony No 8 stands out, for example, one of the most difficult concert works to pull together successfully. But, better to purchase individual recordings of the symphonies, featuring your favourite interpreters.

solti is superlative
Solti is superlative in Mahler. Strong,sober and precise. Is the exactly opposite of the affected and pretentious style of Bernstein. The orquestal balance and the management of dynamics is excellent. Is, by far, the best whole cycle. For individual alternatives to some symphonies, I would like to mention Klemperer 2, 7 and 9; Mengelberg 4; Barbirolli 2, 6 and 9; Horenstein 3. Mahler - The Symphonies / Chicago Symphony Orchestra, Sir Georg Solti

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An Organ Blaster Sampler

An Organ Blaster Sampler

Product Details

Amazon Sales Rank: #31322 in Music

Released on: 1991-02-10

Number of discs: 1

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Customer Reviews

Great
I have an extensive jazz collection and find myself adventuring into some classical lately. I don't know how qualified I am to evaluate classical since it is a new avenue for me but I still know what sounds good to my ears. I really enjoy this CD. It is very dynamic and explosive. I love the tonal colors and textures here. I will surely spend time listening to this CD.

"Blasted" away
I am by no standards an expert on music, let alone organ music. I just purchased this CD because I love the sound of the organ, and wanted an album from a mix of artists before I started branching out to single composers. I would also consider myself an audiophile, only listening to high quality music with my portable headphone amplifier and Sennheiser HD-555's. Let me tell you, the quality is perfect, and the music is incredible! Such a full sound, it's *almost* as good as sitting in audience, only lacking the full body experience of organ music. I would recommend this to anybody looking to get a foot into the world of organ music.

Wow!
I happen to love organ music, even that tacky Saint-Saens
Third Symphony (with which this CD ends and just the third movement).

I grew up with E. Power Biggs, Virgil Fox, et al. and had never heard of Michael Murray (okay, it's been a while). I bought this delightful CD when it first appeared and before Amazon had been invented.

Upon hearing that most famous work with which Murray begins, I confess I was just this side of hysterical -- I was laughing with pure happiness. Murray's take on is it wonderfully over-the-top in the best possible sense. I have a son-in-law who is a musician and, indeed, does play the organ (i.e., if any of them have had pipes, I don't know, but I'm here to tell you, I don't want to hear ANY but pipe organs -- okay, I'm old).

At any rate, to hear this Toccata and Fugue played with such (carefully studied) abandon so tickled me, I called Brian (the son-in-law) and demanded that he listen while I put it on my stereo.

Now I'm going to send it to my son Bruce upon learning last night that he LOVES organ music. Who knew? He's 54 years old, for goodness' sake and never mentioned that little item before.

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Philip Glass : Etudes For Piano, Vol.1, No.1-10

Philip Glass : Etudes For Piano, Vol.1, No.1-10

Product Details

Amazon Sales Rank: #126832 in Music

Released on: 2003-09-09

Number of discs: 1

Format: Import

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Editorial Reviews

Album Description
Philip Glass’ wildly popular solo piano performances inspired the recording of "Etudes for Piano, Vol. I, nos. 1-10". Orange Mountain Music is proud to present the premiere recordings of these compositions. Mr. Glass states in the album’s liner notes: "The Etudes began for me in the mid-90s and I am still adding new music to this collection as I write these notes in 2003. Their purpose was two-fold. First, to provide new music for my solo piano concerts. And second, for me to expand my piano technique with music that would enhance and challenge my playing. Hence, the name Etudes, or "studies". The result is a body of work that has a broad range of dynamic, tempo and emotion. I hope to complete the second set of ten etudes, of which the first six are already composed, in the next few years."

This is Orange Mountain Music’s seventh release of Philip Glass’ material and the first to contain all new recordings.

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Customer Reviews

absolutely gorgeous
In about 2000, I attended a Philip Glass performance of his Etudes. They are relatively simple compared with much of his other work, just solo piano, but more than anything else, they have more of a melodic line. It was a treat to actually see him perform these studies, and I have never grown tired of hearing them on CD. I believe he mentioned that he was almost finished writing another ten etudes but I haven't heard about them. He wrote the first ten for himself, so that he could have something to play he himself toured. This might sound like an un-Philip Glass comment to make, but they very much reminded me of Beethoven! Anything but 5 stars means you haven't listened to them!

