title: Forgotten Oboe Chamber Works from Classical Era Paris

text:
Despite being trained as a cellist, Jacques Widekehr (1759-1823) was among those composers who were noted for their use of winds as solo instruments, Anton Reicha, Franz Danzi and Francois Devienne. A native of Strasbourg, he moved to Paris in 1783, where he lived the rest of his life. Renowned for his 15 Symphonies Concertantes, he was also well respected for his chamber music, which included string quartets and quintets as well as duos and trios for various instruments.

While a sonata often is written for a soloist with a secondary instrument as accompaniment, in his oboe sonatas Widekehr uses the keyboard to present melodic content at least as often as the wind instrument. And by employing a fortepiano with its somewhat brittle tone, this fine recording by Pan Classics finds a suitable balance for the haunting, reedy sound of the oboe.

Composed in E Minor, the opening `Allegro' of the 1st Sonata immediately grabs the listener with unexpected syncopations and rhythmic hesitations while requiring right handed virtuosity deep in the bass register from the pianist. Featuring jagged, asymmetrical rhythms, the following `Minuetto' contains two trios. In E Major, the 1st trio is graceful and straight forward, with a square tempo that is totally opposite to the minuet while the 2nd one is penned in C Major, and has a gentle swaying pulse that gives it an innocent elegance.

Characterized by long, flowing melodic phrases that push the limits of the oboist's breath control, the lithe `Adagio sans lenteur' is a showcase for the wind instrument. An urgent piano drives the final 'Allegro'. Short pauses break up the headlong rush, offering very brief respites as it hurtles toward a rousing conclusion.

While the two sonatas employ a four movement format, both of the wind trios are in 3 sections and follow the traditional `fast-slow-fast' framework. Written in C Major and thoroughly charming, Trio No.2 gives the primary duty of melodic presentation to the flute and oboe. But in the 1st movement `Allegro', a surprising amount of the development falls to the bassoon. An intimate `Grazioso' follows, with the delicate bassoon frequently taking the lead, while the theme and variations styled `Allegretto non troppo' closes the trio with some extraordinary passage work from the lowest voiced wind.

The F Major Sonata opens with a playful `Allegro'. Characterized by rhythmic flexibility, it features numerous teasing exchanges between the keyboard and the oboe. Here placed as the 2nd movement and written in F Minor, the mournful `Adagio' is dominated by the heart wrenching tones of the woodwind. The piano assumes the lead in the contrasting middle section, brightening as it shifts into major.

With its quick pace, long winding melodic phrases and unexpected accents, the ensuing movement resembles a scherzo rather than a traditional minuet. Only when the tempo slows and a swaying waltz emerges as the contrasting trio does the "Minuetto' live up to its label. The final `Allegro' features a witty cuckoo call as the principal theme. Originating in the oboe and echoed in the keyboard, it forms the basis for a series virtuosic exchanges as they good naturedly try to top each other.

In the dramatic key of D Minor, the final trio is a much different work. As the bassoon initiates the opening theme, it becomes apparent in the 1st movement `Allegro' that all three voices are near equals as the highly chromatic excursions unfold. A deliberately paced `Cantabile' has the lowest voiced wind taking an impressive star turn before it drifts to a leisurely close. With a wonderfully scurrying theme containing a striking dissonant low note, Widerkehr employs a rondo in fugue format for the concluding `Allegro'.

The Swiss based instrumentalists are superb, particularly the oboist, Omar Zoboli and the marvelous bassoonist, Alberto Guerra. Long forgotten, Jacques Widerkehr had a well-deserved reputation during his lifetime, and this fine disc goes a long way to show why.


title: The Last Works of Franz Grill

text:
Published in 1791, these 6 string quartets likely were the last works written by the little known Classical era composer Franz Grill (1756?-1792). Employed at his death by Pavel Vranicky in Sopron on the Austro-Hungarian border, not even his contemporaries knew much about the man.

The author of 12 string quartets, 15 violin sonatas, two dozen German dances and minuets, and handful of solo piano works, his meager output contrasts sharply with that of Mozart, who died 8 months earlier. With one exception, these quartets employ a 3 movement format of `fast-slow-fast' without a minuet. Dominated by the first violin, they typically close with a brief, cheerful allegro.<br /><br />Written in B Flat, a brisk `Allegro' opens Quartet No.3 with an initial presentation of the primary theme by the lead voice. However, the viola offers a secondary motif filled with rolling triplets as the cello provides virtuosic counterpoint in the extensive development section. A solemn `Adagio' follows, while the first violin leads the spirited finale, a rousing `Allegro' that dips ever so briefly into minor before racing to a joyful close.

The only work penned in a minor key, Quartet No.4 in G Minor never quite reaches the anguished depth often associated with Mozart's favorite minor tonality. Although the other voices stand forth in short solo passages, the 1st movement `Allegro' is guided by the lead violin, often sounding like a concerto backed with a small chamber orchestra. After a graceful `Adagio' composed in B Major, the triple metered `Allegro' returns to G Minor to ends the piece with surprisingly good natured romp.

Despite a pair of engaging dialogues, the first an exchange between the viola and the 2nd violin while second balances the 1st violin against the cello, the primary lead voice carries most of the melodic responsibility in the opening `Allegro' of the C Major quartet. With rustic overtones and written in A Minor, a genial Sicilian dance serves as a bridge to the final `Rondo Allegro'. Although decidedly cheerful, the 2nd episode returns to A Minor to cast a brief cloud over the work before a bravura exchange between the lead violin and the bass voice brings a sunny conclusion.

Containing the most advanced development section on the recording, the 1st movement `Allegro' of the Quartet No.5 in D Major shines the spotlight once more on the lead violin, although with important contributions from both lower strings. Triple metered and in G Major, the gentle `Andante' has the feel of a sleepy lullaby. Featuring some impressive fiddling from the 1st violin, the final `Allegro' closes the quartet in a playful vein.<br /><br />Simple and direct, the theme of the beginning `Allegro' of the E Flat quartet creates a backdrop for a charming dialogue between the 1st violin and the bass voice, until a burst of furious passage work from the upper string ends the more formal exchange. The relaxed `Andante con variazioni' allows each voice the chance to shine with the intimate 1st variation being taken by the viola. The second violin follows with a triplet dominated passage before a restless 1st violin plunges in for episode number 3. The cello embellishes the initial melody for the 4th variation, and more ornamentation from the lead voice closes the excursion. A pizzicato bass line underpins the upper strings in the 3rd movement `Allegro' in a high-spirited finale.<br /><br />The sole exception to the familiar `fast-slow-fast' design, Quartet No.6 in A Major starts with an initial `Adagio'. Without a bass line in the opening bars, a hushed chorale sets the stage for the stylish `Allegro' that follows. Save for a passing jaunt into A Minor, the triple metered `Allegretto' closes the disc with genial good cheer.

The excellent recording by Hungaroton provides enough depth and spaciousness to allow the Festetics String Quartet ample room to present these elegant quartets. Ably led by violinist Istvan Kertesz, the Hungarian based group brings a unique vision to these little heard works. While not on the same level as the masters of his generation, these last quartets of Franz Grill deserve a listen.


title: Mozart as Romantic

text:
While many critics do not consider Mozart's piano sonatas the equal of Beethoven's, or even Haydn's, Heidi Lowy obviously has a different opinion.  Using a modern Steinway rather than the fortepiano favored by some pianists, she approaches them as masterpieces of the Romantic era.

From the opening bars of the `Allegro' of Sonata No.1, KV 279 in C Major, it is clear we are in a singular soundscape.  While many pianists use rubato, the expressive variance of tempo commonly thought of as speeding up and then slowing down, few employ it to the degree that Lowy does.  Often associated with the performance style from the Romantic period, Chopin and Lizst in particular, it is surprisingly effective here, most notably in his early works.

Wielding a formidable technique, she displays a delicate touch in the pianissimo sections, which leaves the listener unprepared for the flurries of notes exploding from her fingers in the faster ones.  This machine gun attack is particularly potent in the jaunty 3rd movement `Allegretto' of Sonata No.10, KV 330 in C Major, the blistering `Allegro assai' that closes Sonata No.12, KV 332 in F Major, as well as the glittering runs of the `Rondo' that ends the C Major Sonata No.16, KV 545.  Also effective is the stunning `Allegretto grazioso' that concludes the "Linz" sonata, KV 333 No.13 written in B Flat.  Here, she uses a lighter touch, notably in the rapid fire final cadenza, creating a feathery texture that is especially engaging.

Her wide dynamic range in the fast outer movements heightens the dramatic result, allowing her to use a broad palette to paint these compositions.  In contrast, she employs a more subdued spectrum in the slower middle sections, ranging from complete silence to a volume barely above piano.  And yet, these lyrical movements may be the most effective.

In the heart breaking `Andante cantabile' of the A Minor sonata, KV 310, here listed as No.9 and one of only two minor keyed ones that Mozart penned, Lowy plumbs the emotional depths of grief, making full use of echoing silences to enhance the crystalline beauty.  Here the rubato allows her to savor each note and every pause, making time stand still.  Whether inspired by the recent death of his beloved mother, or by the agony of wooing Aloysia Weber, who would eventually reject him, this work stands out as one of Mozart's best.

Equally effective, but in dissimilar moods are the slow sections of other sonatas.  In the serene `Adagio' of Sonata No.14 in C Minor, KV 457, which was written in A Flat, Lowy highlights the tranquility with just a hint of urgency hovering below the surface.  The ache of the `Adagio' of the final sonata, No.18, KV 576 and composed in D Major, is heightened by the contemplative reserve in her passage work as Mozart employs unusual tonal progressions, especially the striking section in F Sharp minor.

However, the extremely elastic tempos are less successful in movements where maintaining a regular rhythm is important.  In the `Minuetto' of the well-known Sonata No.11, KV 331 in A Major, the lack of a steady beat renders the triple metered dance barely recognizable.  And the famous `Turkish Rondo' is unremarkable as it lumbers to a ponderous close.  Also, be aware that by taking all repeats, and inserting extended silences into her elastic phrasing, Lowy's movements are among the longest recorded.  The massive `Thema con variazione' that ends Sonata No.6 in D Major, KV 284, lasts nearly 17 minutes.

Commissioned and engineered by the Musical Heritage Society, the recording is superb.  The space surrounding Lowy's Steinway is warm and enveloping, allowing her ample time and opportunity to present her reading.

This is not the Romanticism of public flamboyance with heroic proportions.  It is an intimate, very personal conversation whispered by candlelight between two old friends.  Amid the dozens of interpretations of Mozart's Piano Sonatas available to the modern listener, I hesitate to endorse Lowy's set as the primary one.  Her idiosyncratic phrasing will not be to everyone's taste.  However, as a secondary or comparative survey, I heartily recommend her excellent work.


title: 3 String Quintets from Joe’s Little Brother

text:
Being overshadowed by Joseph Haydn is not unusual, but Michael Haydn (1737-1806) had to deal with the older brother syndrome his whole life.  Known primarily for his ecclesiastical works, he also wrote about 46 symphonies as well as a variety of chamber pieces.  Recognized as a fine composer during his own lifetime, Michael’s reputation suffered the longer he was dead.  Based on these string quintets, he deserves better.

