Cto #9 in a for Violin / Cto #7 in G for Piano

On this CD:

1. Concerto for violin & orchestra No. 9 in A major, G51
Composed by Giovanni Battista Viotti
Performed by Ducale Chamber Orchestra with Guido Rimonda

2. Piano Concerto No.7 in G major
Composed by Giovanni Battista Viotti
Performed by Ducale Chamber Orchestra with Cristina Canziani

Tracks:

I Allegro
II Adagio
III Allegro Agitato
Rhapsody In Blue
Cuban Overture

Amazon.com

Jon Nakamatsu won the Van Cliburn International Piano Competition in 1997 and has made several fine recordings since then. This all-Gershwin program is probably his finest. He plays the Piano Concerto with great rhythmic sass, the Charleston always underpinning the melodies. Rather than opt for a showy reading of this or the Rhapsody in Blue, he and conductor Jeff Tyzik emphasize the music's sultry quality; the smoke-filled nightclub is there right alongside the concert hall at all times. The clarinet solo that opens the Rhapsody is stunningly evocative. Nakamatsu and the horn player duet with a keen jazz ear, and the solo piano work is songful and elegant. If you're looking for fireworks, there are plenty in the Concerto's finale - it's a thrilling reading. The Cuban Overture, a work so familiar that it's hard to look forward to, is given a terrific reading here by Tyzik and The Rochester Philharmonic, with the Latin percussion sounding wonderfully at home with the "regular" orchestra. This is a splendid release. --Robert Levine

Customer Reviews:

fun, satisfying listening.......2007-06-15

Jon Nakamatsu is one of the brightest rising stars in classical music. As a classical label owner, I have listened to a lot of music and this pianist is at the top. These fabulous pieces are treated with Nakamatsu's usual tenderness and lyricism that he affords his Chopin and Brahms CDs, and still leaves room for the jaunty, sassy, fun that these compositions ask for. Leave a space on your Favorites list for this one!

Waited 50 years for this version.......2007-06-01

This is a simply incredible album. It is the Rhapsody in Blue to add to your collection for both excellent sound quality & superb performance. Both soloist & orchestra are completely inspired. I've heard several competent but dutiful versions on disc, but this one soars. Heard it on HD radio & could not wait to own it.

Blew me away: incredible fluidity.......2007-05-12

I had the privilege of hearing Jon Nakamatsu perform a Beethoven Concerto recently and as a result, purchased this CD, loving Gershwin. I have several other versions of Gershwin's Rhapsody in Blue, and this interpretation is the best for me. The fluid lines of play warm my heart. The humor found in the piece comes through with playful notes making me smile. The other pieces are similarly enjoyably performed. I just went on line to purchase all the rest of his albums, I liked this one so much. I can't wait until they arrive!

Cto Italien / Chromatic Fantasy - 70th Anniv Edt

Average customer rating:

The Last Bitter Lees in the Cup
Magnificent on Chromatic Fantasy
Lifeless sound, lifeless performance
REALMS OF GOULD
Reissued Gould Leftovers

Cto Italien / Chromatic Fantasy - 70th Anniv Edt
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Art of the Fugue - 70th Anniversary Edition
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ASIN: B00006FI9V
Release Date: 2002-09-03

Customer Reviews:

The Last Bitter Lees in the Cup.......2007-05-11

I have a lot of affection for the Italian Concerto; it was the first Bach I ever heard outside a church, as recorded by Wanda Landowska. The piece was intended for a two-manual harpsichord, as were the Goldberg Variations and the Chromatic Fantasy; these are the least suitable of Bach's keyboard works for transcription to piano, and therefore had not been part of the active repertoire until Landowska revived them. They are "large" pieces in conception, with dramatic contrasts of dynamics built in through the use of the keyboard registers. Gould, I fear, imposes his own agenda of dynamic contrast, and that is the chief weakness of his performance; it's no wonder he "didn't like" either piece, since he can't really make them work musically. And no wonder they have been reissued as an afterthought in the remastered complete Gould. For piano fans seeking a "pianistic" performance on harpsichord, I'd recommend the remastered Landowska or the 1988 recording of the Concerto Italien and Ouverture a la Francaise by Kenneth Gilbert