Oddly charming thanks to less than perfect playing
The other reviews here that criticize Glass's performances of the études are right in their collective assertion that the playing is somewhat sloppy and riddled with minor technical mistakes, but its these that, I feel, make it an incredibly charming work to listen to.

These performances are an oddly charming depiction of the humanity and soul that Glass provides his music. These qualities are often hard to pick up in his work, but these raw performances exaggerate them and make his love for the music palpable at last. As the composer, Glass is free to perform these pieces as he likes and what he lacks in technical prowess is made up for by these truly engaging performances.

Etude #3 is a good demonstration of this where a rehash of a previously somber theme (which recalls Interlude from Orphee (Act II Scene 5) somewhat) turns into an exciting carousel piece due to the syncopated nature of Glass's performance.

There is an incredible warmth to this album. The sound is good, Glass plays with an imperfect passion, and it makes for excellent music to ponder or work to.

C to C
I purchased this music, along with "Portraits-Bruce Levingston", for two reasons: 1. I like the music of Glass; 2. I recently saw (several times) the American Ballet Theatre's production of "Close to Chuck". The music for the ballet includes Études 2, 9 & 10 from "Études for Piano, Vol.1" and two pieces composed and dedicated to Chuck Close. The latter two pieces are included on the CD "Portraits - Bruce Levingston Piano". The ballet was haunting and beautifully danced by ABT. But what made it so exceptional - so memorable - for me, was the music. How the music and the choreography entwined was magic. As soon as I got home I hopped on to Amazon and ordered the two CD's. I think I have played them everyday since they were received. OK, I am obsessive. I love the music of Philip Glass. Glass plays beautifully. All ten études (studies) are entrancing. thoughtful and compelling.

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Schumann: Piano Concerto / Sviatoslav Richter

Schumann: Piano Concerto / Sviatoslav Richter

Product Details

Amazon Sales Rank: #40622 in Music

Released on: 1996-04-09

Number of discs: 1

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Editorial Reviews

Amazon.com essential recording
If you want to judge a pianist's versatility, listen to his or her recording of the Schumann Piano Concerto. It requires virtually everything a pianist should have to offer: poetry, virtuosity, expansive expression alternating with poised restraint. What a glorious test piece this is. Richter, who was famous for his Schumann playing, passes every test here. His meltingly beautiful delivery of Schumann's melodies touches the heart, and his execution of the most difficult passages is so smooth and effortless that it never calls a bit of attention to itself. In this piece and the Introduction and Allegro, the excellent orchestra also covers itself with glory. The solo pieces are no less wonderful. The way Richter plays the difficult Toccata is almost scary in its combination of power and velocity. The Forest Scenes is a slightly older recording (1956) than the others (1958), but it still sounds lovely. Catch Richter's whirlwind playing of "Traumes-Wirren" and you'll understand right away why other pianists had such respect for his technique. Listen to his "Prophet Bird" and he'll touch your heart. --Leslie Gerber

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Customer Reviews

Genious^2
First thing first. If you are willing to listen to something from Schumann, the piano Concerto is always a good choice. Well, in fact, there are only a few Concerti which importance and beauty can be compared to this one.

Then to the pianist,... The Pianist!! I simply cannot imagine a better version of Schumanns piano concerto. I used to think Dinu Lipatti's was the best possible, then Clara Haskil,... till I found this by Richter recording.

Maybe I should not be surprised at all, since Richter uses to be my fav pianist for most of the "deep" romantic repertoire, and here he displays his art so breathtakingly,... as always featuring a very deep comprehension of the piece structure, from beginning to end, balancing the emotion with the rest, transitioning the apparently indolence to the deepest of passion, and with that incredible and clean technique that I am ashamed to mention maybe because he trascends so much the mere muscle pushing the key that one regrets going to such a futile thing as his piano attack, or how he can change his sound, or the tempo, or the way all the modulations are understood and openly are paths to take you somewhere. But with no magic tricks, with no manierism, everything so open, true, so clear so bare pure music and sincere emotion. Dont hesitate and get this CD. It is a masteriece, the music, and the interpretation.

Regards from Spain.

10/7
It's my favorite Schumann Cd. I Love the way Ritcher played the works. Maybe the best played Waldszenen ever, but it's in mono. Rest of the Cd is in Stereo. So the sound is not at top at today standar. A Norwegian classical music lovers. So there you have my opinion for my point to this recordings. Very enjoyable. Recommend it strongly for all Richters fans. A must have!