Written in G Major in 1773, the initial quintet opens with a busy ‘Allegro brillante’.  While the primary responsibility for the melodic presentation rests with the lead violin, a surprising number of passages give that role to the viola.  Such is the case in this 1st movement.  A smoothly wafting ‘Adagio affectuoso’ follows, characterized by a series of gentle bird calls filtering among the different voices and interrupted with a lovely triplet dominated interlude.

The 3rd movement ‘Minuetto’ glides by, unified by a bold unison theme led by the 1st violin, a distinctive motif tripping lightly down the scale.  Mozart is said to have composed the trio of this section, as well as enlarging the urgent ‘Presto’ that closes the work.

A triple metered ‘Allegro molto’ begins the F Major Quintet, penned in 1784.  Based upon a notation on a manuscript in the Hungarian National Library, the musicians of Concilium Musicum opted to employ a double bass for this recording.  The darker tone of the lower pitched instrument creates a more subdued mood for this quintet, one that leaves the lead violin seeming to supply ornamentation above the other voices.  The heaviness of the sound weighs down the pace, and causes the 2nd movement ‘Minuetto’ to become almost ponderous.

The gorgeous ‘Adagio’ and the final ‘Presto’ are more successful.  The solemnity of the bass lends an appealing gravitas to the ‘Adagio’, and provides a solid underpinning for a dazzling viola solo.  After a bittersweet excursion in minor, the climax finds the double bass falling silent as the other four voices weave an exquisite tapestry of sound.  Delivered with a light, deft touch, the breezy ‘Presto’ has refreshing, clipped pace and a surprising virtuoso turn for the double bass.

Composed early in 1773, the quintet in C Major served as the inspiration for Mozart’s first attempt at the genre, the B Flat Quintet, KV 174.  Beginning with a lively ‘Allegro spirituoso’, Michael’s work is a triple metered joy, characterized by a wonderful round robin series of exchanges that explore the full range of possible instrumental combinations.  The sweet ‘Adagio cantabile’ finds the viola offering an aria-like solo with a violin echo over softly plucked accompaniment.  An ominous rising bass line grounds the deliberately paced ‘Minuetto’, while furious fiddling fills the bristling ‘Presto’ that brings the CD to a rousing conclusion.

Recorded in 1990, the otherwise excellent Koch Schwann release suffers from a bit too much reverberation.  Lead by the accomplished violinists Paul Angerer and his son Christoph, the period instrument group from Vienna is superb.

If the only Haydn you know is Franz Joseph, this first rate CD by his little brother is a fine place to start.


title: Admired by Mozart

text:
An early influence on the young Mozart and the object of numerous mentions in his personal correspondence, Josef Myslivecek (1737-1781) was born to a wealthy miller in Prague.  Abandoning the family business for musical study in Italy, Myslivecek soon found fame as an opera composer.  His first instrumental works were the overtures for his operas, and his symphonies follow the three movement structure that developed from the Italian tradition.

The six works on this disc fall into two sets of 3.  The first trio were written early in his career, likely during the 1760's.  Direct and straightforward, these initial works show a preference for graceful, string dominated melodies with paired horns and oboes supplying bits of orchestral color.

The opening `Allegro assai' of the 1st B Major symphony provides a perfect illustration of a favorite technique that Mylivecek employs, repeating a passage using a different dynamic, typically soft following a forte section.  Most often found in the faster outer movements, excellent examples of this are the rousing `Presto' finale of the B Major work, as well as the blazing `Presto' that closes the initial G Major symphony.

Another favored characteristic is the elegant use of rhythmic interplay between orchestral sections, such as triplets against a duple meter, sometimes syncopated and frequently in the countermelody of the lower strings.  Good instances of this are in the gentle `Andante' of the B Major symphony and the 2 outer movements of the 1st composition in F Major.

Composed at least a decade later, probably in the late 1770's, the second set of 3 symphonies exhibits greater skill and more developmental depth.  They also display a wider variety of forms.  A stately `Minuetto' closes the 2nd symphony in F Major, a sweetly passionate `Larghetto' of the 2nd B Major symphony features a single violin,  and a lovely solo oboe holds forth in the 2nd movement `Andante' of the final symphony on the CD, written in G Major.

In addition, Myslivecek shows better command of orchestral coloration in his employment of winds to augment the upper strings.  This is particularly evident in the vigorous `Allegro assai' that opens the 2nd F Major symphony, and the stirring but brief triple metered `Prestissimo' that brings the 2nd symphony in B Major to a close.  Also notable is the dazzling interweaving of a pair of oboes in the contrasting trio of the F Major's `Minuetto'.

Be aware that the recording on Supraphon was made in the early 1980's in AAD.  The crystal clear digital engineering we've come to expect today is not here.  But a splendid reading by the Prague Chamber Orchestra is.  Special note should be made of the two soloists, Oldrich Vlcek on violin, and Jiri Kaniak who displays a gorgeous tone and extraordinary breath control on the oboe.

A seminal influence on the young Mozart, Josef Myslivecek served as mentor to the budding genius in his early symphonic works.  If Mozart respected Myslivecek and admired his compositions as much as his letters reveal, shouldn't we pay more attention to this under heard Bohemian?  This CD is a fine place to start.


title: Flute as 2nd Fiddle

text:
A violin virtuoso, Giovanni Battista Viotti (1755-1824) is best known as the composer of some outstanding concertos for his favored instrument.  No.22 in A Minor may be his most famous.  He also penned numerous chamber works, most featuring the violin.  These 3 flute quartets are exceptions, but with a caveat.  In many compositions for string trio with a flute added, the wind instrument is given the primary role usually reserved for the first violin.  However, Viotti often writes bravura passages for the violin while relegating the flute to 2nd fiddle.

Stately and measured, a brief `Andante' introduces the compound first movement in the B Flat quartet, No.1 in the set.  Rolling directly into the `Allegro vivace', the flute and violin exchange call and answer episodes as the viola supplies the countermelody.  Over plucked accompaniment in bass line, the violin leads at least as often as the wind instrument.  Reduced at times to providing filigreed ornamentation to the upper string, the flute seems to recede into the background.

Delicate silences punctuate the following `Andante', lending emotional depth to the minor keyed 2nd movement.  Teasing and playful, a triple metered `Allegro' closes the work with the flute taking a more traditional leading role.

The string trio opens the elegiac `Moderato' of the 2nd quartet, written in the somber key of C Minor.  As the flute enters on the repeat and suddenly, the music transforms into a gypsy tinged dance.  The bittersweet melodies of the upper voices find marvelous contrapuntal support in the lower strings.

In the lilting `Minuetto', the individual instruments appear in canon, initially led by the flute.  But after the initial bars, the violin takes charge as the lower voices supply a sprightly pizzicato.  Insistent repeated notes drive the final `Allegro agitato', a swirling array of exchanges of melodic lines, sharp injections by the lower strings and a rising intensity until the triumphant close.

Composed in E Flat, Quartet No.3's cheery `Moderato' features an intricate interweaving of all four voices.  Also noteworthy are the Haydnesque false endings, where the resumption of the music is usually initiated by the violin.

Without the cello and lacking a regular beat, the hushed intro to the minor keyed `Andante' seems to suspend time.  Once the pedal notes in the bass line sound, a gentle triple metered dance emerge, flowing seamlessly into the closing `Allegro'.  Also in triple meter, this 3rd movement is characterized by galloping flute and more pedal notes from the cello.  With the persistent rocking rhythm picked up by the other voices, the violin leads an echoing flute and brings the disc to the satisfying conclusion.

Tudor's recording is crisp and distinct, allowing the flute work of Gian-Luca Petrucci and the first-rate string playing of the members of the Kodaly Quartet to stand out.  Of particular note is the deft performance of Tamas Szabo on violin, and Gabor Fias on viola.  These are not your typical flute centered compositions with a string trio as backup.  Instead, they exhibit a fine balance among the three upper voices, and serve as an excellent introduction to the chamber music of Viotti.


title: 3 Classical Era String Quartets from Woelfl

text:
Best known for his piano compositions, Joseph Woelfl (1773-1812) also wrote at least 15 string quartets. As he was born in Salzburg, Leopold Mozart and Michael Haydn were among his earliest teachers before he gravitated to Vienna. Very tall and with an enormous finger span that allowed him to play unusually large intervals, Woelfl became renowned for his keyboard concerts, particularly his improvisational performances. Favorably compared to the young Beethoven, he moved to Paris and then to London, turning increasingly to composition before dying at the early age of 39.

From the first mournful tones of the `Allegro' of the Quartet in C Minor, Op.4, No.3, we know this is serious music. A virtuosic lead violin runs into the stratosphere, only to be brought back to earth by the syncopated rhythms of the other voices. Set as a 2nd movement, the `Minuetto' begins with an urgent motif from the cello. Each instrument joins in, layering a fugal passage of great beauty before shifting into major for the softly lilting trio.

A hesitant, almost questioning 1st violin opens the elegant `Adagio ma non troppo' that follows, supported by a wonderful cello line, lightly skipping down the scale in response to the timid upper voice. Interweaving cascades of descending notes create a dense tapestry of sound for the 4th movement `Presto'. In sharp contrast, passages of a playful rustic dance and a chorale like harmony are interspersed throughout.

Following a brief introduction by the cello, the lead violin picks up a twittering theme of the opening `Allegro' of the Quartet in G Major, Op.10. No.4. After soaring lines high on the E string, the top voice relinquishes the melody to the viola, with each voice in turn developing the birdlike tune. The 2nd movement `Minuetto' is characterized by an elongated downbeat of every measure, usually delivered by the 1st violin. The odd rhythmic pattern permeates the entire work, creating a brilliantly quirky movement that completes loses the lilting, dancelike quality usually associated with the minuet.

The otherwise placid 'Andante' that follows is enlivened by a series of insistent triplets, first in the lead violin, and then each instrument in turn. Replaced by an equally insistent staccato accompaniment, and then by cascading dotted rhythms, before returning to the triplets, the sense of perpetual motion is continually propelled by the secondary voices, which offers a pointed contrast with the gently flowing theme. Marked `Prestissimo', the 4th movement is a jovial, duple metered dance.

Composed in C Major, the final Quartet, Op.10, No.1 begins with orchestral unison, quickly developing into a series of divergent themes until the triple metered `Allegro moderato' reunites the four voices in the unison opening once more. The dissimilarity between the polyphonic complexity and the unison passages are starkly effective. After starting in F Major, the 2nd movement `Andante' shifts dramatically in C Minor, spreading gloom not heard since the opening quartet of the recording. Slowly, gently, the melancholy lifts as the voices drift toward a serene conclusion, almost fading in silence.

