Beethoven Recordings 3

On this CD:

1. Symphony No. 3 in E flat major ("Eroica"), Op. 55
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
Conducted by Carl Schuricht

2. Symphony No. 5 in C minor ("Fate") Op. 67
Composed by Ludwig van Beethoven
Performed by Conservatory Concert Society Orchestra
Conducted by Carl Schuricht

Customer Reviews:

Essential Performances from a Great & Beloved Singer.......2004-01-09

For those of us who grew up on Janet Baker's recordings (and were lucky enough to hear her "live" as well), the sound of her voice and her singular artstic personality - British restraint coupled with fierce emotional and spiritual commitment - are indelibly imprinted in our minds and hearts. The closest current equivalent is Lorraine Hunt Lieberson, another superb artist who has charted her own course, and not surprisingly there is some overlap of repertoire, in the music of J.S. Bach, of course, but also Berlioz's Didon and Beatrice, Handel's Ariodante and Britten's Phaedra (composed for Baker).
This wonderful compilation is complementary to EMI's 2-CD "The Very Best of Janet Baker" -- no overlap of repertoire whatsoever. Unlike that set, which focused on concert repertoire (with orchestra or piano) there's a generous sampling here of Baker's operatic roles including Handel, Mozart, Purcell, Rameau, Gluck, and Britten. Also welcome is "Phaedra," one of Britten's strongest late works. And it's good to have the Berlioz: "Cleopatre" and "Herminie" complete, the big aria from "Beatrice et Benedict." (Why EMI included nothing from her recording of the last 2 scenes of "Les Troyens" is unfathomable.) The wide time-span allows us to hear Baker's voice in all its youthful, "sappy" warmth, as well as in its artistic maturity (though truth to tell she was pretty much a complete artist from the start). There are a few signs of wear in later items, nothing serious, in fact rather less than I remembered. I could have done with fewer of the "Arie Amorose" in favor of more cuts from her Gluck LP, which I believe has never been issued complete on CD, but that's just personal preference. The focus here is entirely on orchestrally accompanied works (or, in the case of the marvelous early disc of Ravel, Chausson & Delage songs, with chamber ensemble) so for Baker the supreme interpreter of English, German and French song you'll need to go elsewhere (the EMI has a fair sampling, especially of her Schubert). But everything here is indispensible.

Average customer rating:

A long overdue collection by one of the English masters of the clarinet.
Great Collection

The Complete American Decca Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Swing Low Sweet Clarinet: Reginald Kell & His Quiet Music
Pierre Monteux Decca & Philips Recordings, 1956-1964
Troubadour of the Piano
The Complete 1950s Chopin Recordings
Arturo Toscanini: The Complete Philadelphia Orchestra Recordings 1941-42

ASIN: B0009ONYPA
Release Date: 2005-09-13

Tracks:

I. Allegro
II. Adagio
III. Rondo. Allegro
I. Allegro
II. Larghetto
III. Menuetto-Trio I/II
IV. Allegretto Con Variazioni I-IV/Adagio-Allegro
I. Allegro
II. Andante
III. Minuetto In Canone-Trio In Canone Al Rovescio
IV. Allegro

Tracks:

I. Allegro Maestoso
II. Menuetto I-Trio
III. Adagio
IV. Menuetto II-Trio
V. Finale. Allegro
I. Allegro Con Brio - Mieczyslaw Horszowski
II. Adagio - Mieczyslaw Horszowski
III. Tema. 'Pria Ch'Io L'Impegno'. Allegretto-Allegro - Mieczyslaw Horszowski
I. Andante - Mieczyslaw Horszowski
II. Menuetto - Mieczyslaw Horszowski
III. Rondeaux. Allegretto - Mieczyslaw Horszowski
I. Zart Und Mit Ausdruck
II. Lebhaft, Leicht-Coda: Nach Und Nach Ruhiger
III. Rasch Und Mit Feuer-Coda-Schneller

Tracks:

I. Allegro Con Fuoco
II. Andante Con Moto
III. Rondo. Allegro
I. Allegro
II. Adagio
III. Andantino-Presto Non Assai, Ma Con Sentimento
IV. Con Moto-Un Poco Meno Mosso
I. Allegro - Mieczyslaw Horszowski
II. Adagio - Mieczyslaw Horszowski
III. Andantino Grazioso - Mieczyslaw Horszowski
IV. Allegro - Mieczyslaw Horszowski

Tracks:

I. Allegro Appassionato
II. Andante, Un Poco Adagio
III. Allegretto Grazioso
IV. Vivace
I. Allegro Amiabile
II. Allegro Appassionato
III. Andante Con Moto-Allegro
I. Allegretto - Brooks Smith
II. Allegro Animato - Brooks Smith
III. Lento - Brooks Smith
IV. Molto Allegro - Brooks Smith
I. Improvisation: Tempo Rubato-Espressivo - Brooks Smith
II. Modal Blues: Tempo Di Blues - Brooks Smith
III. In Rhythm: Moderato - Brooks Smith
I. Allegro Non Troppo - Brooks Smith
II. Larghetto - Brooks Smith
III. Allegro - Brooks Smith

Tracks:

Premiere Rhapsodie For Clarinet And Piano
I. Massig Bewegt
II. Lebhaft
III. Sehr Langsam
V. Kleines Rondo, Gemachlich
I. Sempre Piano E Molto Tranquillo
II. MM=168
III. MM=160
I. Verbunkos (Recruiting Dance). Moderato, Ben Ritmato
II. Piheno (Relaxation). Lento
III. Sebes (Fast Dance). Allegro
La Plus Que Lente
La Fille Aux Cheveux De Lin
Reverie
Le Petit Berger
Ecstasy
The Pied Piper
Blue Haze
Dance Of The Three Old Maids

Tracks:

I. Ouverture. Vif Et Gai
II. Divertissement. Anime
III. Jeu. Vif
IV. Introduction Et Final. Modere-Vif
I. Adagio 'Lovely On The Water - Brooks Smith
II. Andante Sostenuto 'Spurn Point' - Brooks Smith
III. Larghetto 'Van Dieman's Land' - Brooks Smith
IV. Lento 'She Borrowed Some Of Her Mother's Gold' - Brooks Smith
V. Andante Tranquillo 'The Lady And The Dragon' - Brooks Smith
VI. Allegro Vivace 'As I Walked Over London Bridge' - Brooks Smith
Siciliana And Gigue
Adagio
Allegro
Giga
Rondino Uber Ein Thema Von Beethoven
Piece En Forme De Habanera
Petite Piece
Roundelay
Berceuse
Jamaican Rumba - Brooks Smith
Caprice Viennoois Op.2
Liebesleid
Liebesfreud
Stars In My Eyes
Schon Rosmarin

Customer Reviews:

A long overdue collection by one of the English masters of the clarinet........2007-01-05

The Yorkshireman Reg Kell became famous for using vibrato in the classical world when it was unfashionable. He used it tastefully, and other artists such as Jack Brymer and Emma Johnson have continued to use it. He also had a series of tutorials with Benny Goodman (for Goodman's benefit) which led to Goodman changing his embouchure from the upper teeth on mouthpiece to the upper lip - as well as lower, -on mouthpiece, which perhaps in Goodmans's case was not a good move, as he had it right the first time!.

However these recordings originally came out a very long time ago in the early days of vinyl, and a re-issue is long overdue. Kell's excursion in to light music is interesting, though he stops well short of anything resembling jazz, although he had earlier recorded one record with Bert Ambrose's band in the 1940 which was the nearest he got, - but that is not included here. His main forte is in the works of Mozart, Weber, Beethoven and Brahms, but he also plays Bartok and Templeton. It shows what an accomplished performer he was. All were recorded after he left the UK to live and play in America.

This set shows his rightful place as a performer in the history of clarinet playing. He had raised the standard of the time, and had the benefits of improved recording techniques and length of play boudaries were removed with the LP record.

Great Collection.......2006-07-30

My only negative comment is that he rushes some of the runs; everything else is great!

Complete Masterworks Recordings, 1962-1973

Average customer rating:

Horowitz: good. Amazon: good. Sony Classical: BAD.
ARE YOU CRAZY RICH OR CRAZY STUPID?
merely spectacular!
I have never regretted buying this...
The greatest 20th Cent. pianist at his best!

Complete Masterworks Recordings, 1962-1973

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Complete Recordings on Deutsche Grammophon
Chopin: The Piano Works
Liszt: Piano Works
Horowitz: Discovered Treasures
Horowitz Live and Unedited [includes Bonus DVD]

ASIN: B000002909
Release Date: 1993-10-05

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo. Allegro
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

Mazurka In C-sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo In E-Flat Major, Op. 16: Introduzione. Andante - Rondo. Allegro vivace
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: Andantino
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II.Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Tracks:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor Op. 8 No. 2: A capriccio, con forza
Etude In B-Flat Minor Op. 8 No. 11: Andante cantabile
Etude In D-Flat Major Op. 8 No. 10: Allegro
Etude In A-Flat Major Op. 8 No. 8: Lento (Tempo rubato)
Etude In F-Sharp Major Op. 42 No 3: Prestissimo
Etude In F-Sharp Major Op. 42 No. 4: Andante
Etude In C-Sharp Minor Op. 42 No. 5: Affannato
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
Sonata No. 2 In B-Flat Minor, Op. 36: III. Allegro molto
Prelude In G-Sharp Minor Op. 32 No. 12: Allegro
Moment musical In B Minor Op. 16 No. 3: Andante cantabile
Etude-Tableau In E-Flat Minor Op. 33 No. 5: Non allegro - Presto
Etude-Tableau In C Major Op. 33 No. 2: Allegro
Etude-Tableau In D Major Op. 39 No. 9: Allegro moderato (Tempo di Marcia)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

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Great cello playing

Decca Recordings, 1950-1956

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Zara Nelsova - Grand Dame of the Cello (B&W)
Zara Nelsova
The 1950s Concerto Recordings
The Complete 1950s Chopin Recordings

ASIN: B00067R3C0
Release Date: 2005-02-08

Customer Reviews:

Great cello playing.......2005-02-13

These are the very best recordings ever made by Zara Nelsova. This is great cello playing: total control and musicianship. Some of this stuff hasn't been available for 30-40 years, like the Beethoven sonatas, the Dvorak with Krips, the Lalo, and others. It also has some amazing pieces by Bloch, including her best recording of Schelomo, Voice in the Wilderness, and Jewish Life with the composer at the piano. The sound is good, mono, but still high quality. One drawback is that you can often Nelsova's fingers hitting the fingerboard. The intensity and personality really comes through though, and I can't recommend this collection of outstanding cello playing highly enough.

Clifford Curzon: Decca Recordings, 1937-1971, Vol. 3

Average customer rating:

Curzon and Solti: Tchaikovsky's nightmare
More Classic Curzon

Clifford Curzon: Decca Recordings, 1937-1971, Vol. 3

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

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Etudes | Forms & Genres | Classical | Styles | Music

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Decca Recordings 1941-1972, Vol 2
Decca Recordings, 1949-1964, Vol. 1
Clfford Curzon: Decca Recordings 1944-1970, Vol. 4
George Szell: Decca & Philips Recordings 1951-1969
Troubadour of the Piano

ASIN: B0009A41Y2
Release Date: 2005-08-09

Customer Reviews:

Curzon and Solti: Tchaikovsky's nightmare.......2007-06-26

Heavyhanded Solti and the VPO and Curzon who's tempi unsettled Solti, unorganic, affected, ridiculous are the words that come to mind! This is almost as bad as Toradze and Gergiev! Do not waste your money: Solti and Tchaikovsky do not go hand in hand and Curzon has nothing to say with this piece.
On LP the recorded sound is not bad although the piano has some very strange tone in low midrange register.
I'll take the perhaps too lively Katchen/Gamba anytime over this stale, pompous effort!

More Classic Curzon.......2006-02-14

After enjoying (and reviewing) the previous two installments of pianist Clifford Curzon's Decca Recordings in the "Original Masters" series, I was delighted to pick up Volume 3 over the holidays. The performances on this six disc set span nearly thirty-five years, from a 1937 orchestrated account of Schubert's "Wanderer" Fantasy with Sir Henry Wood and the Queen's Hall Orchestra, to a final disc of all Schubert, the majority of which was made in 1971. In between are many brilliant concerto recordings, and though some have been previously available on CD, all have been out-of-print for some time. The true gems are paired on disc four -- the 1959 stereo Grieg with Fjeldstad and the London SO (my personal favorite -- I had the old "Classic Sound" series CD), and the 1957 mono Brahms No. 2 with Knappertsbusch and Vienna. Coming in a close second is disc three's coupling of the Tchaikovsky 1st, with Solti leading Vienna in stereo from 1958, and the Rachmaninov 2nd, with Boult and the LPO in mono from 1955. The remaining two Concerto performances -- Mozart's 23rd and Brahms' 1st -- are regrettably from the 1940s and suffer from both mediocre sound and comparatively uninspired conducting (Neel and Jorda respectively). Rounding out this set are 1952 performances of the two Mozart Piano Quartets with members of the Amadeus Quartet, and an entire disc (no. 5) of stereo Liszt solo piano works. In all, this is a great collection, and here's to hoping there is enough material in the vaults to produce a Volume 4!

Leonard Bernstein: The 1953 American Decca Recordings

Average customer rating:

It's wonderful to have Bernstein back, but the performances fall short
Come back Lennie, we need you
For Bernstein enthusiasts, it's like owning a gold mine
Bernstein's Early American Recordings

Leonard Bernstein: The 1953 American Decca Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Karl Böhm Conducts Mozart and Strauss
Leonard Bernstein Conducts Haydn (Collectors Edition)
Pierre Monteux Decca & Philips Recordings, 1956-1964
Shostakovich: The Golden Age
The Complete 1950s Chopin Recordings

ASIN: B00067GKF6
Release Date: 2005-02-08

Customer Reviews:

It's wonderful to have Bernstein back, but the performances fall short.......2006-11-26

These 1953 mono recordings catch Bernstein a decade after his famous debut with the NY Phil. and five years before he became their youngest-ever condcutor. It's great to hear that warm, comforting voice again, although his analyses--especially the longest one devoted to the Brahms Fourth--aren't as polished as they would become. He gets pedagogical at times and runs us through a rote example-and-explanation formula. Even then, howeer, colorful Bernstein touches peek out, and we are reminded of the man who taught an entire generation to venerate classical music.

For me, the performances themselves fall short. They were often recorded in a rush, sometimes late at night after a summer concert. I know that the Stadium Sym. is actually the NY Phil., but they don't sound particularly fine, and Bernstein's interpreatations, though vigorous, often border on the slapdash. Plowing through Beethoven's 3rd, Dvorak's 9th, Schumann's 2nd, Brahms' 4th and Tchaikovsky's 6th, I found few sparks of originaity, much less genius. This is a tough admission from one of LB's geat admirers, but there you are. The original recorded sound is also a bit thin and harsh.