Tonic for the Human Spirit
Unfortunately the most beautiful recording of Schumann's Piano Concerto was performed by Leon Fleisher and still unavailable on CD or for download.(Listen at your Library if they have the LP) That being said, Mr Richter provides a masterful and lovely performance. This sublime and poetic gift from Schumann lifts the spirit and burst open the heart. It provides not just an escape from the real world but an illumination of what is still beautiful in it. Enjoy!

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Britten: War Requiem

Britten: War Requiem

Product Details

Amazon Sales Rank: #43051 in Music

Released on: 2006-05-16

Number of discs: 2

Format: Original recording remastered

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Customer Reviews

Beware of Amazon's MP3 download!
This is a wonderful recording indeed (though I too have reservations about Vishnevskaya's contribution).

But: I would avoid downloading it in MP3 form, since (most unusual for Amazon) the tracks do not join smoothly: when one track should smoothly connect with the next, you can almost always hear a little burp (for want of a better word) when the new track is starting. This can be annoying.

Fantastic
This is a great performance of the Requiem, probably the finest piece of its kind written during the 20th Century. In that it's conducted by Britten with singers of his choice makes it the definitive performance of this work.

What's particularly wonderful are the rehearsal tapes, which take up much of the second disc. It's a rare privilege to hear the composer tell the performers exactly what he wants from the music. Britten clearly knew what he wanted and conveyed that to the performers with grace and humor.

Highly recommended!!!!

i don/t have the cds yet, but...
they are on my list for my next order from amazon. i had this on vinyl back in those days, and *loved* it. it is a beautiful and moving work. the one star review (which occasioned me posting this) is plain *wrong*. if britten is his/her idea of noisy music, he/she is missing a lot of very good music out there. exhibiting a closed mind in public *should* be pretty embarrassing. unfortunately, it often isn/t.

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Morricone Conducts Morricone

Morricone Conducts Morricone

Product Details

Amazon Sales Rank: #60311 in DVD

Released on: 2006-04-18

Rating: NR (Not Rated)

Aspect ratio: 1.78:1

Number of discs: 1

Formats: AC-3, Classical, Color, Dolby, DTS Surround Sound, DVD-Video, Widescreen, NTSC

Original language: English

Number of discs: 1

Running time: 100 minutes

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Editorial Reviews

Amazon.com
For cinephiles and soundtrack collectors everywhere, Morricone Conducts Morricone is a DVD to cherish for a lifetime. Recorded in Munich, Germany on October 20, 2004, this no-frills 100-minute concert performance offers no bonus features, and none are necessary; an interview with Morricone would've been welcome, but the concert itself is a priceless treasure, honoring Ennio Morricone's staggering film-music legacy (over 400 scores as of 2006) with a well-chosen program of highlights conducted by the composer himself. With minimal fanfare, Morricone ascends the podium, peering over his glasses with the intense expression of a vigilant professore, and the Berlin Rundfunk Orchestra launches into the main theme from The Untouchables, beginning the "Life and Legend" portion of the program, which also includes the lush, romantic "Deborah's Theme" from Once Upon a Time in America, and similarly evocative excerpts from the scores of The Legend of 1900 and Cinema Paradiso (the latter being the first of several selections discreetly accompanied by film clips). The second section, "Single Pages," showcases excerpts of early Morricone scores from lesser-known films like Love Circle, Maddalena, and H2S (the latter an obscure 1968 film that fell victim to censorship). The third section is devoted to Morrione's classic music for the films of Sergio Leone, including themes that made Morricone a film-music superstar: The Good, The Bad and the Ugly, Once Upon a Time in the West, and A Fistful of Dynamite, with soprano soloist Susanna Rigacci doing an impressive job of re-creating (in a slightly lower register) the original soundtrack performance of Edda Dell'Orso on West.