Placed in the more traditional 3rd movement position, the triple metered `Minuetto' features uneven syncopations and unexpected chromatic progressions. The long, flowing melodic lines of the trio present a refreshing respite from the displaced accents of the opening theme. The final `Allegro' opens with a squarely structured theme that soon progresses into a finely developed fugal passage, with virtuosic writing for all four voices. Curiously, an unlabeled coda ends the recording as the thirteenth track. At a brief 2:14, it is wispy and translucent.

Balanced and articulated, the recording by Paladino records presents the reading by the Quatour Mosaiques in the best possible light. And led by Erich Hobarth on 1st violin, the Austrian group turns in another exceptional performance, using a matched set of instruments made by the `Stradivarius of Vienna', Franz Geissenhof. If you've never heard Woelfl, these 3 quartets written during the height of the Viennese Classical period are a wonderful place to start.


title: Classical Era String Trios

text:
Probably a student of Haydn, definitely a Masonic brother of Mozart, and the conductor of the premiere of Beethoven's 1st Symphony, Pavel Vranicky (1756-1808) was a man about Vienna at the height of the Classical era. AKA Paul Wranitzky, he was also a prolific composer. 10 operas, at least 44 symphonies , perhaps as many as 73 string quartets, string quintets, trios and duets, chamber music for various combinations of winds, piano and strings - all flowed from his pen. Trained as a violinist, he found his first opportunity to compose when he was appointed as music director of the court of Count Johann Esterhazy, a distant cousin to Haydn's patron.

These 3 string trios were written between 1785 and the early 1790's. Unlike previous excursions into the genre which employed two violins and a cello , Vranicky's replace one violin with a viola.

From the opening bars of the 'Allegro moderato' of the first trio, Op.17, No.2 in B flat, the viola assumes the melody while the top voice supplies a skipping counter melody and the cello just the barest of accompaniment. Often sounding more like a violin-viola duet, this 1st movement comes to gentle conclusion after some intricate passage work by the cello,.

The remaining three movements are all in triple meter. The 2nd movement 'Adagio' features a series of delicate figures lightly tripping down the scale. A sweeping 'Minuetto graziano' follows, with the contrasting trio led by the viola while the violin provides soft repeated notes as accompaniment. The concluding 'Allegretto' showcases all three voices as the dancing melody is shared equitably, dipping briefly into minor before returning for the sunny, spirited ending.

In F Major, the beginning 'Andantino con variazioni' of Op.1, No.5 opens with a prayerful theme.
A flamboyant violin drives the first 2 variations while the viola sparkles in 2nd pair. The variations for cello are written in the uppermost register and require virtuosic technique which Stefano Vegetti readily provides. An elegant 'Minuetto' follows. The trio shifts into minor, with hushed repeated notes in the bass line propelling this 2nd movement. This work, the only 3 movement composition on the recording, concludes with a vigorous 'Allegro'. Led by the violin, this finale features particularly muscular playing from all three instruments.

Op.3, No.3, the closing trio is written in G Major. A bright 'Allegro moderato' presents the main theme in the viola. The violin soon enters and takes over the melodic responsibility, soaring high on the E string. After returning to earth, the top voice trades lines back and forth with the viola while the cello is relegated to a supporting role for much of this 1st movement. In the wistful 'Adagio' that follows, the bass voice assumes the central character, so much so that it often sounds like a cello concerto before the violin draws the movement to a gentle conclusion.

In the triple metered 'Minuetto-Allegretto', the violin skips playfully along, engaging in a wonderfully impish exchange with the cello. The 4th movement 'Allegro' is a rustic dance with lots of country fiddling, delivered with an infectious exuberance. After a brief contemplative interlude in minor, the bucolic theme returns for rollicking ending.

The bright, almost crystalline engineering by Brilliant Classics is excellent, the final notes echoing long into the silence following the ending phases. The skillful work by Ensemble Cordia is a plus, particularly the violinist Stanley Ritchie. This world premier recording offers an easy entrance into Pavel Vranicky's chamber works for strings. While they may not have the depth of his string quartets, they provide a charming example of the elegance that epitomizes the high Viennese classical style.


title: Cheerful Piano Trios from Dussek

text:
Born in the Bohemian town of Caslav in 1760, Jan Ladislav Dussek was widely traveled by the time he settled in Paris, enjoying the patronage of Queen Marie Antoinette and the aristocracy. So the revolution of 1789 spelled the end of his profitable stay in the French capital. Along with other members of the local music scene, he fled to London. All of the compositions on this CD were written during this London period and reflect the fashion of the times, catchy tunes with moderate demands on the performers so that they could readily be played by accomplished amateurs. As would be expected with a composer who was well known for his piano performances, the works included feature the keyboard front and center.

The Sonata in F, Op.20, No.3 launches immediately into a cheerful, rollicking theme led by the piano and echoed by the violin. An unexpected shift into minor toward the end of the opening Allegro Vivace is a delightful surprise. However, the following two movements fail to deliver on the promise of the opening, although the closing Rondo offers lively passage work on the keyboard that is both entertaining and light-hearted.

The piano takes on an even greater role in the following Sonata in B Flat, Op.24, No.3, reducing the strings to mere accompaniment in the opening Allegro. The conclusion of the two part Sonata features a popular opera melody from Paisiello's `La Molinara' of 1788, which prompted Beethoven to compose his `Piano Variations' WoO 70 on the same theme. On one variation, Dussek finally allows the violin to take center stage and the lovely and talented Susanne von Bausznern handles the passage with aplomb.

The three Sonatas of Op.31 each feature a Scotch or German folk tune, reflecting a popular taste of the general public at the time. A charming Allemande graces the third movement finale of No.1, the Sonata in B Flat. Scotch airs distinguish the remaining Sonatas. Dropping even the barest accompaniment, Sonata No.2 in D is for solo piano. Harald Hoeren acquits himself admirably here, as in the other compositions, injecting an easy elegance into the keyboard lines. The closing Sonata in C features an appealing, but brief interlude of the Scotch melody `Auld Robin Gray' before a rousing Allegro Scherzo wraps up this delightful CD.

The recording from CPO Records is open and spacious. Trio 1790 provides a straight forward presentation of Dussek's 5 Piano Trios, delivering an expressive reading where appropriate, yet letting this charming music speak for itself.

attachment_type: IMAGE


title: 3 More Quartets from Who?

text:
A student of Haydn, Mozart and Albrechtsberger, Anton Vranicky (1761-1820) was renowned as a virtuoso on the violin, and his proficiency shows up in the difficulty of the first violin writing.  The three quartets on this recording are the second half of a set of 6.  For more information on the composer and a discussion of these first three quartets, see my review of [[ASIN:B000000UFI Vranicky:Concertante Quartets Nos 1-3]].

Written in D Major, Quartet No.4 opens with a regal unison passage.  The 1st movement quickly develops into a vigorous interplay with a series of syncopated triplets exchanged among all four voices.  With the lead voice extremely high on the E string, the passages shift in and out minor as the melody is passed from the viola to the 1st violin and on to the bass line for an extended solo.  Marvelous work from cellist Jitka Vlasnakova underscores this spirited `Allegro' before arriving at a surprisingly muted ending.

Although musical ideas are widely distributed among the four instruments in the 1st movement, the lead violin takes the spotlight in the lilting 'Menuetto allegro' that follows.  Hovering lower strings begins the final `Adagio', while the sweetly delicate violin weaves a lullaby, countered by bold strokes from the cello.  After a delightfully appealing passage in pizzicato, the viola steps forward to assume the melodic responsibility.  This tender movement may be the highpoint of the entire recording, with the heartfelt emotional depth displayed by the lead violinist, Lubomir Havlak, leading the other instrumentalists.  And just when the aching poignancy threatens to become unbearable, a wonderfully quirky triple metered dance erupts to break the spell.

While the first composition on this disc has only 3 movements, the remaining quartets have four.  In F Major, Quartet No.5 opens with a playful `Moderato', led initially by the 2nd violin.  Sudden bursts of triplets and abrupt changes of dynamics mark this 1st movement, and offer a fine example of the virtuosic part writing that Vranicky requires.

A prayerful `Adagio' follows, with lovely viola work that leads to a false ending, whispered and almost pleading, before a swing to a minor key signals a dramatic departure.  Shifting in and out of minor creates as more somber mood than the bittersweet opening would suggest.  Extended series of triplets permeate the 3rd movement `Mineutto' giving what began as a stately regal dance a witty playfulness.  Sustaining this lighthearted quality, a rollicking `Rondeau' forms the 4th and final movement.  Ascending arpeggios in the bass line mark a move into a wild gypsy influenced passage before returning to the opening theme.

Quartet No.6 is in A Major, and the 1st movement `Allegro' features less interaction among voices, and more of the true `concertante' style where each instrument takes an extended solo while the others simply offer accompaniment.  Alternating between meltingly gorgeous passages and flamboyant pyrotechnics, it is the longest section on the recording.  A triple metered `Adagio ma non molto' follows, with a gently swaying theme introduced in the lower registers.<br /><br />Using a rocking dotted rhythm, the `Minuetto' opens with a child-like melody before venturing far afield in the development section.  Led by the first violin and echoed in the cello, it dips into minor and darkens the mood.  A rousing `Rondeau' closes the quartet, with the frisky theme introduced initially by the top voice, taken up by the cello and the viola before the first violin returns with more virtuosic playing high in the upper registers.

The engineering by Studio Matous is excellent, bright and crisp, displaying the full range of the excellent interpretive work of the Martinu Quartet.  If your experience of the Classical era string quartet begins with Haydn, goes directly to Mozart, and then jumps to Beethoven, these 6 quartets by a nearly forgotten member of their circle will open your ears.


title: String Quartets from Beethoven's Teacher

text:
Self taught as a child, Emanuel Aloys Forster (1748-1823) served as a military musician in the Prussian army during the final 2 years of the Seven Years War.  Only after its end did he pursue a more formal training.  Probably facilitated by living in the same building, Forster became one of the young Beethoven's first teachers.  Marrying into the upper echelons of Viennese society, his works were often presented by the legendary Schuppanzigh Quartet, along with those of Haydn and his soon to be famous pupil.

Beethoven valued his old teacher, discussing compositional techniques and sending him students.  In fact, he accepted one of Forster's daughters as his own student.

Forster composed at least 43 string quartets, although we only have this recording in the genre to judge his skill and artistry.  One odd note about these op.23 works -- of the 12 total movements in the 3 quartets, 7 are in triple meter.  In a typical Classical era string quartet, usually only the 3rd movement is in triple time.  This fills Forster's work with a lilting, almost dance like grace.

Quartet No.1 in C Major opens with an engaging triple meter `Allegro'.  The 1st violin and the viola trade a lightly skipping melody back and forth, accelerating the exchange while the cello provides a sturdy counter point, grounding the lighting fast arpeggios echoing overhead.  Composed in A Flat, the following `Adagio' begins with an insistent figure in the bass line, which drives the work forward.  When the lowest voice falls silent, it seems like time is suspended for the sweet melancholy of the 1st violin.  Midway through the movement, the roles are reversed with the cello taking the moody melody.