Magnificent on Chromatic Fantasy.......2006-08-12

Personally speaking, this is one of the best interpretation I've ever heard on Chromatic Fantasy. Although Gould did not like so much this piece, he plays contrapuntal parts very transparent. His slow tempo allows to "touch" the concept behind of fantasy theme.
What brilliant pauses!! I think nobody like Gould can better interpret Bach's works.

Lifeless sound, lifeless performance.......2004-04-24

I am a fan of Gould (owning and liking many of his CDs) but occasionally he does disappoint. The Marcello concert is a complete disaster -- dry, emotionless performance as if played by a robot (you literally wouldn't tell the difference from a pre-programmed computer). Gould conveys none of the beauty and sensuality of this music. Reminds me of the terrible thing he has done to Bach's prelude #8 in Clavier I. The CD has generally poor, flat sound.

REALMS OF GOULD.......2003-12-27

Gould's tonal palette, though subtle, is not particularly wide. If he has used the sustaining pedal at all in the 78 playing minutes of this disc, I missed it, and it is patently impossible to use the damper pedal with the left leg crossed over the right, as in the photograph on the back of the box. That said, Michelangeli himself did not have more complete finger-control than Gould did, and the machined perfection of Gould's trills and other ornaments, and the diamond brilliance of his scales and runs, are a phenomenon in a very special class of their own. This disc is the Gould we know and either love or do not love. He is on his familiar 18th-century territory with J S Bach, C P E Bach and Scarlatti. He has a manifest empathy with the 18th-century idiom, or at least the early 18th-century, and I rarely see much point in elaborate comparisons with other interpreters. With Gould in early 18th-century music it is likely that if you admire his manner in general you will simply swallow his performances whole, as I tend to do. This disc contains both the Italian Concerto and the Chromatic Fantasia, and I was astonished to learn from the liner note that Gould disliked both. I was thrilled by his dramatic reading of the Chromatic Fantasia and his high-speed account of the last movement of the Italian Concerto, and I can only wonder what on earth he didn't like about them, so much conviction is carried by his playing. I had not heard him in Scarlatti before, and in all three sonatas he is relaxed and winning, as always his own man and nothing like Michelangeli or Lipatti, still less Horowitz.

There is a certain amount of quiet vocalising, but it is at least tuneful (unlike Serkin's), and it gives me no problem at all. There is also a knowledgeable and instructive liner-note on Gould's recording career, although some contradictions should have been sorted out as between pages 4/5 of the note, the note-writer's text and the back of the record-box as regards what fugues are played with the various fantasias (correct answer `none', a great relief to me personally in the matter of the rather dull effort that usually tags on to the Chromatic Fantasia). The recording technology used is something called Super Bit Mapping, and whatever it is it might have been invented specially for Gould.

Reissued Gould Leftovers.......2003-07-19

Sony has recently decided, yet again, to reissue all of Glenn Gould's recordings for Columbia, this time around in flavor-of-the-month original LP jackets. Make no mistake though, this is the same exact music, with no additional remastering, as its predecessor in the "Glenn Gould Edition," although now at mid-line instead of full price. As far as the content of this CD, the material has always felt like the leftovers of the remaining Bach works that the fickle Gould consented to play, with some Scarlatti and CPE Bach Sonatas tossed in to fill up the disc space. Even though, individually some of these pieces are closer to Gould's heart than other works that Columbia basically made him record in order to have the "Complete" Partitas, Toccatas, Well-Tempered Clavier, etc., overall the CD lacks the consistency and unison of efforts like the French or English Suites. This CD is not to be missed by Glenn Gould fans though, but they probably own one of the earlier CD incarnations anyway.