The fourth section, "Socially Committed Cinema," highlights Morricone's work on serious issue-related dramas including Investigation of a Citizen Above Suspicion and Casualties of War, while the fifth and final section, "Tragic, Lyrical, Epic," concludes with the unforgettable "Gabriel's Oboe" theme from Morricone's beloved score for Roland Joffé's 1986 drama The Mission. As directed by Morricone's son Giovanni, Morricone Conducts Morricone is flawlessly recorded (in PCM stereo, Dolby Digital 5.1, or DTS 5.1) and visually unobtrusive, with multiple fixed cameras and efficient, no-nonsense editing providing well-executed coverage of full sections and soloists including prominent performances by pianist Gilda Buttà, Ulrich Herkenhoff (assuming the panpipe duties originated by the great Georges Zamfir on Once Upon a Time in America) and solo violinist Henry Raudales. And while some may lament the absence of such Morricone favorites as "Man With a Harmonica" from Once Upon a Time in the West, these 21 selections offer ample compensation, demonstrating Morricone's prolific versatility while emphasizing the string and woodwind arrangements that have made Morricone a household name in Italy and around the world. In the accompanying booklet, a mini-essay by concert organizer Matthias Keller describes Morricone as "The Picasso of Film Music," honoring the maestro as a bold experimenter whose work reflects an innovative willingness to combine seemingly incompatible musical idioms into themes that are uniquely and characteristically his own. It's an apt description, evident in full blossom on this remarkable, must-own DVD. --Jeff Shannon

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Customer Reviews

Maestro, Maestro...!!!
A superb live concert featuring an excellent overview of Morricone's extensive opus. I was pleased that attention was given to his lesser known works as well, such as H2S and Love Circle with its pop-driven rhythmic back-drop. The Munchner Rundfunkorchester appears quite at home in this performance, and rather adept at interpreting the Maestro's works. As a side note, they do offer a rather tremendous (IMHO) rendition of Maddalena. Soprano Susanna Rigacci is so good that one might mistakingly think that voice belongs to Edda Del Orso. The picture is crisp and clear, with good coverage of the performers and conductor. The audio is truly superb and deserves to be heard via your fav home audio system. Overall, this is an excellent disc and one to be cherished for the years to come.

Morricone Conducts Morricone
This DVD was not quite what I expected but was OK. With some play back machines, there are problems with the film action sequences where whole sections of the recording are skipped. The whole presentation seemed to lack something which I cannot clearly identify.

Every Music Lover's Library
Morricone Conducts Morricone

YES! SUBURB !! This title should be in Every Music Lovers Library !!!

Not only the exquisitely beautiful compositions of Ennio Morricone, but a 'LIVE' concert conducted by this master musician. Recorded in Berlin with full orchestra, chorus and outstanding soloists[both instrumental as well as vocal] there is nothing to dissuade an aficionado from purchasing this DVD to add to their collection.

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The Magic Of Lang Lang

The Magic Of Lang Lang

Lang Lang is the world s most successful pianist, the hottest artist on
the classical music planet (The New York Times). He has an extraordinary
ability to connect with audiences on a deeply personal level, transcending
the classical music world and achieving a level of popularity rarely realized
by concert musicians. His talent and personality make him an ideal
ambassador for classical music and a role model for young people.
Nominated for a GRAMMY®Award for his Billboard chart-topping
recording of Beethoven s Piano Concertos 1 and 4, Lang Lang s visibility
will be at an all-time high, thanks to a live television appearance during
the 50th GRAMMY® Awards on February 10, and an unprecedented
performance on NBC s Skating & Gymnastics Spectacular, airing on
NBC February 9. For the millions of viewers who will be exposed to
Lang Lang, The Magic of Lang Lang is the recording to have, an ideal
souvenir of Lang Lang s signature tunes, beautiful classical works and
traditional Chinese folk melodies.
Remaining firmly fixed on radar screens throughout the year, Lang Lang is
the musical ambassador for China and the Olympics. In May he will embark
on a worldwide Olympic tour performing in 10 cities that have hosted
the Olympics. In August he will co-host the Olympic games on NBC,
transmitting onto hundreds of millions of television screens around the globe.

Product Details

Amazon Sales Rank: #15877 in Music

Released on: 2008-02-05

Number of discs: 1

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Customer Reviews

Keep Playing It.
I am glad I kept playing it. It is yielding its treasures with further listenings. Maybe I own too many recordings of the same pieces by past virtuosi to appreciate a new(er) artist on first review, but I am in love with this recording now. I am on line to order another Lang Lang.

Not enthusiastic...
I listened to this CD on an aircraft sound system, which may not be the best environment, but I must say I was disappointed. Quite apart from the eclectic nature of the pieces, which are fragments arranged in no particular order, I expected much more in the way of intelligent or sensitive interpretation. The problem, which occurs consistently is a self-conscious virtuosity, which has nothing to do with the music, and everything to do with Lang Lang. He clearly CAN do it - the opening of the slow movement of the Rachmaninov C minor is magical, but as soon as the music takes a more dramatic turn we are back to the sort of over-the-top flamboyance that is evident on the rest of the disc. His playing is technically OK although there are plenty of pianists that are as good, but the exaggerated changes in dynamics and tempo make the whole CD sound as if it was recorded as background music for a bad romantic movie. There are too many brilliant pianists on CD to make this worth buying.