Hesitantly, almost shyly, the 1st violin and the cello seem play hide and seek at the beginning of the `Menuetto' that follows.  The other voices join before the work shifts to C Minor for the trio, with the viola assuming the bulk of the melodic content.  Using extremely elastic tempos, the Authentic Quartet skillfully emphasize the playfulness of this 3rd movement.  The concluding `Allegro' is the only section written in duple meter, and displays a similar lightheartedness.

The 2nd Quartet, written in D Minor, is quite different, a dramatic, serious work that forms the emotional core of the recording.  The 1st movement `Allegro vivace' begins with a deliberate, measured pace, setting the stage for the mournful, soaring lines of the lead violin that ensue.  True interplay among all four voices creates a dense texture of sound, each instrument darting to the forefront as they shift effortlessly to D Major and back.  Unexpectedly, the end comes as the final notes simply fade away.

The following 'Andantino' has the elegance poise of a formal dance, before skittering runs in the upper voices completely change the tone.  Four repeated quarter notes high on the `E' string of the 1st violin opens the following `Mineutto', echoed in the bass line before the other voices join, creating an aural tapestry almost fugue-like in its density.  The trio brings a refreshing change, featuring a playful cello.

The closing `Allegro' begins with hushed pairs of repeated notes in the lower voices accompanying the 1st violin before a flurry of arpeggios burst forth.  Sharp dynamic changes as well as abrupt shifts into syncopation mark this final movement.

In A Major, the opening `Andante' of the final quartet is a showcase for Zsolt Kallo on 1st violin.  The other voices simply provide background for the fireworks.  The gently lighthearted `Menutto' precedes the 3rd movement "Adagio ma non troppo', a gorgeous excursion which again features the lead violin with the cello in a lovely supporting role.  The CD closes with yet another triple metered movement, a polished, elegant `Allegro'.

The Hungaroton recording is bright and crisp, keeping a balance among all four instruments.  Among the accomplished members of the Authentic Quartet, the lead violinist and the cellist, Csilla Valyi, deserve special note.

Stylish, with a deft compositional touch, these string quartets show a master technician at work during the height of Viennese Classicism.  Beethoven saw him as an equal.  Forster warrants more than the obscurity he suffers today.


title: very fast service

text: great music


title: extremely fast service

text: excellent music


title: great music

text: entertainment


title: extremely fast service

text: great music...


title: extremely fast service

text: great music


title: Best of the series - superb!

text: Great for teaching the little ones French - they really pay attention to this CD!


title: Finally...all those songs you need lyrics for!

text: This is a wonderful CD... it is amazing how hard it is to find a CD with the songs we grew up with as kids...here they are!  And sung by kids themselves!  Indispensable!


Four Stars


title: Oldie Collection

text: If you like oldies and you like Lil Rob then this is a CD you must have. It combines the oldies beat to Lil Rob's Rapping.


title: Good Christian Music

text: Great Messianic music.  I just close  my eyes and sit back and relax


title: Good Christian Music

text: Who knew that Kenny Rogers could sing the gospels!  I really like the "The Love of God" song on this album.


title: Great music

text: Bought as gift as a joke because of one song on the album that we sing back and forth all the time.


title: Five Stars

text: It was a great experience.Thank you.


title: Five Stars

text: Perfect condition


title: ItIt's inspirational

text: I think it's ok , I would have to listen to it again.


title: Among the Top "Nature's Harmony" Albums

text: This is a very solid and enjoyable smooth/light jazz album interspersed with a few new-age (in the best sense of that genre) touches, such as whale songs and sounds. It's among the best releases from the Nature's Harmony series, along with "Romantic Gypsy Guitar" and "Island Paradise".  The music is composed and performed by Emmy Award-winning keyboardist and guitarist Michael Licari. All of the eleven tracks in this album are pretty nice, and the concluding track, "Arctic Waters", is quite majestic.


title: Excellent Dark Ambient

text:
This collaboration between Paul Vnuk Jr. and the late renowned sound artist Oophoi consists of three tracks of memorable dark ambient sculpted from processed or synthesized sound and field recordings. To me, the atmosphere evoked by these pieces is mysterious and suspenseful rather than scary. The effect is psychotropic and corrosive to consensual reality - perfect for deep late night listening and inner voyaging. (I imagine it would be perfect background music for reading something like "Les Fleurs du Mal".) It reminds me of a similarly-titled work, "The Magnificent Void" ("Zero" being analogous to "Void") by Steve Roach. "Distance" is less cosmic than Steve's masterpiece, but is no less suitable as edgy and immersive space music.

According to one website, this album has been critically acclaimed, but another states that it has been somewhat ignored. (Not necessarily a contradiction, as there's often a disconnect between critics/reviewers and ordinary listeners.) I have seen only a couple of write-ups on the Web. It's a pity, since this high-quality work deserves a wider audience. Sample clips are at the Hypnos site, but this is really meant to be a lossless headphone experience.


title: Excellent Ambient Background for the Mars of Your Imagination

text:
"The Martian Chronicles" by Seren Fford + Oophoi, apparently inspired by Ray Bradbury's story collection of the same name, is a haunting and deeply immersive sonic voyage to multiple alien worlds. While certainly evocative of the Martian setting, TMC is just as easily placed closer to home, say, in the romantic lost cities of ancient Mesoamerica or the Central Asian Silk Road; or even within the microcosm of our own minds, in the uncharted bottomless regions of our unconscious, peopled by numinous forces and archetypes, beings as foreign from our normal selves as the remotest galaxies.

Since I'm unfamiliar with Bradbury's work, I enjoy the music best with a sort of visualization.

For example, as the music starts, let's imagine ourselves transported to a bleak wind-swept land/mind-scape (Track 1 - The Long Years). In the wind's furious howls, we make out voices: murmurs(?) or incantations(?) in an unknown vanished tongue.

When the wind dies down and the dust settles, we see the crumbling fantastic architecture of great cities, the ruins of a civilization long forgotten (Track 2 - Dead Cities). As we touch the decaying walls, we feel like walking in a dream or witnessing some secret shamanic vision (Track 3 - Blue Fire). The voices are growing louder; the buildings are taking on a newer sheen. The silent cities are coming back to life!

Night falls; the shadows stretch and disappear into the darkness (Track 4 - End of a Changeling). The weird vision continues, bringing back long-gone sounds and memories, the unfamiliar ghosts of the vanished people (Track 5 - Canals).

Suddenly, our trance breaks. It was just an illusion after all. This world is long dead. Its only inhabitants now are grotesque bird-like creatures that watch us threateningly from the collapsing roofs (Track 6 - Flamebirds Waiting for the Storm).

Yet why do the faces of these beasts bear mournful, almost human expressions? Are they perhaps reflecting on life's brief span, on the vanity of existence and power, as if too much fallen glory had softened even their brutish hearts? No, the noxious alien atmosphere is just playing tricks on our sensibilities. This world died long ago (Track 7 - Unremembered). If there had been any mourners, they didn't have long to await their turn.

End of visualization. Well, you get the idea now. 'Mars' is not a planet, it's a state of mind. The setting could really be anywhere strange and special to your imagination. Wherever you find yourself, TMC, this ambient masterpiece, will work invariably well.


title: Love This CD

text: I love this song and the instrumental is beautiful too.  I would have like it if Yuya Matsushita did a track in English.


When I first saw this I was excited to be able to acquire a version of the Rolling Stones “Their Satanic Majesties Request” LP with the original cover in a CD format. What I received was just what it said it was, a 3D version. Unfortunately that is not what the original cover is. The original cover is a lenticular, which similar to the 3D version also shows an illusion of depth, but adds to it by its ability to change as the image is viewed when you tilt the LP or change your sight line, in the case of the original a movement of the Rolling Stones heads changing directions along with a change in the angle and color of the flowers, and also most significantly the sudden appearance of the heads of all four Beatles camouflaged amidst the barrage of colors. The appearance of the Beatles was a major factor in the interest and popularity of the cover. The 3D version, again while it does give you the illusion of depth, does NOT show any movement by the Stones or flowers, and the two Beatles heads you can make out (George & John) are merely printed there and do not disappear when you tilt the CD or change your sight line, and the other two Beatles (Paul & Ringo) inexplicably do not appear at all. In fact the 3D square mounted on the CD cover is actually truncated on the right and left sides, leaving off the sections where Paul & Ringo would have appeared along with the flowers that trimmed the original on the sides. And on the bottom, also conspicuously missing are all of the flowers and fruit. The bottom section is completely lopped off. So while the colors are nice it IS NOT the visual of the original, merely an incomplete imitation without the visual effect.


title: If you like black flag

text: Rage in audio.  If you like black flag, do it.


title: Four Stars

text: good CD


title: Five Stars

text: Nice relaxing music.


title: The Best Complete Porgy and Bess

text:
This is my favorite of the several complete recordings of George Gershwin's Porgy and Bess that I own.  This was the first full recording of the score and Lehman Engel has assembled an incredibly capable cast for this box set -- even if they are not highly trained opera singers (or famous jazz singers).  Each of them brings a heartfelt authenticity to their characters that shines through every song and recitative in the entire recording to bring the full emotional impact of the story to the fore.  Engel's conducting of the orchestra brings out the brilliance of Gershwin's of orchestrations without muddying them or pushing them to the background as is the case on too many of the other recordings.  The leads are exceptional in every song they perform and this recording captures their words with superb clarity; every vocal line can be followed.

A couple standouts worth noting.  This version of "My Man's Gone Now" is the most poignant and gut-wrenching of any recording I've heard.  And Avon Long's Sportin' Life is a revelation.  He plays the character as a wily, smooth-talkin' weasel.  Once you hear his oily rendition, you'll never be satisfied hearing an operatic tenor take on the role of Sportin' Life.

The sound quality on these recordings is excellent for the time they were produced, and a worthwhile trade-off for the quality of the performances.  Unlike other records of this era, this was the first to include the sounds one would hear on stage -- dice being thrown during the crap game, heavy foot and body falls during fights, doors closing, people laughing and clapping, etc. -- had this been an actual performance (which is is not).  These all help listeners imagine the action as the opera unfolds, and to heighten the emotional impact of key scenes and events.