Come back Lennie, we need you.......2006-02-22

This box is worth its price just for the five talks. Bernstein at this stage had a teaching style rather more stilted than the chatty sage of later years, but the combination of authority, insight and infectious enthusiasm is unique. Entertainingly offhand about the New World, he's at his best on the music he reveres most, i.e. Beethoven, Schumann, and Brahms, the first movement of whose Fourth Symphony gets a particularly in-depth analysis that left me yearning for more. Practically anyone could enjoy and learn from these talks - they're fascinating fun without a whiff of down-dumbing. When the classical and the popular cross over nowadays, the results are usually compromised and crass, but with Bernstein there doesn't even seem to be a gap to be crossed over - just a passion to share these wonders with as many people as possible. We need his all-embracing talent and vision today more than ever.

Then there are the performances. I'm not the biggest fan of mono symphonic recordings, but these positively leap down your ears, unmannered, committed and electric. It's hard to believe what was achieved under the hasty recording conditions described in the booklet. The sound is a little fierce, but good enough to make this set a wonderful gift for any open-minded but symphonically ignorant acquaintance. I can easily imagine it turning someone on to classical music.

For Bernstein enthusiasts, it's like owning a gold mine.......2005-06-19

This new album set is something that I had heard of, but never dared to hope would be released on CD. It consists of Leonard Bernstein's very first recordings of Beethoven's Symphony No. 3 (the "Eroica"), Dvorak's "New World Symphony", Schumann's Symphony No. 2, Brahms' Fourth Symphony, and Tchaikovsky's "Pathetique" Symphony. They are all conducted by Bernstein and played beautifully by an orchestra which bills itself as the New York Stadium Symphony Orchestra, but which is really the great New York Philharmonic, using the name that they gave themselves during summer concerts.

The performances are a revelation, because they demonstrate conclusively that Bernstein did not always "exaggerate" or "overinterpret" great music, as critics frequently claim. His performances here are very, very direct and straightforward, more like Fritz Reiner or Toscanini than like Bernstein.

If this album contained only Bernstein's early performances of these symphonies, it would be interesting, but it might not really attract that much attention, since he re-recorded all of these pieces in stereo in later years, and with the same orchestra.

What makes this set so valuable is that it contains his long out-of-print lectures on these symphonies, and far from what the previous reviewer claims, they never become boring and monotonous. No musician in our time, or maybe even in the history of music, was a better or more articulate and sensitive lecturer on music than Leonard Bernstein. His legendary appearances on the "Young People's Concerts" did more for the appreciation of classical music than all the "Beethoven's Wig" albums combined. (If you don't know what "Beethoven's Wig" is, check it out and shudder at how far music appreciation has fallen since Bernstein's death.)

Bernstein had a unique ability to make classical music accessible to everybody, without ever condescending to the listener or cheapening the music. His lectures on this album, previously only available to 1950's Book of the Month Subscribers (except for part of the Beethoven lecture, which is the only one that Bernstein did re-record in stereo), are invaluable both to music students and to those who are willing to listen. All of the lectures included cover all four movements of the symphonies discussed, except for the Brahms; that one is just as extensive as the others, but it covers only the first movement of the symphony.

However--be warned, the lectures do have a flaw that the symphonies themselves do not, and that is why I have subtracted one star.

The symphony recordings are obviously remastered from magnetic tape, but the lectures have been transferred from LP's. Thus, you will be able to hear an occasional click or pop from time to time, and there is a clearly audible "skip" on the Brahms lecture. It is NOT the CD being defective, or the laser beam on your player skipping; it is clearly the lecture recordings themselves. Deutsche Grammophon, which released this CD set, is very honest about the source of the transfers to compact disc, and is to be commended for this. (They mention it in the last page of the accompanying booklet.) But this shouldn't deter anybody from buying this enormously important Bernstein set.

Bernstein's Early American Recordings.......2005-04-02

The most recent batch of DG's "Original Masters" box sets boasts several titles that will leave classical collectors rejoicing, "Leonard Bernstein: The 1953 American Decca Recordings" foremost among them. This 5CD set features Lenny in his earliest recorded performances of some of his trademark works -- Beethoven's 3rd, Dvorak's 9th, Schumann's 2nd, Brahms' 4th and Tchaikovsky's 6th Symphonies. Bernstein would later re-record all of five these symphonies with the NYPO (btw, the Stadium Symphony Orchestra of New York IS the NYPO) to greater acclaim for Columbia, but these early accounts capture a brilliant young conductor at the threshold of greatness. Also after each performance, Bernstein offers a musical analysis, simplifying what the listener just heard as only he could, which is again something the conductor would become famous for in years to come. Well then, if this is such a great set, why the four-star rating? First, while the performances sound very good, these are 1953 mono recordings and the casual fan needs to be aware that analog and digital stereo recordings of these works by the conductor do exist, and are generally preferable. Second, the musical analysis is a nice touch, but certainly does not warrant repeated listenings, as does the music. In fact, nearly half of the contents of these five discs is LB talking, and it could have been filled with music instead, or simply sold as a less expensive 3CD set. However, these shortcomings aside, "Leonard Bernstein: The 1953 American Decca Recordings" is another outstanding release in a fine series.

Average customer rating:

An Epic Traversal
A must have

Decca Beethoven Recordings, 1950-1958

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Friedrich Gulda, Piano
Beethoven: Piano Sonatas (Complete) [Box Set]
CARL SCHURICHT Decca Recordings 1949-1956
MONIQUE HAAS Complete Recordings on Deutsche Grammophon
Troubadour of the Piano

ASIN: B0009A41ZQ
Release Date: 2005-08-09

Customer Reviews:

An Epic Traversal.......2007-05-03

I first became interested in the pianism of Friedrich Gulda when I picked up a disc of Mozart concertos with him, Abbado, and the Vienna Philharmonic (in nos. 20 and 21 [which are still available]). It never crossed my mind that this Mozart disc, which I snagged as a cheap impulse buy, would immediately rival and eventually surpass the Perahia recordings of those two concertos (which just happened to be my favorite at the time). What struck me most about Gulda's technique was the crispness and overall clarity of his playing. What's best is that he achieved this clarity without the slightest hint of dryness; from that moment on, I became a devoted Gulda fan.

Here we have what I believe to be the summit of Gulda's recorded legacy: his first epic traversal of the 32 Beethoven sonatas. He made two, with the second being, I believe, the lesser of the two giants. More staccato, very speedy playing, and less warmth is how I would characterize his later recording (but with better sonics) - it's still a great set, just not quite as great as the one we have here.

Interpretation-wise, Gulda is far from the Post-war Germanic style of plodding, ponderous tempos. Quick, crisp playing is the norm here, and it is a nice contrast to Arrau and Barenboim's (EMI) classic sets. Gulda really shines in the early sonatas, especially in the slow movements (and even more specifically, in the slow movements of op. 7 and op. 10 [nos. 2 and 3], which are truly heart wrenching). His interpretations of the early masterpieces have a Mozartian tautness to them, while still implementing ample legato phrasing when called for. I feel safe to say that few would be disappointed with Gulda's way here.

As for the middle sonatas, some may find a little more to gripe about, but not much. His interpretations are still outstanding in my own opinion, but some may feel they lack the same perfection that Gulda achieves in the early and late sonatas. The first movement of the "Moonlight" is.....well, interesting. Slow, very slow (on par with Solomon), and Gulda tends to blend and overlap all the modulating harmonies throughout (almost as if his foot was cemented to the pedal for the entire first movement). I believe it to be a welcomed change from the standard. The "Waldstein" will be a bit on the fast side for some listeners (indeed, it may be the fastest I have ever heard - in all three movements); however, his way with the "Pastorale" and "Tempest" is nothing short of spectacular. Particularly noteworthy are Op. 78 and 79, which I believe get definitive performances.

When I reached the late sonatas (starting with op. 90) on this 11 disc set, I was truly in awe. Gulda certainly gave my previous reference recordings (Pollini, Arrau, Solomon, and Rosen) a good run for their money. The only weak-link here is the "Hammerklavier", which is a much earlier recording (1951- and it sounds every bit its age). Gulda just does not seem to be in the same mindset as he was with the others. Sharp, disjointed, and overall choppy playing is how I would characterize it (although he does have some fantastic things to say in the slow movement and final fugue). Never-mind though, this is a minor quibble in an otherwise stunning set. The final three sonatas get near definitive readings, and in op. 111 Gulda is rivaled only by Solomon (and even then, he is not surpassed). You also get what I like to call two "bonus" discs containing the C major piano concerto, two violin sonatas, the "Eroica" variations, and two Bagatelles. These are all early recordings, and the sound is dated, but the music-making is still first rate (particularly in the two violin sonatas).

As far as the sound goes overall, it's not bad. There are 14 sonatas in mono - (op. 2 [1,2,3]/ op. 7/ op. 10 [1,2,3]/ op. 13/ op. 14 [1,2] / op. 49 [1,2]/ op. 81/ and op.106), the rest are in early stereo (all the "bonus" material is mono). Overall the sound is pretty good, with the late mono recordings (1954, '55, '57, '58) being just as good, if not better than the early stereo recordings. There is still a good deal of surface "hiss" present in the early stereo takes, which I believe Decca could have done a better job at reducing. Nevertheless, the sound is more then adequate for these timeless recordings.

So overall, this is a truly distinctive set of the immortal 32 by one of the great Beethoven interpreters of the twentieth century. The price tag is outstanding, and the music-making is priceless. It's certainly a welcomed addition to the "Original Masters" series, and more importantly, a more then justified addition to any Beethoven shelf.

A must have.......2005-10-24

This collection is a must have for anyone seriously interested
in Beethoven's piano sonatas. Gulda is one of the very
best pianists of the 20th century, and the Beethoven
sonatas are his specialty. Although Gulda's reputation
was confused by his later involvement with jazz, this has no
bearing on his classical performances, which are superb. The
present collection is nothing short of a musical epiphany.

Gulda's performance of Beethoven
sonatas is possibly the very best in one
direction of interpretation of
these pieces (S. Richter's being almost exactly opposite).
To start with, Gulda has supreme technique, by far
surpassing even the high demands of Beethoven, and
therefore plays exactly as he intends, which is very subtle.
Gulda has an amazing range of touches in the
left hand, from a wonderful
dry rapping or knocking sound (Op. 2 no. 2,
movement 2) to rumbling sounds, to unparallelled pianissimo
(Op.13, movement 2), to attacks
(Op. 111, movement 1). In his right hand,
he has wonderful articulation throughout
all the sonatas. For the way Gulda hanldes an
extremely difficult passage, listen, for example, to the arpeggio
cadenza in Op. 57, movement 1. For wonderful use of dynamics
and smooth transitions between pianos and fortes, listen
to Op. 31, no. 1. Gulda's feeling for syncopation is
absolutely superb (Op.2 no.2 movement 4, Op. 57, movement 3).
For a Kafka-like
mood, listen to Op. 57, movement 2. The ultimate test
of any Beethoven piano interpreter is the Hammerklavier
sonata (Op.106). Gulda is great in movements 1, 2 and 3, but I
would say Gulda's is one of the very few intelligible
performances of the Fugue in movement 4 I ever
heard recorded. This piece is extremely
difficult in the conflict of tempo, fugal elements and
melodic sonata forms. Beethoven himself considered
the Hammerklavier sonata his best piano piece.
Gulda gets it all seemingly without any exertion,
with plenty of room to spare.

In a Gulda performance, the
Beethoven sonatas flow naturally, and the
flow is never interrupted. Listening to these performances
is always a joy, and is extremely instructive for any
pianist.

There are a number of other treats in this set, for
example the wonderful violin sonatas performed by
Ricci and Gulda.

The only drawback is the relatively low
technical quality of the early recordings, but this
is to be expected in a recording from the 50's.
However, listening to this performance is well
worth it.

Complete Recordings on Deutsche Grammophon

Average customer rating:

Superb!

Complete Recordings on Deutsche Grammophon
Wolfgang Amadeus Mozart , Franz Joseph Haydn , Felix Mendelssohn , Ludwig van Beethoven , Johannes Brahms , Antonin Dvorak , Bedrich Smetana , Leos Janacek , Eva Bernathova , Janacek Quartet , and Smetana Quartet
Manufacturer: Deutsche Grammophon
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Janacek / Novak: String Quartets
Complete Recordings on Deutsche Grammophon
The 1950s Concerto Recordings
The Complete 1950s Chopin Recordings
Igor Markevitch

ASIN: B00007EB9S
Release Date: 2003-02-11

Tracks:

Cd 1 Mozart: String Quartet K.387 / Haydn: String Quartet Op.33 No.3
Cd 2 Haydn: String Quartets Op.33 No.2 / Op.3 No.5 Op.76 No.2
Cd 3 Mendelssohn: Octet Op.20 With Smetana Quartet / Beethoven : String Quartet Op.59 No.2
Cd 4 Brahms: Piano Quintet Op.34 / Dvorak: Piano Quartet Op.81 With Eva Bernathova, Piano
Cd 5 Dvorak: String Quartets Opp.34 & 96
Cd 6 Dvorak: String Quartets Opp.51 No.105
Cd 7 Smetana: String Quartet No.1 / Janacek: String Quartet No.2

Customer Reviews:

Superb!.......2003-03-04

Back in "Iron Curtain" times it was by no means easy to hear Soviet-bloc artists in the U.S., and recordings really established international reputations over here. And based on available recordings it was generally conceded that the two great Czechoslovak string quartets were the Janacek and the Smetana, the former based in Moravia (Brno), the latter in Bohemia (Prague). The heyday of the Janacek Quartet was the 1950s and 1960s when these recordings were made for Deutsche Grammophon, British Decca and Westminster. About half were recorded in mono, the rest are stereo; but all are, technically speaking, very decently produced and wear their years lightly. Performance highlights for me are the Decca recordings of Dvorak and Haydn quartets; the DG recording of the Brahms piano quintet (with Eva Bernathova); and the stunning Westminster performance of the Mendelssohn Octet (where the Smetana Quartet joins in!). The great conductor Karl Bohm once declared that the Czech lands were the home of great string playing, and when you hear these recordings you sense the justness of that remark. These players produce an ineffable sweetness of sound that never cloys, and they phrase with an easy naturalness that, on every re-hearing, discloses new subtleties. No, this is not high-powered American string playing ala the Julliard Quartet; what the Janacek Quartet offers is a style and sound that is almost lost in today's internationalized musical performance world. Catch this set while you can; it's billed as a limited edition and many of the performances have been unavailable (in the U.S., at least) since the early 1960s. Space-saving soft box format and price are additional inducements, but these priceless recordings would be a bargain at twice the price DG is charging. Final note: no collection of the Janacek Quartet's work is complete without their stunning stereo recording of the two great quartets written by their namesake, currently available on a midprice Supraphon CD. Although an earlier, mono recording of the second Janacek quartet is included in the DG box, spend a little extra for the Supraphon CD just to get the Janacek Quartet's equally stunning performance of Janacek No. 1 ("Kreutzer Sonata" quartet). You won't regret the minor duplication, plus the Supraphon CD also includes a pleasant, "off the beaten path" quartet by 19th century Czech Romantic Vtislav Nowak as a substantial bonus. But for heaven's sake, don't hesitate to buy the DG collection right now!

Average customer rating:

The Greatest Trio in the 20th Century

Trio Recordings, Vol. 2

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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Trio Recordings, Vol. 1
Mendelssohn: Piano Trios Op. 49 & Op. 66
Brahms: Piano Trios Nos. 1, 2 & 3; Piano Quartets Nos. 1, 2 & 3
Beethoven: The Violin Sonatas
Antonin Dvorak: Quintet For Piano, 2 Violins, Viola And Cello, Op. 81/Quartet For Piano, Violin, Viola And Cello,Op.

ASIN: B0000027CV
Release Date: 1991-05-31

Tracks:

Trio, Op. 1, No. 1 In E-Flat Major: I. Allegro
Trio, Op. 1, No. 1 In E-Flat Major: II. Adagio cantabile
Trio, Op. 1, No. 1 In E-Flat Major: III. Scherzo: Allegro assai
Trio, Op. 1, No. 1 In E-Flat Major: IV. Finale: Presto
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Introduzione: Adagio assai
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Tema: Allegretto
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation I
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation II
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation III
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation IV
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation V
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation VI
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation VII
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation VIII
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation IX
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Variation X
Variations For Piano, Violin And Cello On Wenzel Muller's Lied: 'I Am The Tailor Kakadu', Op. 121a In G Major: Allegretto
Trio, WoO 38 In E-Flat Major: I. Allegro moderato
Trio, WoO 38 In E-Flat Major: II. Scherzo: Allegretto ma non troppo
Trio, WoO 38 In E-Flat Major: III. Rondo: Allegretto

Tracks:

Trio, Op. 1, No. 2 In G Major: I. Adagio; Allegro vivace
Trio, Op. 1, No. 2 In G Major: II. Largo con espressione
Trio, Op. 1, No. 2 In G Major: III. Scherzo: Allegro
Trio, Op. 1, No. 2 In G Major: IV: Finale: Presto
Trio, Op. 1, No. 3 In G Major: I. Allegro con brio (quasi tranquillo)
Trio, Op. 1, No. 3 In G Major: II. Andante cantabile con variazioni
Trio, Op. 1, No. 3 In G Major: III. Menuetto: Quasi Allegro
Trio, Op. 1, No. 3 In G Major: IV. Finale: Prestissimo

Tracks:

Trio, Op. 70, No. 1 (Ghost) In D Major: I. Allegro vivace e con brio
Trio, Op. 70, No. 1 (Ghost) In D Major: II. Largo assai ed espressivo
Trio, Op. 70, No. 1 (Ghost) In D Major: III. Presto
Trio, Op. 70, No. 2 In E-Flat Major: I. Poco sostenuto; Allegro ma non troppo
Trio, Op. 70, No. 2 In E-Flat Major: II. Allegretto
Trio, Op. 70, No. 2 In E-Flat Major: III. Allegretto ma non troppo
Trio, Op. 70, No. 2 In E-Flat Major: IV. Finale: Allegro
14 Variations For Piano Trio In E-Flat Major, Op. 44: Tema: Andante
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation I
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation II
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation III
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation IV
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation V
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation VI
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation VII
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation VIII
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation IX
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation X
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation XI
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation XII
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation XIII
14 Variations For Piano Trio In E-Flat Major, Op. 44: Variation XIV
14 Variations For Piano Trio In E-Flat Major, Op. 44: Andante

Tracks:

Trio, Op. 11 (Alternate Version) In B-Flat Major: I. Allegro con brio
Trio, Op. 11 (Alternate Version) In B-Flat Major: II. Adagio
Trio, Op. 11 (Altrnate Version) In B-Flat Major: III. Tema con variazione (Pria ch'io l'impegno: Allegretto)
Trio In One Movement, WoO 39 In B-Flat Major: Allegretto
Trio, Op. 97 (Archduke) In B-Flat Major: I. Allegro moderato
Trio, Op. 97 (Archduke) In B-Flat Major: II. Scherzo: Allegro
Trio, Op. 97 (Archduke) In B-Flat Major: III. Andante cantabile ma pero con moto
Trio, Op. 97 (Archduke) In B-Flat Major: IV. Allegro moderato; Presto

Customer Reviews:

The Greatest Trio in the 20th Century.......2000-06-19

You would never disappointed by this acclaimed trio of pianist Eugene Istomin, violinist Isaac Stern and cellist Leonard Rose. This 4-CD set, recorded during the prime of the musicians, is such a historical record on Beethoven's compositions. Stern's violin is energestic and sharp as a knife, while Rose's cello wraps the pieces up with a sweet but powerful way. Well, Istomin's piano is somewhat lack of charisma, however, his sound is not buried under his great partners' performances. Especially, the Trio, Op. 1, No.3, on the second disc, is a superb combination of the three. It is sad that the trio ended by the death of Leonard Rose in the 1980s. It could have been delightful if we were able to see the three musicians' performances today.

George Szell: Decca & Philips Recordings 1951-1969

Average customer rating:

Lots of Szell Brings A Re-evaluation
George Szell is best known from his Columbia recordings

George Szell: Decca & Philips Recordings 1951-1969

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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George Szell Plays and Conducts Mozart

ASIN: B0009A41XS
Release Date: 2005-08-09

Customer Reviews:

Lots of Szell Brings A Re-evaluation.......2005-09-21

Kudos to Decca for bringing together in one convenient set George Szell's recordings that were made for the Decca & Philips labels from the early 1950s and to mid 1960s (minus those recordings where he acted in the role of accompanist, ie: those with pianist Curzon). These recordings are very well known and have been collector's items for many years, so to have them together in a mid-price box is self recommending.