A great sample of Lang Lang
When certain reviewers have decided that Lang Lang is Asian and therefore cannot understand western music, or that he is young, and marketed differently from other classical musicians ('the hottest artist on the classical music planet', claims the NY Times) - is it any surprise that they have nothing positive to say about the musician or his music? An unbias review can hardly be expected. I always suspected snobbery runs wild in classical music and here's proof. This is why conservatories are starting to audition students behind drawn curtains, so they are judged based solely on their playing and not their appearance.
Is it any wonder then that classical music listeners are traditionally older? And considered a little stodgy?
That's where Lang Lang comes in. He is young, personable and down-to earth. It is because of these qualities, he has drawn massive appeal amongst younger people and made classical music 'hip' again. More power to him I say!
When it comes to classical music, everyone has their own taste and preference as to how they think a piece should sound. I am not saying that I love everything that Lang Lang plays, but my preference has nothing to do with Lang Lang being a great pianist or how other people should like his music. How many pianists gets invited to play Carnegie Hall anyway?

By all means, get this album. It is a nice sample of Lang Lang's playing. Listen to it with an open mind, and enjoy!

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After the Rain...The Soft Sounds of Erik Satie

After the Rain...The Soft Sounds of Erik Satie

Product Details

Amazon Sales Rank: #5220 in Music

Released on: 1996-03-12

Number of discs: 1

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Customer Reviews

All Great but Recording Quality
I love everything about this CD but the recording quality. It is noisy for such a quiet piece and the dynamics make it very prone to distortion. At low volume this probably is not that noticeable but if you turn it up at all you get a clear white noise(shhhh or woosh) background noise and as volume on the piano goes up you can get a buzzing distortion. This may not be as bad on various equipment but I did want to warn that this is not the greatest of recordings. It also may be somewhat due to the nature of the music itself but I am looking for a better recording of these fine Satie pieces.

Satie the wrong way.
With Satie's best known stuff, the Gymnopedies and the Gnossiennes, interpretation is everything. Done well, they're fascinating conundrums. This album, unfortunately, is the Hello Kitty version. These are trite, flowery grotesques intended to be background music in soccer-mom vans and church socials.

Put this back on the shelf, wash your hands off and go directly to the Aldo Ciccolini version.

sparse
If you enjoy simple accoustic piano arrangements played simply and beautifully you will enjoy this music.Satie has a moody and haunting way with his compositions

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Handel - Messiah / Gritton, Mingardo, Padmore, Miles, Tenebrae Choir, LSO, Sir Colin Davis [includes DVD]

Handel - Messiah / Gritton, Mingardo, Padmore, Miles, Tenebrae Choir, LSO, Sir Colin Davis [includes DVD]

Product Details

Amazon Sales Rank: #156008 in Music

Released on: 2007-10-09

Number of discs: 2

Formats: Live, Hybrid SACD, Import

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Editorial Reviews

Amazon.com
With an outstanding solo quartet and a great chorus and orchestra, Davis leads a sterling performance that challenges the supremacy of his 1966 Philips recording of Messiah. Davis leads a dramatic performance; the famous "Hallelujah" chorus appropriately grand, the final "Amen" bristling with brazen energy, both sung with extraordinary tonal coloring and precise articulation by the chorus, which also shines in a lithe "He shall purify" and a vividly virtuoso "For unto us a child is born." Soprano Susan Gritton's solos are a delight, whether in the measured "Behold, a virgin shall conceive" or her exuberant "Rejoice greatly." The vocal purity of her "I know my redeemer liveth" makes this track a highlight. Alto Sara Mingardo's darker tones are especially moving in her arias and dramatic in "He was despised." The men are almost as good; Alistair Miles sonorous in the bass arias and Mark Padmore recovering nicely after a somewhat mannered "Evr'y valley." The LSO is in excellent form too, the strings expressive in the orchestral interludes and the brass shining brightly in the big choruses of Part III, where the tympani thwacks are startling in their power. --Dan Davis

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Customer Reviews

Stick With Philips, 1966
I found a used copy of this set for peanuts, so I thought I'd give it a try. Personally, I don't think it comes close to Davis' 1966 effort for Philips. That set, along with the roughly contemporaneous Charles Mackerras (EMI) and Robert Shaw (RCA) sets taught my generation a new way of listening to this warhorse. It is, however, better than Davis' early digital era set with Bavarian forces (also Philips).