Fortunately, the cost of these recordings is very low.  I encourage you to take a chance and acquire one.  I think you'll be pleasantly surprised.  And you'll have a new treasure in your collection, one that you'll want to listen to many times over.


title: Memories

text: I listened to these songs growing up, and still love them!


title: Five Stars

text: Good,good, good album Love It.


title: Happy to complete my collection

text: Yay! With this CD and the second "Captured Live", I was able to complete my collection of all of these "On the Mountain" CDs. Because I moved to Seattle in 1997, I missed buying them the first 2 years and it wasn't until recently that I thought of purchasing them on Amazon. #1 and #2 of this collection aren't as great as the ones further on, but hearing the songs from of these artists that were big in 1995 and 1996 is precious.


title: Five Stars

text: love it!


title: LionelCan sing

text:
Love esp when cleaning makes
The whole
Day
Better

user_id: AHIAQKRXYFLFGZXUUSDDVHGFYWPQ


title: Five Stars

text: excellent cd.


title: Five Stars

text: Perfect.


title: Main Street song!! 😁

text: Was so excited to finally find a CD that had "walking right down the middle of main street" on it.  Even though it isn't the whole song, any Disney music make me Happy!


title: Five Stars

text: LOVE the entire album


title: Four Stars

text: Good CD


title: The estate create a wonderful release.

text: The estate did a wonderful job with bringing in his original unheard music and the original album. The Packaging was as classy as Prince himself was and very fashionable.


title: Four Stars

text: The CD arrived quickly but the poster was missing.


title: Fantastic CD

text: Perfect!!


title: Good but disappointed

text: I was expecting the 2 DVDs that my brother received when he ordered this set, as well as the two CDs


title: Five Stars

text: This CD is a blessing!!!


title: Brilliant

text: Enjoyment! Frank was an excellent musician


title: Incomparable Enoch Light

text:
CORONET CX-169 Stereo

FEATURING: Enoch Light - Producer, Arranger, Conductor

SIDE 1: High School Cadets; Under The Double Eagle; The Picador; The Gladiators

SIDE 2: Stars And Stripes; El Capitan; Rifle Regiment; Our Director


title: The genius of Enoch Light on full display!

text:
COMMAND RS 820 SD Stereo

FEATURING: Enoch Light - Producer; The Command All Stars; Moe Weschler; Don Lamond - Drums; Tony Mottola - Guitar; Bob Haggart - Bass; Ezelle Watson; Wally Kane; Toots Mundello; Al Klink - Woodwinds; Stanley Webb - Woodwinds; Russ Banzer; Phil Bodner - Woodwinds; Romeo Penque; Tom Parshley

SIDE 1: She's Funny That Way; Serenata; I Guess I'll Have To Change My Plan; Pavanne; As Time Goes By; I Want To Be Happy

SIDE 2: Bewitched; Badinage; S'posin; Saxophobia; Thou Swell; Stompin At The Savoy


title: Benny Goodman sound in STEREO!

text:
BRIGHT ORANGE X-BO-704 Stereo

FEATURING: Mahlon Clarke - Clarinet; Zeke Zarchy - Trumpet; Irving Goodman - Trumpet; Conrad Gozzo - Trumpet; Don Fagerquist - Trumpet; Frank Beach - Trumpet; Tommy Pederson - Trombone; Milt Bernhart - Trombone; Robert Pring - Trombone; Hoyt Bahannon - Trombone; Murray McEachern - Trombone; Vido Musso - Tenor; Dave Harris - Tenor; Babe Russin - Tenor; Hienie Beau - Alto; Les Robinson - Alto; Jess Stacy - Piano; Jimmy Rowles - Piano; Sid Weiss - Bass; Curtis Counce - Bass; Allan Ruess - Guitar; Al Hendrickson - Guitar; Nick Fatool - Drums

SIDE 1: Bugle Call Rag; Sing Sing Sing; Let's Dance; King Porter Stomp

SIDE 2: Don't Be That Way; Christopher Columbus; Sugar Foot Stomp; And The Angels Sing; When The Saints Go Marching In

This rare recording is one of a series featuring the greatest Hollywood Studio musicians from the 50's and 60's playing the great big band charts of the 30's and 40's using the best available stereo recording equipment of the time. The record company (Bright Orange) failed, but fortunately a few of these brilliant recordings live on. Here is Big Band at its best.


title: Great Jazz Standards by a master of the Pipe Organ

text:
WARNER BROS W 1533 VITAPHONIC Mono

FEATURING: Buddy Cole - Wurlitzer Pipe Organ

SIDE 1: I'll Follow My Secret Heart; Sassy Brass; Serenata; How Am I To Know / You're Blase; Spring Is Here

SIDE 2: Have You Met Miss Jones; I Wish You Love; Tina; My Romance; Secret Love; Cry Me A River


title: Jazz Standards by Buddy Cole on his Wurlitzer

text:
COLUMBIA CL 874 High Fidelity Mono

FEATURING: Buddy Cole - Wurlitzer Pipe Organ

SIDE 1: The Breeze And I; The Nearness Of You; Orchids In The Moonlight; Ebb Tide; That Old Black Magic; Tenderly

SIDE 2: The Continental; Laura; Poinciana; Autumn In New York; The Moon Of Manakoora; The Hour Of Parting


title: Pete Rugalo was a genius

text:
MERCURY MG 36122 Mono

FEATURING: Pete Rugalo - Composer, Arranger, Conductor; Larry Bunker - Percussion; Shelly Manne - Percussion; Buddy Childers - Trumpet; Van Rasey - Trumpet; Ed Leddy - Trumpet; Don Fagerquist - Trumpet; Milt Bernhart - Trombone; Herby Harper - Trombone; Frank Rosolino - Trombone; Russell Brown - Trombone; Clarence Karella - Tuba; John Graas - French Horn; Andre Previn - Piano, Composer; Joe Mondragon - Bass; Al Portch - Guitar; Jack Costanzo - Bongos; Mel Lewis - Drums

SIDE 1: Bongo Riff; Drumerama; Funky Drums; Percussion At Work; Chorale For Brass Piano & Bongo

SIDE 2: Fugue For Rhythm Section; Artistry In Percussion; 1 + 4; Interplay For Drums, Brass

Pete Rugalo was Stan Kenton's chief arranger from 1945 to 1949. If it were not for Rugalo you probably would never have heard of Stan Kenton. This is one of those late 50's Hi-Fi records designed for you to show off your new Hi-Fi equipment.


title: Rhapsodic Doc Severinsen

text:
RCA APL 1-0273 Stereo produced in 1973 by Joe Reisman

FEATURING: Doc Severinsen - Trumpet; Ross Tompkins - Piano; Peter Woodford - Guitar; John Williams - Bass; Ed Shaughnessy - Percussion; Willie Bobo - Percussion; Tommy Newsom - Saxophone, Arranger, Conductor; Oliver Nelson - Arranger, Conductor; Lenny Stack - Arranger, Conductor

SIDE 1: Live and Let Die; Soul Makossa; Yesterday Once More; Touch Me in the Morning; Shambala; My Love; Pictures: Promenade; Great Gate at Kiev

SIDE 2: California Dreamin'; The Look of Love; A Song for You; Sweet Caroline; You've Got a Friend; I Remember Louis: Introduction; When It's Sleepy Time Down South; Struutin' with Some Barbeque; Blueberry hill; Hello, Dolly; Mack the Knife; When It's Sleepy Time Down South


title: Judy and Liza Live

text:
CAPITOL ST-11191 Mono

FEATURING: Judy Garland - Vocalist; Liza Minnelli - Vocalist; Harry Robinson - Conductor; Norrie Paramour - Supervisor; Simon Rady - Producer

SIDE 1: Together (Duet); The Man That Got Away (Judy); Who's Sorry Now (Liza); Medley: Hooray For Love (Duet); After you've Gone (Judy); By Myself (Liza); 'S Wonderful (Judy); How About You (Duet); Lover Come Back To Me (Liza); You And The Night And The Music (Judy); It All Depends On You (Duet); What Now My Love (Judy)

SIDE 2: Hello Dolly (Duet); Gypsy In My Soul (Liza); Swanee (Duet); Over The Rainbow (Judy); When The Saints Go Marching In/Brotherhood Of Man (Duet); He's Got The Whole World In His Hands (Duet)


title: Don Baker at the 4/24 Robert Morton Theater Pipe Organ

text:
Capitol T997 High Fidelity Mono

FEATURING: Don Baker 4/34 Robert Morton Pipe Organ

SIDE 1: Heart Medley (Love, Here Is My Heart; My Sentimental Heart; There Goes My Heart; With All My Heart); Goin' Places Medley (Chattanooga Choo Choo; Ferry-Boat Serenade; On The Atchison, Topeka And The Santa Fe; The Trolley Song); Dawn To Dark Medley (Daybreak; It's A Most Unusual Day; Blue Evening; Three O'clock In The Morning

SIDE 2: Moonlight Medley (A New Moon Is Over My Shoulder; Blue Moon; Moonlight Serenade; The Moon Is Low); Rain Medley (Rain; Lilacs In The Rain; Rhythm Of The Rain; Singin' In The Rain); Dream Medley (I'll See you In My Dreams; Jeanine; When I Grow Too old To Dream; Street Of Dreams)


title: Doc Severinsen makes this worthwhile

text:
COMMAND RS 833 SD Stereo

FEATURING: Doc Severinsen - Trumpet; Tony Mottola - Guitar; Phil Bodner - Woodwinds; Stanley Web - Woodwinds; Al Klink - Tenor; Moe Weschler - Piano; Bob Haggart - Bass; Don Lamond - Percussion; Phil Kraus - Percussion; Bob Rosengarden - Percussion; Ed Shaughnessy - Percussion; Milton Kraus - Electric Organ, Ondioline; Enoch Light - Producer

SIDE 1: Temptation; I Get A Kick Out Of You; Remember; Green Eyes; Stars Fell On Alabama; As Time Goes By

SIDE 2: That Old Black Magic; Yesterdays; Music Maestro Please; Bidin' My Time; A Game Of Chance; Dancing On The Ceiling


title: Great Big Band Jazz

text:
COMMAND SPC-3629 Stereo

FEATURING: Enoch Light - Producer

SIDE 1: La Dolce Vita; Tonight; September Song; Stairway To The Sea; Fly Me To The Moon

SIDE 2: That Old Black Magic; The Third Man Theme; Rio Junction; Oh Lady Be Good


title: A solid set

text: Can’t go wrong! Great music!


title: Five Stars

text: Excellent Service, Excellent Product as described. Thank you


title: Kids love it!

text: My four year old is constantly requesting to put on the "songs about the Lord" and after only one day of listening to these CDs she is already talking about being kind to one another as well as other principles from the music. This morning she said, "sometimes the world is like a big dark room and if we believe in Jesus we can be like bright candles!" Teaching little ones about God can be confusing and overwhelming and I think these songs have already been very helpful in making the process easier and more fun.  Music is such a powerful learning tool and I am really excited to use these songs for building blocks for my kids to learn about God. The songs really are right out of the Bible but make it understandable and fun! I HIGHLY recommend this.


title: Great!

text: Had to get this after we saw him in concert.  Great CD and happy to add it to our collection.


title: DISAPPOINTING

text: They say 2 Bonus tracks but there aren't any!!!<br />I didn't get what I paid for. VERY DISAPPOINTING.... 😥😪


title: In my Top 25 for Christmas music

text: This album of 33 instrumentals is by no means a 'typical' holiday album.  The songs are lively and well played.  If you like Fresh Aire (early Mannheim Steamroller) or early Windham Hill music, you may also enjoy this collection.  It is too bad it is out of print now - I also wish there was a set of MP3 samples for you to be able to hear just how good this album is.  I have approx. 200 Christmas and holiday albums and this one is definitely in the top 25 (if not top 10).


title: The sellers are great to work with.  The album CD plays beautifully.

text: The album CD plays beautifully. The jewel case & insert are in very good condition. I would buy from them again.<br />BTW, great album, musical genius.


title: Yerachmiel Begun & the Miami Boys Choir Ultimate Miami: The English Collection Double CD with 26 Songs

text: This is a fantastic CD set.  I really enjoy the English edition as my Hebrew is very weak.  The songs are upbeat yet carry important messages for Jews and non-Jews alike.  I listen to the songs almost daily and highly recommend this collection as it will uplift your spirits!


title: Great album

text: Emil Muzz is an introduction to some epic Chicago bands; woolworthy, lightfm, rocketgirl, caviar, the assembly, farewell captain.  Many great bands then emerged from the said bands, contributing to the best local music scene IN THE WORLD!


title: Guitar Geekification achieved!

text:
Good quality audio and video HD recording with some stellar performances from some very talented fretgrinders.