Average customer rating:

Amazing ... Stabat Mater, Opus 111

Vivaldi Edition: Stabat Mater
Vivaldi , Mingardo , Alessandrini , and Cto Italiano
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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ASIN: B000065SXI
Release Date: 2002-09-10

Customer Reviews:

Amazing ... Stabat Mater, Opus 111.......2005-06-22

I really enjoy this compilation and find it very different from the many other versions of Stabat Mater by Vivaldi that I've heard. While the packaging is a bit chic and designed to capture the eye of a more younger crowd, obviously hoping to take classical music to new places as is the struggle in this field today. This is one in a series, which I've listened to and can say that, as a whole they are all very worthy recordings. The sound quality is very good as far as the ability to "properly" record classical music.

So many Sound Engineers get stuck in a 'pop music' mode when having to face classical recordings, it seems to continually baffle them for some reason. The hope in Vivaldi, as many know, is to not focus on the soloist or what would be seen in modern music as the front-end but listen to the piece as a whole and moreso listening to the "back' tones or undercurrent, which are complex and lost so many times by Rock/Modern sound engineers. This is the real sound which was intended by the composer, almost four hundred years ago.

This recording, overlooked nobly by Laurence Heym, delivers a very rich and rewarding Vivaldi experience. Sara Mingardo is a very talented, commanding and lush Contralto. Perhaps one of the best that I've heard in recent years. And no, that's not her on the cover. The playing is very precise and seamless, wonderfully directed by Rinaldo Allessandrini. I highly recommend this offering by the National University Library in Turin.

And lastly, as a historical note, this was thought to be light years beyond anything at the time when Vivaldi wrote it, which he did very quickly, and it brought people to thier knees, ... which was much appreciated by the Church.

Average customer rating:

Mozart:Violin Cto 03
Jacques Thibaud
Manufacturer: Universal Music & VI
ProductGroup: Music
Binding: Audio CD
ASIN: B00000E3M9
Release Date: 1988-12-30

Average customer rating:

Peter Mennin: Syms 5 & 6 / Cello Cto

Manufacturer: First Edition
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000C52FJ
Release Date: 2003-09-09

Sym 1-4 / Piano Ctos 1-2 / Violin Cto / Double Cto

Average customer rating:

A Brahms collection well worth remembering
A Wonderful Bargain
all the music that fits...

Sym 1-4 / Piano Ctos 1-2 / Violin Cto / Double Cto
Brahms , and Sawallisch
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006HM8Y
Release Date: 2002-11-05

Tracks:

I: Un Poco Sostenuto-Allegro
Allegro
II Andante Sostenuto
III Un Poco Allegretto E Grazioso
IV Adagio-Piu Andante-
Allegro Non Troppo, Ma Con Brio-Piu Allegro
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III: Allegretto Grazioso (Quasi Andantino)-Presto Ma Non Assai- Tempo I
IV: Allegro Con Spirito
Symphony No. 3, Op. 90 F Major: I: Allegro Con Brio-Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro- Un Poco Sostenuto

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I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso
IV:Allegro Energico E Passionato-Piu Allegro-
Langsam Und Sehnsuchtsvoll-
Allegro-
Adagio-
Academic Festival Overture, Op. 80

Tracks:

I: Maestoso
II: Adagio
III: Rondo: Allegro Non Troppo
1. Gestillte Sehnsucht- Longing Assuaged- Nostalgie Apaisee
2. Geistliches Wiegenlied- Sacred Cradle Song- Berceuse Mystique

Tracks:

I: Allegro Non Troppo
II: Allegro Appassionato
III: Andante Piu Adagio- Tempo I
IV: Allegretto Grazioso- Un Poco Piu Presto
1. Wie Melodien Zieht Es Mir- Like Melodies Flowing- Comme Des Melodies Cela Passe
2. Immer Leiser Wird Mein Schlummer- Ever Softer Grows My Slumber- Mon Sommeil Se Fait Toujours Plus Leger
3. Klage- Lament-Plainte
4. Auf Dem Kirchhofe- In The Churchyard- Au Cimetiere
5. Verrat- Betrayel- Trahison