I do not care for some of the conductor's interpretive decisions - the crooning of the choruses "Behold the lamb of God," "And with His stripes we are healed (which seemed to be sung unaccompanied)," and to an extent, the final "Amen". "Worthy is the Lamb" displays some odd articulation silences that interfere with the musical flow. The conductor also deletes the orchestral ritornello from the repeat of the "A" section of "He was despised" converting the only full da capo air in the oratorio to dal segno.

The soloists are ok, but no paragons. Susan Gritton sounds edgy and sometimes breaks the line to take a breath. Sara Mingardo has a nice contralto voice, but I don't care for the accent. Mark Padmore sang better for Christie on Harmonia Mundi a number of years back. Here he is more effortful and overemphatic. Alastair Miles compares unfavorably with his younger self with Cleobury on Argo.

The chorus acquits itself pretty well, but the sections don't blend very well and individual voices seem to stick out from the overall texture. The sopranos show a tendency to yelp - in "All we like sheep" for example. I can't fault their enthusiasm, though.

The London Symphony Orchestra plays well, but the recorded sound doesn't show them to the best advantage. Producer Mallinson and the recording team don't seem to have figured out a way to best represent the Barbican. String tone is wiry, a characteristic shared by the Haitink Beethoven cycle also produced by Mallinson. The SACD surround sound may reflect a decision to reproduce a "front row" perspective. Unfortunately, the close perspective also captures the constant obbligato grunts of the conductor a la Glenn Gould.

Some recordings just don't resonate with me, and this is one of them. I had hoped Maestro Davis would improve on his earlier efforts. He doesn't. I had also hoped the SACD sound would be something special. It isn't.

Must been seen and heard with a surround sound system
I have never written a review of any recording, but reading the 2-star review by RENS made me feel compelled to cast a strong vote of yes to balance things out somewhat. From his description of how headphone sounded better than 3 sets of speakers he tried, it makes me wonder if he listened to this multi-channel recording in plain old 2-ch stereo mode. Although many hybrid SACDs can be played in 2-ch SACD or CD mode, something is inevitably lost in the down-mixing. A complex piece like the Messiah with 4 soloists, a chorus and an orchestra really benefits from the new technology.

Like other reviewers, I'm a fan of the 1966 Colin Davis recording, own both the original vinyl LPs and the 1993 2-CD reissue. I also have the 1984 Colin Davis/Bavarian Radio Sym. Orch. 3-CD version. This new SACD has become my favorite. It has the spirited performance like the 1966 version and the audio quality is far superior when played on a good quality surround sound system that is properly set up. I would consider this a reference recording in the sense that if it doesn't sound great on your system then you might want to do something about your hardware. The full-body sound of the bass strings and tympani are incredibly clear and rich, the 5.1 ch set-up creates a 3D sound stage that's unmatched by any stereo recording, voices soar and linger in the air. Watching and listening to the companion DVD alone is worth the price of the entire set. I was glued to my couch and wish that there was a DVD release for the entire performance, not just the highlights. If it comes out in Blu-ray, that will be enough reason for me run out to buy a Blu-ray disc player.

I almost skipped over this SACD when I saw the lowly 3-star average, until I realized it's just due to one bad rating. This recording should be seen and heard by every audiophile who's still living in the 2ch-CD world. It'll make them want to upgrade or add a surround sound system.

Electronics: Sony SCD-C555es SACD player, Yamaha DSP-A1 multi-ch amp for center and rear spkrs, Yamaha MX-1 stereo amp for main spkrs.. Loudspeakers: Jamo E870 front, Mirage BPS-150i subwoofer, Boston Acoustic VRC center and HD5 rear.
Video: Pioneer PDP-5050HD plasma TV and Oppo DV-981HD dvd player.

Handelian Masterpiece
Sir Colin caps a brilliant career with a beautifully performed Messiah. The soloists are near perfect. Sara Mingardo's deep contralto voice is sublime and beautiful. Susan Gritton's coloratura passages are accurate and flowing. The chorus is first rate and sharp. The large powerful LSO gives Messiah the energy it needs. The recording is technically excellent with great spatial imaging, particularly when played back in SACD with surround sound. Tempos are perfect, rivaled by Andrew Parrott's recording with Emma Kirkby.

For a fascinating "spin" on Messiah, listen to the Mozart version.

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