Paul Gilbert is a highlight, along with the Hellecasters, but I highly recommend this DVD to those who are into guitar and unique practitioners of the instrument.


title: torn sleeve

text: ps8295w storefront sold this Album called "The Best of Mountain" Not "Mountain Climbing"<br />Media played well but was lacking for a very Good grade. Overall It's an acceptable buy. Would have given a 4 star if sleeve wasn't torn. To be fair, sleeve tear could have happened in transport? Discogs has a better selection of used vinyl.


title: Five Stars

text: This sound great on my Class A audio gear.


title: Warning - An amateur audio production !!

text: I bought this CD because it has two really good songs on it (that's pretty much all, IMO).  But my big disappointment is that several of the songs appear to be dubs from a turntable record LP,  complete with "ticks and pops"!!  I've never heard this on any "professional" CD before.  I certainly expected better from Jimmy.  The labels is MCA  -  don't know if this phenomenon is the same on the Universal disc, but I suspect it is (likely being on the master tape).


title: Five Stars

text: Was a gift and the person Loved it.


title: Five Stars

text: This is my favorite album by Marc M.  He has so much talent it's INSANE.


title: Yes, everything I expected.

text: Was exactly what I was Hoping for. Very good indeed.


title: Very good selection of songs.

text: Absolutely what I expected and enjoy his twanging on his 5 stringer.


title: Yes, everything I expected.

text: Yes, everything I expected. One of the best singers of his day.


title: Five Stars

text: Very nice but very pricy.


title: Buy this album.  It's timeless.  See the man in person...you'll be glad you did.

text: I saw this man way back when in Lansing MI and he always blew the crowd away!  Silky smooth and flawless!<br />If you ever get a chance to see him, don't pass it up.  You'll be his biggest fan.


title: Hard to find

text: This is a hard one to find. I saw him in concert right after this was recorded and the did the whole set.


title: ... cd help in your worship expeti This cd is good to have for worship

text:
This cd help in your worship expeti

This cd is good to have for worship. We were very satisfied with it


title: great tone

text: I've heard Carl play on Fremont Street in Vegas many times. His tone quality and phrasing is superb and the background tracks are excellent. I seldom buy CDs, but I had to have this one, which I play frequently.


title: Great collection of his songs

text: Wonderful collection of Englebert's most popular songs.  Great to have.


title: Gift

text: I had a copy of this for many years.  I ordered this copy as a Christmas gift for a friend.  they said it is a very good copy.


title: Mancini at is absolute best

text: The flow of this music is unparalleled.  Mancini flexes his muscle for interesting chords and melodies like never before.  The sound of it never resolves to an entirely tonic chord, implying the never-resolved relationship issues between Joan Crawford and her daughter Christina, and giving the sense that something is always at least a little off, no matter how lush the strings sound.  It's a shame that little bits of the score have been hacked out of the film to varying degrees on different prints (as I understand it), especially the garden tirade scene which was originally accompanied by an appropriately hectic strain.  Mancini gets it RIGHT here.  All music written for the movie, even those cues not included in the film AND source material, are included on this hard-to-find CD from La-La-Land Records, my best friend for camp film scores.


title: Five Stars

text: Loved it


title: This is an excellent book, especially if you plan to visit the ...

text: This is an excellent book, especially if you plan to visit the Franklin, TN civil war site.  Narrations by different people and really gives you an idea of what went on during and after this battle, especially the aftermath for the local people.  Fiction but excellent fiction.  Highly recommend.


title: Great Tool

text: I've found the Pet Convincer to be a great training tool, it immediately stops the bad behavior with just a blast of air! I also take it to the dog park with me in case of scuffles which it has always put an stop to. In fact everyone at the park is wanting one too. When the CO 2 containers start to get empty the blast doesn't seem as strong but it's still very effective.


title: rich, tasty harmony

text: music for singers: harmony that melts in your mouth and a broad range of folk music.  Each member of the group is a songwriter, harmony singer, and multi-instrumental musician.  I saw them first in person.  Now I have every one of their recordings.  Don't miss Finest Kind.


title: Five Stars

text: Love my CDs! Grow up with the Eagles! Best music in all of history!


title: Five Stars

text: Elvis always was and will always be good


title: Three Stars

text: good


title: Recommend!!!

text: This still is the best bilateral stimulation tape.  I think it's the first one.  Several cd's later and I still prefer this one.


title: Superb collection at a phenomenal price.

text:
This release has Como's first 20 LP releases spread out over 10 CDs. They all are enclosed in a handy case, with each CD in a cardboard sleeve. The track listings are clear, with release dates and song timings, as well as the songwriters listed.

Sound quality for the vintage is excellent; some of the individual releases are sonically more prominent and different than the others, but all of them are of sufficient high quality.

The set appears to be German-made, and it is carefully put together.

An incredible bargain, this is a terrific, compact way to have a large output of Como's work.

Highly recommended.


title: My single most favorite album

text: This is their best album of all. I had this on cassette tape when it was first released and was so happy to find it on CD.


title: Five Stars

text: A+!  :)


title: I tried to tell my husband!

text: I tried to tell my husband that he was wrong but he insisted I order this for him.  Not the best version of Apache in my humble opinion and once he heard it he agreed.


title: Five Stars

text: Great sound of rare recordings. Highly recommended for F. M. fans.


title: Five Stars

text: Very good memories of the band in their prime.


title: Worth it!

text: The album is inspired, unique, and a joy to listen to. Audrey Assad takes familiar hymns and sings them with integrity, yet manages to pour her soul into the music and allow her own distinct "voice" to come through. One of my favorite songs on the album is her rendition of "Jesus' Love Never Failed Me Yet", which, despite the upbeat lyrics, Assad places in a sobering musical context. To me it speaks of the struggle of faith in an imperfect world, with the underlying trust that - no matter how dark things may seem, no matter how difficult the circumstances - the Lord remains faithful. There is a realism to this album that takes these hymns - often interpreted in a saccharine manner today - and reminds us that faith is not easy, but it is beautiful.


title: Great starter CD

text: Their first album, it's a great first taste of GCB and a fine introduction to the rest of their work.  Good road trip CD.


title: Tres Magnifique

text: I was watching a new you tube vlog, ChateauLove and really enjoyed the music.  Turns out that the Chatelaine Vivienne’s sister (Ashley Lockheed) was the voice I was enjoying.  I immediately clicked the link to buy this album. Pure loveliness.


title: Five Stars

text: Great cd...great price....great service....


title: always the best

text: I had the original record, then a cd that got lost, so now I have my "memories" back.  thanks.<br />one of the best performances ever.


title: Stay away from this compilation!!!

text:
When I bought this cd set, I imagined having a wonderful collection of 100 retro hits of the 80's. Whilst I certainly don't doubt that these tracks are from the 80's, they are not indicative of the wonder & magic that one associates with that rich period in the annals of music history.

The packaging is alright - the cds are neatly inserted in sleeves made of card paper. The upside is that the audio quality is excellent.

However, if a music buff like me needs to make an outright effort to remove this cd from the drawer & listen to it, then I don't doubt, for a second, that you will too.


title: Music Together Compliation

text: So glad to have an added music together collection - - she gets to hear more "music school" music please and mommy gets a bit of variety.  We get to hear songs we already know from our seasons and seasons of music together and some songs we don't know yet too.


title: Wow

text:
This is just wonderful
I can listen to it over and over, and I do
To think a classical instrument like this can take music by a monster rock band and make it sound like this is amazing


title: Songs of Spirituality

text: A friend sent me the YouTube of the St. Louis Jesuits singing "Be Not Afraid" and it was an immediate spiritual connection.  I decided to order the CD that included the hymn.  All of the songs and the beautiful voices have been meaningful.  I am grateful to know of these singing priests and wonder if they are still creating music.


title: more keilor

text: I've heard many funny stories about we Lutherans.  Unfortunately, Garrison Keillor's monologue on this CD is not among them.  He's done better.


title: spiritual attainment

text: I've loved this piece of music all my adult life, own nine recorded versions, a number of them superb, including Shaw's unique persuance. Of them all, this one remains unmatched. Mezzo Klara Korkan and tenor Konstantin Ognevoi astonish with singing that truly is from another world, and the intensely spiritual music making of the USSR Academic Russian Choir with director Sveshnikov sustains with every repeated listening. The old Melodiya recording ambience is unlike any other I've heard, pungent and roundly bright, perfectly conceived and given, and it's preserved intact here. Listening to this piece really is life-altering. I waited thirty years for this recording to issue on disc, wore out two sets of the boxed Melodiya LP version with the great cover. Words fail, but This consummate rendering of This music will never die. Get it!


title: Excellent Valaam Institute

text: The Valaam Institute choir in excellent form. The Tsarist National anthem performance is too refined. The arrangement unfortunately is spare rather than primal, the power of the basses not arriving until the end cadence, although effectively used there. The famous Valaam intonation on magnificent display from beginning to end. Both 'Oh, mighty Tsar!' and 'God, love the Tsar!' are captured with brimming musicianship and both are excellent anthems. The men sing the folk melodies with partiality, and it works beautifully. Great CD, but repeat I missed a bit of something in the singing of 'God, save the Tsar!' - it wants for more reverence, less civility.


title: Caustic, unlistenable noise with an oasis of Haydn

text:
The Spektral Quartet, the ensemble-in-residence at the University of Chicago, is an envelope-pushing ensemble that thrives on introducing the newest and often edgiest music to audiences outside of the daring modern art enclaves that live on the strangest, most difficult and most shocking grist. This album is a perfect example.

The group explains in its notes that it is an exploration of humor through the lens of classical music, but it is “not a funny album”. This is music that “might be a little uncomfortable” but “rings through in its truth”, the works “brilliant and clever, and unequivocally worth entering the cave for”.

“Uncomfortable” is, in my opinion, putting it mildly. This particular "cave" is a torture chamber.

There are three pure avant-garde works, each evil-sounding, dissonant, bizarre. Sky Macklay’s “Many Many Cadences” is eight minutes’ worth of nasty stabs and squeaks. David Reminick’s “The Ancestral Mousetrap” is an ugly punk piece in which the quartet “sings” about such things as “bringing dead people back to life”, “an old woman’s breakfast” and other absurd non-sequitors, in between screeching and squealing. Chris Fischer-Lochhead’s “Hack” makes ugly noises out of the cadences of the routines of various famous stand-up comedians. If one were unaware of the goal or the program, it is nothing but, well, even more squeaking and squealing.

It takes a lot of intellectual gymnastics to justify and tolerate these affronts to the ears. Just because the ideas behind the works are mean-spirited and absurd doesn't make the works funny. At all.

But in the very middle of all of this aural violence is an oasis of sunlight, brilliance and sanity: an outstanding Haydn op.33 no 2 string quartet (“The Joke”). Interestingly, the Spektral not only plays this time-honored if obvious example of musical humor straight and sober, but they do it very seriously, perfectly phrased throughout and at a moderate tempo, with a touch of darkness---as if to suggest that Haydn’s musical “funny" that is not exactly ha-ha funny. (In fact, the inner movements are quite sober.) I suppose that is in keeping with the entire album.

The ugliness and noise resumes after the Haydn.

The question is whether this little Haydn respite (which comes across as starkly out of place) (strange that they chose the Haydn instead of, say, a Shostakovich or Prokofiev quartet) enough by itself to get you to pay for and suffer through the rest.

It would seem that many lovers of this brand of modern performance "art' disagree with my issues. This album was nominated for Grammy award in 2017 for best chamber/small ensemble performance. Fine.  I don’t get it. Good luck if you can.


title: Definitive, deeply evocative Poulenc

text:
There are many fine recordings of the Poulenc solo piano works. Among the full sets containing all or most of the works, the recordings of Pascal Roge and Eric Parkin typically get first mentions, and both sets are excellent in their own ways. But the Poulenc cycle of Paul Crossley is, in my opinion, on another level. Different, even deeper, even more evocative, personal and moving.

While Roge is (among other things) light, sweeter, melodic and wistful, moving with a dance-like sway, and Parkin is quicker and a bit unsettling (in an interesting way), Crossley’s approach is more deeply felt than either. A shade darker, more nocturnal, elegiac, the pieces sounding fresh, immediate and spontaneous, not quaint. Crossley’s tempos are relaxed and natural, his touch big yet crystalline, and the sound rich and substantial. This is the kind of impressionistic lyricism that influenced the great jazz pianist Bill Evans, a huge follower of the French composers, and Crossley captures it.

So again, it’s hard to go wrong with Roge or Parkin, and let me also mention the albums by pianists such as Charles Owen and Miki Aoki, who interpret and play Poulenc beautifully (but neither album is a full Poulenc cycle), but Crossley’s Poulenc is, for me, the most special of all.

I highly recommend Paul Crossley’s Poulenc set, which is available as a Sony mini-box set as well as on an import set.


title: Insight and power from Mustonen and Blomstedt/SF

text:
The Grieg and Chopin piano concertos are familiar war horses, but the versions that truly separate themselves from the crowd, like these, deserve special attention.

This 1994 recording features Finnish composer/pianist Olli Mustonen and the San Francisco Symphony at its best under Herbert Blomstedt--two savvy musical minds who collaborated frequently---taking on two of the most familiar concertos and coming up with fresh insights.

The always-interesting Mustonen attacks these works at a robust, relaxed tempo, a great bounding rhythm (in the Grieg outer movements), and incisive phrasing throughout. Blomstedt and the orchestra support beautifully, but the star is Mustonen, who, like the composer that he is, brings out the most interesting details of this music. A far cry from the typical flash virtuoso treatment that these pieces usually get.


title: Anton Dikov’s Bartok cycle one of the greatest (and least known)

text:
The great Bulgarian pianist Anton Dikov was a legend who studied with the likes of Anton Rubinstein, Nadia Boulanger and Robert Casadesus. Internationally respected by fellow musicians and serious connoisseurs, he is not a household name outside of the Balkan region and Europe, despite a lengthy recording career.

This Bartok piano concerto cycle, recorded in 1976, an absolute standout and a crowning achievement that features Dikov partnered with conductor Dimiter Manolov and the outstanding Sofia Philharmonic Orchestra, is not only one of the very best, but one that offers  a sound and approach to these works that no other performers have captured, including the revered Geza Anda/Ferenc Fricsay set that is considered by most as the reference.

Among the distinctive qualities of Dikov/Manolov: a blend a unique weightiness and power along with spot-on choices of tempo, and an infectious sense of rhythm. Dikov’s piano sound is warm, huge and full, his phrasing commanding, maintaining focus and cogency even in the most difficult and wild passages (where most other interpreters either fall apart or sound like chaos).

I have never heard a more powerful Piano Concerto No.1. The savage beat, the motoric propulsion, perfectly balanced, and at a robust, rolling pace that grabs you and carries you through. This is a visceral performance, deep, dark and otherworldly. It is bigger, stronger, more dense, and darker in sound than the famous Anda/Fricsay, or frankly any others.

In the Piano Concerto No.2, possibly the most difficult and complex of them all (to perform as well as for the listener to grasp), Dikov/Manolov again set down an ideal beat, rhythm and tempo (a notch slower), pummeling through the crazed motoric wall of ideas with power, but with absolute control that takes you to the edge without falling off. The adagio is as it must be: otherworldly, mysterious, fascinating. By comparison, the justly revered version by Anda/Fricsay is a sharper, jazzier take of great clarity and incisiveness, but Dikov/Manolov is bigger, denser and more imposing.

Finally, there are numerous outstanding recordings of the popular Piano Concerto No.3, including (some of my favorites) Anda/Fricsay, Andras Schiff/Ivan Fischer, Ranki/Ferencsik, Sermet/Otono, Wurtz/Kuchar, etc. etc. but here again, Dikov and Manolov offer a more sweeping rendition that is more expansive in tempo and feeling--- a remembrance,  a hymn.

The AVM Records CD is bare bones, with good liner notes on the music, but no information on Dikov, Manolov, the Sofia Philharmonic or the recording dates.

I highly recommend this set, which I believe stands with the best among Bartok piano concerto cycles. You may also find it selling at a bargain price.


title: Superb Beethoven piano concerto cycle

text:
There are hundreds of recordings of the Beethoven piano concertos, many of them excellent and even legendary. These 1980s versions with the brilliant Elisabeth Westenholz and the Collegium Musicum (an orchestra of Copenhagen’s finest), conducted by Michael Schonwandt should be counted among the very finest.

In terms of interpretation and performance, they are virtually flawless. Impeccable in character, expressiveness, detail, nuance and tempo. While volume 1 (featuring concertos 2 and 4, remind me of the legendary Leon Fleisher/George Szell/Cleveland Orchestra cycle in attitude and clarity), concertos 1 and 3 bring to mind the later Szell/Cleveland set with pianist Emil Gilels.

This is a great early example of Schonwandt’s fine conducting. He would later record a magnificent set of Schumann (on Chandos) (also reminiscent of Szell), and in the 2000s, the complete Nielsen symphony cycle on DaCapo, the very finest Nielsen symphony cycle available. Westenholz, a fine Beethoven interpreter, plays these masterpieces as well as any pianist that I have heard.

High praise? Yes, and deserved.


title: Light, polished but somewhat faceless

text:
These recordings from 1996 have appeared on Oehms, and (originally) the Arte Nova label. Perl and Schiefen are technically clean and polished, polite and smoothed over. I find the interpretations to be disappointing. Cool, faceless and neutral, light textured, restrained and neutral in expression and phrasing (especially Perl).  Tempos are on the brisker side, but not rushed. This kind of faceless and chaste treatment fails to capture the full spectrum of Beethoven, although those who prefer a lightweight take might approve.

There are other sets of the Beethoven cello sonatas that I prefer, including Ashkenazy/Harrell, Dinnerstein/Bailey, Ax/Ma, Wurtz/Rosler, Richter/Rostropovich, Kempff/Fournier. Ashkenazy/Harrell is my favorite for depth of interpretation, spirit, and sparkling performance.


title: THE Mahler Seventh, bar none.

text:
Jascha Horenstein's Mahler symphonies are among the greatest ever recorded, each a definitive "benchmark" interpretation. Horenstein's legendary Seventh, a live performance from 1969, is no exception. This performance not only stands alone among Mahler Sevenths, but it is a testament to the brilliance of Horenstein, who makes a masterpiece out of the most difficult Mahler symphony to pull off; the one that derails most every other conductor.

Here is the "night patrol" of Mahler's conception captured like no other. The ghosts of the Mahler Fifth and Sixth symphonies, and "Revelge", haunt the dark, intense tread of the funereal first movement. Unlike virtually every other recording of the Seventh, there are no lurching, inconsistent tempos, flagging energy or loss of focus. Horenstein not only sustains throughout this movement, but does so powerfully with a sure hand. Furthermore, he has much to say.

This Homeric journey continues into the mysterious soundscapes of the inner movements. Horenstein's detail, particularly on the dark, ominous undercurrents, an atmosphere of foreboding, is stunning, while the suspense and dramatic line are sustained all the way through until the finale. Then comes a startling leap into blazing day light, a thunderous celebratory movement that Horenstein nails better than anyone else, with the irony and raucous humor that Mahler intended.

Unlike other worthy (and much more popular and critically lauded) versions by Abbado, Rattle, Bernstein, Tilson-Thomas and others, or the slow motion slog of Klemperer, Horenstein's has no weak moments, ungainly galloping, or messy overindulgences. His Mahler Seventh does not derail clumsily.

The Mahler Sevenths that even approach the Horenstein/New Philarharmonia benchmark are Hans Zender/Saarbrucken, Michael Gielen/SWR, Michael Gielen/Berlin, and Adam Fischer/Dusseldorf. There are similarities to Horenstein's to be found in these performances (similar not too fast/not too slow tempi) but also unique variations. Zender and Gielen offer chiseled modernist, somewhat more sober viewpoints. Fischer's is a more conventional top-down view that is highly appealing and performed brilliantly.

Best one ever. Highest recommendation.

(This recording has been issued by BBC Legends, Descant, Music & Arts, and Intaglio. I am only familiar with the Descant CD, which to my ears, sounds fine. No problems with lack of clarity. I have read reviews that suggest that the BBC remaster has muddier sound than the others.)


title: Stunning, masterful Schubert Ninth among greatest

text:
This is a live 1986 performance of the Schubert Ninth with Eugen Jochum leading the RIAS Berlin. And it is a special recording.

This is a Schubert Ninth for the ages that is flawless. Powerful, rich, heavenly (the most beautiful, heartful opening), expressive, lyrical. Tempo ideally judged throughout, propulsive without ever jumping the tracks with wild lurches (as many versions of the Great unfortunately do). The orchestra is brilliant, flawless. Jochum is 84 here, one year before his death. This does not matter, except perhaps in that Jochum achieved a wonderful mystical quality in many of his later readings, and this is one of them.