Tracks:

I: Allegro - Mozart
II: Adagio - Mozart
III: Rondeau: Allegro- Allegretto- Tempo I - Mozart
I: Allegro Non Troppo
II: Adagio
III: Allegro Giocoso, Ma Non Troppo Vivace

Tracks:

I: Allegro
II: Andante
III: Vivace Non Troppo
I: Andante- Poco Piu Animato
II: Scherzo: Allegro- Molto meno Allegro
III: Adagio Mesto
IV: Finale: Allegro Con Brio

Customer Reviews:

A Brahms collection well worth remembering.......2007-02-14

Everyone is looking for a bargain these days and too often we get cheated with something cheap and nasty. Don't get nervous, however. This is a real nugget.
The title may be slightly misleading. It's not just Brahms' orchestral works - there are also chamber pieces and Lieder with just a little Mozart Violin Concerto thrown in to fill up the space...though I'd have preferred a Brahms clarinet quintet. Ach weh, das Leben ist nie perfekt!

If you think of the great 20th century conductors, Wolfgang Sawallisch is probably not the first name that springs to mind. Yet you would be hard put to it to find anything to fault with any of these performances and some are truly outstanding. The Violin concerto is probably not one of these, because of the final movement, yet Franz Peter Zimmerman as soloist has perfect intonation and the Berlin Philharmonic for the most part plays with him in beautiful balance. It's a fine partnership with some lovely and some very dramatic moments. I just wish the finale had been played with a little more rubato. There's nothing wrong with it, but it's definitely more German than Hungarian. The Berlin Philharmonic also plays in the Mozart. The rest is all with the London.

Let's come to the First Piano Concerto. For me this is a seminal Brahms work. Put together out of the ruins of the "first" symphony this is a youthful but extraordinarily complex piece full of extreme contrasts, with violent and passionate emotions vying with moments of pure lyricism. For the soloist it is less technically than physically and emotionally demanding with its many pages of `doubled' writing but Stephen Kovacevich (Bishop) is the ideal pianist for it, never flagging, even in the monumental finale. This is a performance of immense power, strength, beauty and warmth, encapsulating as it does, and as no other does, both the despair and triumph of youthful passion, and I can honestly say I have never heard it better performed. In it Sawallisch shows himself to be the perfect conductor, holding the orchestra back and giving the soloist free rein and then applying full throttle at exactly the right moments.
Twenty-two years separate the two piano concertos, yet what is most striking is the similarity between the two works, the Second being, if anything even more symphonic than the First with its four movements. The conflict here is not between the piano and the orchestra - each is locked together in the first two movements in a joint and at times arduous battle with the Fates - yet in many ways it's also more like a gigantic piano quintet and Sawallisch and Kovacevich work here in perfect harmony to establish a fantastic rapport. In the third movement the structure is perhaps even songlike with the pianist accompanying the orchestra, particularly the cello, rather than vice versa and the finale is pure delight with both orchestra and piano ending up hopping and skipping round each other in a charming puckish way. Brahms is here at his most winsome and appealing and this is one of the lightest and most attractive endings I have heard to an otherwise at times very intense and demanding piece of music .
Many will buy this selection for the orchestral works - well that is after all what it says on the label - so I imagine there will also be many who are surprised to find the Lieder. Brahms was a wonderful composer of songs and his unerringly full-blooded choice of lyric - to which he always paid the closest attention - puts him right at the forefront of the great romantic song composers of the period, though it is here that his debt to Schumann is probably at its greatest. Ann Murray has a lovely voice and though I would not put her front of Schwarzkopf or Kathleen Ferrier, these are more than respectable performances. Stephen Kovacevich shows a different but very impressive side of his talent as accompanist. My favorite here, however, is his setting for choir and orchestra of Hölderlin's deeply pessimistic Hyperions Schicksalslied, which absolutely transforms the poem and gives us a wonderful glimpse at least of Ein Deutsches Requiem.