The Philips recordings were issued a few years ago as a 2-CD set in their "Early Years" series while a few of the Decca recordings have already been released as singles in their Classic Sound series (both series saw very spotty distribution Stateside). I detect very little change in the sound quality in these new Decca Classic Sound versions, though the couplings from CD to CD are better programmed here than they were before (Philips had to cram alot of music on those 2CDs).

The most-recommendable recordings in the bunch are Szell's Mozart 34, Dvorak 8, Beethoven Egmont, Mendelssohn Midsummer's Night and Brahms 3. Here, the usual Szell trademarks are fully on display: tight rhythms, crisp articulation and finely graded dynamics. However, I was unexpectedly disappointed in two recordings long held to be top Szell & basic repertoire recommendations: the Beethoven 5 and Sibelius 2.

The Beethoven 5 has always been touted as more relaxed and in better sound than Szell's CBS 5th with Cleveland. But comparing this new Decca re-issue to Sony's recent "Original Jacket" issue of the Cleveland 5th, I didn't find that to be true at all. The Sony version now stands - to me, at least - as the better representation of Szell in this warhorse, both as an interpretation and in recorded sound. Indeed, the Concertgebouw recording suffers from an extremely lackluster and sloppy second movement that probably could have used a retake. Something just isn't right here - conductor and orchestra are not on the same page of the playbook...which is not what one expects in a recording by such a strong-willed technician as Szell. As an overall performance, this Concertgebouw recording is now easily surpassed by Szell's Sony effort, not to mention alternate versions by Kleiber, Karajan, Bernstein and others (but, again, you need to hear the Szell/Sony in the Original Jackets remastering, not the earlier Essential Classics version).

As for the Sibelius 2, we have a situation where poor intonation and hesitant execution in the orchestra knock this version off the pedestal of received opinion. And, with Szell's live Tokyo performance with Cleveland now widely available, his Concertgebouw version comes in direct competition with - Szell himself, and in a much better and much more cohesive recording. With the "if only he had recorded this with Cleveland" caveat removed, the choice is now clear - get the Cleveland version if you want Szell in Sibelius 2. That recording remains a top recommendation, though Ormandy, Maazel, Vanska and even Karajan have all brought their particular strengths to this piece as well, strengths that are much different than Szell's forte(s). There's plenty of room at the top when it comes to great recordings of great music.

Having lived with both the Beethoven and Sibelius for years, it's a bit disconcerting to have to make the above observations, but there you have it.

For the rest of the set, it is good to have Szell's interpretations of Tchaikovsky and Schubert on hand in such good sound. But truth be told, there are better versions out there of these works as well, the Tchaik 4 in particular (which in Szell's hands hangs fire in the least-expected places). The Baroque recordings included here are testament to a long-gone era when the standard Baroque works (worques?) were made acceptable to orchestral audiences by beefing them up to quasi-Wagnerian proportions. And even here, Szell is bettered by his contemporaries like Adrian Boult and Karl Richter in similar repertoire. A Baroque curate's egg if there ever was one.

Having said all of the above, I can still safely recommend this set to just about anyone interested in Szell or the repertoire on offer. Yes - work to work, there are better versions available, some from Szell himself. But *overall,* this set will provide plenty of pleasure and musical excitement to everyone save the anti-Szell wing of the classical music zealotry.

Enjoy.

George Szell is best known from his Columbia recordings.......2005-08-31

George Szell (1897-1970) is best known from his recordings made in the 1950s and 60s for Columbia records, mostly with the Cleveland Orchestra, many of which are now on Sony Classical. But he also made a number of recordings during the same period for Decca and Philips in Europe, with the Concertgebouw Orchestra, Amsterdam; Vienna Philharmonic, and London Symphony, all of which are included in this box. If you think of Szell as a cold, calculating technician - and he could be in some of his Columbia recordings - he has precision here in spades, but also warm sound, perhaps partly from the remastering for this release.

Szell's Concertgebouw Beethoven Symphony 5 is MUCH BETTER than his Cleveland recording. The precision is there, but it also sings, and is warmer than the Cleveland recording (Sony, coupled with Symphony 2). Szell's Vienna EGMONT is one of the best recordings of the work, if not THE best recording of the stereo age, even 36 years after it was recorded. The Sibelius 2 (also with the Concertgebouw) is warm and fine in every way. The Concertgebouw played beautifully for him, and it shows.

The Mendelssohn MIDSUMMER NIGHT's DREAM, Schubert ROSAMUNDE, Mozart Symphony 34, Handel WATER MUSIC and ROYAL FIREWORKS MUSIC are all excellent, too. Some may have favorite performances, but I cannot imagine anything better than Szell's Concertgebouw Mozart 34: perhaps Bohm (DG) and Krips (Philips).
The 5th disc has two classic mono recordings of the early 1950s:
Dvorak's Symphony 8, and Brahms 3, both with the Concertgebouw. The sound is just fine: beautifully remastered, and Szell's performances very solid and musical.

As you can tell, I'm very happy with this, and would advise anyone with $30.00 spare change to pick it up at their first opportunity.

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