I find this rendition superior to Jochum's 1950s recording on Deutsche Grammophon. There is a 1981 recording that has many of the same wonderful qualities as this one, however, it is hard to beat the immediacy of the live performance captured here. Major credit to Tahra for this disc. It is not inexpensive, but it is worth it. There is a vast array of other versions of the workhorse Schubert Ninth on the market, but I rate this one far above the rest, including the magisterial versions of Furtwangler and Szell (taut, muscular).


title: Early Szell/Cleveland on beloved Schumann symphonies

text:
Of all composers, George Szell had a special love and affinity for Schumann. He championed the symphonies when Schumann was relatively unknown outside of Germany, performed Schumann frequently, and put out pioneering recordings, two of which are featured here. These performances come from the early years of the Cleveland Orchestra, capturing them on the rise.

The Schumann Second is from 1952. It is the first of four recordings of Szell performing the Second. The later versions are a live 1957 with the Cleveland(a concert in Lugano, Italy), the legendary 1958 studio version with Cleveland, and a live 1969 with the Berlin Philharmonic. Of the four, this 1952 performance is the most fiery, muscular, and hardest-driving, and features the quickest tempos and attacks. The outer movements and the scherzo lack the warmth, insight and grace of the 1958 studio recording, but the skill of the Cleveland is already on full display. In an interesting contrast, the adagio is extremely moving, and several seconds slower than the studio version.

The Schumann Fourth is an even earlier recording, from 1947. The interpretation is comparable to the 1960 studio version, and similarly intense and terrifying. It is choppier, lacks the subtleties of the later version, but very exciting.

The sound is clear, somewhat boxy mono. As a chronicle of Szell's evolving approach to Schumann, and the Cleveland Orchestra's ascension, this disc is a treasure.


title: Stunning live Schumann Second, prime Szell

text:
This disc captures George Szell and the Cleveland Orchestra in 1957 on tour in Italy, during the heyday of Szell and Cleveland. It also catches them "in process": Szell typically liked to perform works repeatedly for extended periods ahead of what would eventually become studio recordings. In this case, it is the Schumann Second, a Szell specialty, one year before the legendary 1958 recording.

The performance here is nearly identical, with the same crisp, clear, distinctive attack and flow. It is a notch more fiery and harder-edged than the studio version, with the orchestra playing with extra intensity before an audience. Szell and the orchestra push things to the brink, without ever losing control.

As for the Debussy La Mer, Szell's somewhat Teutonic take was referred to within Cleveland circles as "Das Meer". Highly effective for what it was.

The 1957 Schumann is the highlight. Szell collectors should not be without it.


title: Franck: the 1953 recording versus the 1945

text:
For those of you looking for a standalone CD of Furtwangler on the Cesar Franck Symphony in D minor (in other words, you don't want to go to an expensive box set to get it), your choices are few, and this is one of them.

This disc features the December 1953 performance. It is an expansive, epic rendition, with tempos deliberate, mood wonderfully dark and heavy.

Furtwangler's arguably more famous performance of the Franck symphony, dramatically different from the 1953, was 1945. That incendiary, slashing interpretation was full of the terrifying intensity common to all Furtwangler wartime performances---the sound of lives literally in the balance. Tempos are faster than the 1953, and the take is also even darker. If the 1945 is the one you're looking for, it can be found on an import CD titled L'Heritage de Wilhelm Furtwangler (which also features a 1945 recording of Ravel's Daphne et Chloe). Otherwise, you will have to find it on box sets.

The Schumann First dates from 1951, and is typically exceptional. Well-paced and strong, and insightful.


title: The thunder god of Beethoven Eighths, a brilliant First, highlight Suitner's magic

text:
Conductor Otmar Suitner was a product of the old German conducting school and is respected as a masterful interpreter. But given that most of his career was spent on the "other" side of the Iron Curtain, his impressive recorded legacy (including some of the finest Beethoven, Brahms, Mahler, Schumann, etc. available) is not top of mind. Make the effort and you will find performances that compete with the best of all time. This Beethoven Eighth is a magnificent example.

Here is an Eighth brimming with edgy power and high spirit, reckless exuberance, and Central European warmth. The first movement, which contains some of the biggest moments in all of Beethoven, is a house on fire under Suitner's baton, crackling with explosiveness and energy. It brings to mind the kinetics of George Szell's and the robustness of Gunter Wand's versions, but Suitner surpasses them on both counts. Szell's is leaner and more nervous. Wand's strong take, the closest to Suitner's, lacks Sutiner's sensitivity. This is the most aggressive and thrilling recording of this movement that there is, and ever will be.

The second movement, Beethoven humor at its finest, is bawdy, raucous, and witty, and the Staatskapelle plays brilliantly. Suitner treats the third movement, the minuet, as a slower movement, more romantic than most, an approach that I prefer.  It is fragrant, gracious, and evocative, characteristic of Suitner's wonderful touch on Austro-German fare. Finally, Suitner ends this perfect Eighth with a fourth movement that combines the wildness of the first movement with radiance and joy.

The Eighth, a condensed encapsulation of the very best Beethoven, is sadly ignored among Beethoven's symphonies, Beethoven himself favored it. Here is a performance that does it very proud.

Suitner's Beethoven First is also a brilliant performance. It is one that bears a resemblance to the version by George Szell and the Cleveland Orchestra, but fuller and warmer under Suitner.

Not only do I highly recommend this disc, but the entire Otmar Suitner Beethoven set. It is not easy to find, but as good as any cycle, and better than the majority of famous big name productions.


title: 1957: Szell's best Brahms First

text:
Rescued from the vaults, this 1957 performance is an early stereo recordings of Szell and the Cleveland Orchestra in ascendence.

It is a blazing, thunderous, heroic version, crackling with fire and intensity. There is great clarity and vitality to the reading, including in the more delicate passages. The finale is noble and stirring, not sentimental (for that, look elsewhere). Tempo is on the slightly brisk side of moderate. Szell's vision of the First is towards classical Beethovenian muscle (in contrast to the slower and more romantic readings of Furtwangler, Horenstein, Klemperer, etc.) and is the best of its kind. Arguably even more impressive than Toscanini.

This interpretation is far superior to the late 1960s recording that is found on the Szell/Cleveland Brahms symphony box set. That later version, which is not bad, suffers from a few flat spots in comparison to this much more vibrant one.

The 1955 recording of the Haydn Variations, this unit's very first stereo recording, captures the unit still developing. It is good, but lacks the power and crackling precision of the later 1960s version.

Bottom line: this Szell First, along with a more recently released live performance at the 1962 Lucerne Festival, are the ones to hear.


title: Spectacular rare disc, awesome Segerstam Sibelius

text:
This limited edition CD was a 2007 offering from the BBC Music Magazine featuring the BBC Scottish Symphony Orchestra led by Leif Segerstam on the Sibelius Sixth and Seventh, and Stefan Solyom (a Segerstam conducting protege) conducting the tone poem En Saga.

These are among the very best recordings of the respective works recorded. A tall statement but true. These interpretations are passionate, soaring, unabashedly romantic, majestic, the orchestra is deeply committed. The scale is epic and the sound is sonically huge. Segerstam's interpretations here, particuarly on the Seventh (which is especially poignant), surpass his Danish Radio and Helsinski versions. Solyom's En Saga is truly formidable and thrilling, one of the few versions that give it the gravitas of a symphony.

Excellent liner notes walk you through the works with clarity and useful insight.

Great Sibelius, great Segerstam---for those fortunate enough to get their hands on this disc.


title: Not only one of the greatest Beethoven Fifths, but possibly Szell's best Fifth

text:
The Beethoven Fifth, the too-familiar warhorse, was also one of George Szell's favorite showcases that he interpreted uniquely, and performed often. He made it his own. There are a number of recordings, including two from 1961 with the Chicago and Dresden, a 1963 with his Cleveland Orchestra, a 1966 with the Concertgebouw, and finally a live 1969 version with the Vienna.

These are outstanding Szell Fifths, staples to Szell fans, but this November 1955 with the Cleveland Orchestra captured in an early prime may be the finest of them all. The explosive power, intensity, and crispness typical of all of the Szell Fifths are here, but this interpretation benefits from a small but palpable bit of spaciousness in certain phrases and passages(we are talking about very fine minutaie here). There is a fresh energy and natural (less micro-managed) delivery that sets this apart from the Fifths of later years.

Those who take issue with dryness or constrictedness with Szell's work should find none of that here. There are some small subtleties---"liberties"---that do not show up in other Szell Fifths. Conversely, some Szell-isms, that would lock into place in later Szell Fifths, are not here.

Szell's 1966 Beethoven Fifth, which benefits from fine stereo sound and the marvelous Concertgebouw, must also be heard. It is a yet warmer, more expansive read than this one, and widely acclaimed.

As for the Beethoven Fourth, it is from 1947, a very early Szell/Cleveland. It is a good Fourth but does not compare to the fresh and vibrant classic recording of 1963. A fascinating historical document, however.

United Archives should be applauded for their entire series.


title: Imposing, slow, unique Walton First

text:
As proven time again throughout his career, give Jascha Horenstein a score,  and invariably he would see it differently, and at the same time, penetrate to the heart of it, sometimes in startling fashion.  This live recording from 1970 is an example.

Do not come to this recording expecting the kind of quicksilver kinetics of the famous Andre Previn version, or anything like it.  This is a slower, darker, different experience that is awesome in its own way. Almost the opposite of Previn.

Although the score for the first movement calls for "allegro assai", and most versions go fast, Horenstein takes it at something closer to moderato. (The first movement goes around 16 minutes, a full minute slower than even William Boughton's recent "slow" version.) Again, do not expect the music to take off and fly, like most standard interpretations. Instead, Horenstein walks Walton's darkest demons before you, in all of their rage, fury and angst. It is harrowing, disturbing, cataclysmic. Horenstein continues this in the second movement, delivering the "malice" that Walton calls for---the exact feeling that is missing in most other versions (some of which are no more than quirky).  And where other intepreters offer the third movement andante in a mood of reflection, Horenstein evokes genuine loss, anguish, and heartbreak.  Finally, the fourth movement---bombastic, borderline hokey, and excuse for orchestral splash under most batons---is thunderous and majestic, but serious; the emergence from struggle.  You will feel the weight from this journey, but it will be worth it.

Even if you already own and have heard other Walton Firsts, and there are many good ones, this one is special. It not only stands up to any other version for power, but stands alone for the depth of interpretation.


title: disappointment

text: I must agree with the earlier reviewer and offer one star for a most unimaginative and tedious collection.  Rod can do better.  To prospective purchasers, I recommend that you pick any other album to exemplify this great singer's talent.  He has let himself down quite badly here however I will continue to play and to relish his earlier efforts.


title: Five Stars

text: CD condition as posted, thank you.


title: Great Music, Great Singer, Poor Recording

text: Actually bought this CD based on one song I had heard.  However the recording quality of this CD is very poor.  Very disappointed.


title: Great cd

text: Great cd