It would be beyond the scope of this commentary to review the performances of the four Symphonies in detail, not to mention the ability of the reviewer! Suffice it to say that Sawallisch and the London Philharmonic play these all with strict attention to Brahms' markings and excellent dynamic contrast, though always remaining aware that during the 20th century, like it or not, tempi in most classical pieces did speed up. No-one can play Brahms successfully without, at the right moments, passion, and for me the highlight (one of many) was the swirling attack in the emotionally turbulent opening to the First Symphony. Sawallisch cannot fail to have been aware of the immense presence of Karajan in these symphonies and to his eternal credit he does not attempt to fight with this, by striving to be different, but lets the orchestra "have its head" and as a consequence his performance of the battling First Symphony is very fine indeed. The key moment in this work for me is the entry of the horn in the slow introduction to the finale and I'm pleased to say, in this performance it is absolutely right. The second symphony, composed only a year later in the beautiful surroundings of the Wörther See in Austria's Lake District, is altogether a much more relaxed affair, and a great opportunity for the conductor to allow the orchestra a chance really to show its style, which is precisely what Sawallisch does and this is one of the London Philharmonic's most sumptuous performances. Interestingly for the Third Symphony Sawallisch opts for the slower Klemperer tempi and there is some very grand playing here, especially in the richly contrasted first movement. However, I feel in the third movement he is a tad too slow, with the result that some of the seething and restless undercurrents are allowed to fade. This is a very "classical" rendering of a tragic work in which the finale is seen, and I'm sure Brahms was striving for this, as both resigned and conclusive. I don't really feel, however, that Sawallisch has quite got to the bottom of this profoundly ambiguous piece. As for the Fourth, in this symphony often described as "autumnal" or "resigned" but probably one of the most passionate and perturbed of all Brahms' works, with time and again the resolution of soft legato passages broken into by turbulent outbursts, Sawallisch does not quite get the same precision of playing in the third movement as Karajan and at one point seems to lose the rhythmic impetus altogether, however, he quickly regathers it and the final passacaglia is as bold, dramatic, and tragic, as anyone could wish for.

The best is saved till last. Who else but Brahms could have composed a world class piece for an instrument that can only play about 11 notes, the Waldhorn? Well he does, and this work, the Horn Trio Op.40, is pure joy from beginning to end, the only hint of sadness being in the slow movement, which is an elegy on the death of his father, who was, guess what, a Waldhorn player. The violinist in this piece is Franz Peter Zimmerman, the same as who performed so well in the Violin Concerto and the pianist none other than Wolfgang Sawallisch, one of the very few recordings of him as a performer. Warum, ich frage mich? The final movement simply bounds along, with some perfect staccato playing by Marie Luise Neunecker on such an abominable instrument! No-one could ever have had a better ride into Elysium.

Is this a bargain? Well I'll let you judge for yourself, but this is my only Brahms recording and I won't be buying another, I imagine, for a little while yet. I suppose purely on the strength of the performances it's 4 stars rather than 5, but given the price and the range of the set, it would be churlish not to give it its 5.

A Wonderful Bargain.......2003-04-01

In this elegant and efficiently packaged compact box from EMI you get all of Brahms's orchestral music (except the two serenades) in first-rate performances at an unbeatable price. Wolfgang Sawallisch is one of the most distinguished conductors alive today and his performances of the great German classics are always worth listening to. Not a showman or an attention-grabber, Sawallisch unfailingly delivers beautifully thought-through performances that are nuanced and subtle. As a result, his work can strike some people as too laid back and emotionally reticent. Musicians, on the other hand, marvel at what they hear. (Check out the DVD version of the documentary film "The Art of Conducting," where long-time Sawallisch fan and colleague Elisabeth Schwarzkopf doesn't hesitate to mention him in the same breath with Klemperer, Boehm, Furtwaengler and Toscanini.) Especially if you're past the neophyte stage as a Brahms listener, you're likely to find Sawallisch's performances very satisfying. As far as specific performances go, let me admit that in another Amazon.com review I've compared these Brahms symphony recordings unfavorably with an earlier Sawallisch set on Philips. I've now changed my mind because EMI apparently has remastered the performances for this box set and they now sound marvelously fresh and alive - even better played(!) than on previous issues. Ditto the two overtures, Haydn Variations and "Schicksalslied." The concerto performances, gorgeously imagined and performed with scrupulous attention to structural detail, are also excellent. Sawallisch seems to have found his ideal partner in pianist Stephen Kovacevich, who matches the conductor insight for insight in the two piano concertos ... just listen to how magically Kovacevich and Sawallisch conjure Mozart in the finale of the B-flat concerto! The two string concertos are also done memorably by Frank Peter Zimmerman, with cellist Heinrich Schiff assisting in the great, late Double Concerto. Finally, the set provides a generous number of bonus performances including handsome renditions of the Mozart third violin concerto (with Zimmerman); some Brahms lieder (performed by Kovacevich and Ann Murray); and the wonderfully autumnal Horn Trio (where Sawallisch himself presides at the piano). Even if you own other performances of this music, I urge you to buy this set: it provides a remarkably satisfying brahmsian synthesis of public rhetoric and private emotion that I'm sure will continue to impress you the more you listen. Sound quality is marvelously warm and true for a digital recording.

all the music that fits..........2003-01-02

if you're a fan of brahms' symphonies and concertos, then this EMI compilation is the perfect match...his four symphonies, two piano concertos, violin concerto, and double concerto are well presented by sawallisch, the berlin philharmonic, and soloists....nothing outlandish or unusual, just straight-on brahms for those who enjoy a good balance from the orchestra, soloists, and wallet.....if I had to choose only one cd release for brahms, this would be it.

Lacrimosa / Cto Grosso / 3 Poems / Salve Regina

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Lacrimosa / Cto Grosso / 3 Poems / Salve Regina
Maskats , Kalejs , Steinbergs , and Birznieks
Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

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General | Chamber Music | Classical | Styles | Music
ASIN: B00006IZO3
Release Date: 2002-09-24

Average customer rating:

Bartok:Cto. for Orchestra
Boulez , and Nypo
Manufacturer: Sony Music Entertain
ProductGroup: Music
Binding: Audio CD

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000DS7Z
Release Date: 1989-12-29

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Pno Cto #1 Op 15 / Variations Op 21/1
Brahms , Backhaus , BBC Sym Orch , and Adrian Boult
Manufacturer: Arkadia: the 78's
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00000K0T4
Release Date: 1999-12-17

Tracks:

Pno Con No.1 in d, Op.15: Maestoso
Pno Con No.1 in d, Op.15: Adagio
Pno Con No.1 in d, Op.15: Allegro Non Troppo
Vars On An Original Theme, Op.21 No.1
Vars On A Theme By Paganini, Op.35
Scherzo in e flat, Op.4

Clarinet Concertos - William Thomas McKinley: Concerto for Clarinet and Orchestra No. 2 / Einar Englund: Cto. for Clarinet and Orchestra / Lukas Foss: Cto for Clarinet and Orchestra

Average customer rating:

Clarinet Concertos - William Thomas McKinley: Concerto for Clarinet and Orchestra No. 2 / Einar Englund: Cto. for Clarinet and Orchestra / Lukas Foss: Cto for Clarinet and Orchestra

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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20th Century Music For Unaccompanied Clarinet

ASIN: B000003FLZ
Release Date: 1996-06-18

Tracks: