Beethoven at Bedtime: A Gentle Prelude to Sleep

Beethoven at Bedtime: A Gentle Prelude to Sleep

Product Details

Amazon Sales Rank: #14301 in Music

Released on: 1995-04-11

Number of discs: 1

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Customer Reviews

Still Good!
I used to have this CD when I was maybe 8 years old. Now I'm 21, and I'm thinking of buying it again, because I have such fond memories of it. As I remember, it's perfect for younger kids (i.e. me) as an introduction to Beethoven's music, and as long as it's not too loud, it's very easy to fall asleep to.

Great but not for massage
TRY, just TRY to do a massage to Fur Elise. It just can't be done! It wasn't very relaxing. I felt like I should be doing tapotement or something. Threw my rhythm way off.

BUT as a CD, it's lovely. :)

Works on my kids
I'm purchasing my second copy of the CD. My kids listen to it every night to lull them to sleep - they usually don't make it through the first piece. It is true that some of the music doesn't seem very conducive to sleep, but by the time one hears those selections, one is fast asleep.

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Aria: Opera without Words

Aria: Opera without Words

Product Details

Amazon Sales Rank: #41710 in Music

Released on: 2007-02-13

Number of discs: 1

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Editorial Reviews

Album Description
Jean Yves Thibaudet brings a lifelong passion for opera to his new CD of irresistible operatic melodies: Aria - Opera Without Words, an album that combines the intimacy of the piano recital with the drama and romance of the opera house. Following the huge success of his recording of the complete solo piano music of Erik Satie, this new album is a very personal collection of timeless classics and new transcriptions - including several by Thibaudet himself. Aria - Opera Without Words includes arrangements of many of the best-loved arias of opera including Puccini's "Vissi d'arte" from Tosca and "O mio babbino caro" from Gianni Schicchi, and the sparkling "Jewel Song" from Gounod`s Faust. Thibaudet even provides a thrilling portrait of Wagner's mighty "Ride of the Valkyries." These performances are not just arrangements of popular classics, they are also piano works in their own right.

Amazon.com
French pianist Jean-Yves Thibaudet has had a lifelong devotion to vocal repertoire, and it was inevitable that he would record an "opera without words" program. He is co-arranger of several selections on this disc, which is dedicated by Thibaudet to all the singers with whom he has performed. Listened to in one sitting, the disc is perhaps too much of a good thing. Savored a couple of tracks at a time, however, it offers considerable pleasure. Among today's big-name pianists, Thibaudet is one of those most frequently praised for "singing tone." He displays it exquisitely throughout this program, beginning with the initial track, a fantasy on two arias from Samson et Dalila. Among the other tracks, a few do disappointingly little to enhance what one would find in a piano-vocal score ("Vissi d'arte" is an obvious example). On the other hand, Thibaudet's full technical arsenal is magisterially deployed in "Soirée de Vienne," a concoction of Johann Strauss waltz themes including that of Die Fledermaus; a "sonata-fantasy" based on Madama Butterfly -- at 12 minutes, the longest track on the disc; and Louis Brassin's formidable arrangement of the "Ride of the Valkyries," which Thibaudet tosses off with staggering ease. -- Roger Pines

About the Artist
Pianist Jean-Yves Thibaudet continues to captivate audiences worldwide with his compelling performances and poetic interpretations. An exciting and versatile musician respected for his mastery of color, nuance and rhythmic intricacies, he is sought after by today's foremost orchestras, conductors and music festivals, as well as for collaborations with pre-eminent musicians. A prolific artist in both the performance and recording arenas, he has been hailed by the press as "one of the best pianists in the world." Supporting this acclaim, April 2006 brings Mr. Thibaudet's third appearance of the season at Carnegie Hall, his second appearance this season at The Kennedy Center, and his first of the season at the New Jersey Performing Arts Center, all with the San Francisco Symphony and Michael Tilson Thomas. May brings performances in Perth, Australia, a tour of China with the West Australian Symphony Orchestra, and recitals in Hanoi and at the Klavier Festival Ruhr. Thus far in the 2005-06 season, he has been heard in performances throughout the United States, Canada, Europe and Asia. Of special note were the September 2005 release of Universal Pictures' Academy Award-nominated soundtrack to the major motion picture Pride and Prejudice, on which he was featured with the English Chamber Orchestra, and his performance with the London Symphony Orchestra at André Previn's 75th Birthday Gala. Other season highlights have included solo recitals at Lucerne Festival Piano 2005 and Los Angeles 's Walt Disney Concert Hall; and a chamber music tour of the Netherlands and Spain with the Rossetti String Quartet. His 2005-06 North American orchestral engagements included subscription series concerts with the symphony orchestras of San Francisco, Boston, Philadelphia, Colorado, Utah, Washington, DC 's National Symphony Orchestra and Canada 's Montreal Symphony. US solo recitals were given in Lincoln Center 's Kaplan Penthouse, Fort Worth, Texas ' Bass Performance Hall; Ann Arbor, Michigan 's Hill Auditorium; and the Holy Trinity Lutheran Church in Buffalo, New York. Other international orchestral engagements included performances with the Royal Concertgebouw, Royal Scottish National Orchestra, Bournemouth Symphony Orchestra, Rotterdam Philharmonic Orchestra, Beethoven Orchester Bonn, Tonhalle Orchester Zurich, Berner Symphonie-Orchester, Orchestre National de Lyon, and the Orchester Musikkollegium Winterthur. International solo recitals included Germany's Kölner Philharmonie, Dortmund's Konzerthaus, and at the Klavier Festival Ruhr, Paris' Théâtre des Champs-Élysées, Göteborg's Konserthuset (Sweden), Arnhem's Musis Sacrum in the Netherlands, Valencia's Palau de la Musica (Spain), and Cagliari's Teatro Bellini in Italy. In addition to his engagements in New York, Newark and Washington, DC, Mr. Thibaudet's spring/summer 2006 schedule will include performances abroad in Moscow; Perth, Aberdeen, Edinburgh and Glasgow, Scotland; Perth, Australia; Beijing, Shamghai, Hangzhou, Shenzhen and Guangzhou, China; Hanoi; Rotterdam; Warsaw; Mühlheim/Ruhr and Bad Kissingen, Germany; and at the Spoleto Festival. The second half of the summer will be spent in the United States, performing at Tanglewood, the Mann Music Center in Philadelphia; Vail; Sun Valley; the Blossom Music Festival; Saratoga; the Hollywood Bowl and the Ravinia Festival. An accomplished performer who is equally at home with chamber music and recitals as he is with orchestral repertoire, Mr. Thibaudet is in great demand as a collaborator. He currently performs and records with such artists as Renée Fleming, Cecilia Bartoli, Angelika Kirchschlager, Yuri Bashmet and the Rossetti String Quartet. Mr. Thibaudet is an award winning, Grammy nominated exclusive recording artist for Decca with over 30 recordings. Last year, in addition to the Pride and Prejudice recording, he released Strauss' Burleske with the Leipzig Gewandhaus Orchestra, Herbert Blomstedt conducting. Other recent recordings include a 5-CD box-set entitled "Satie: The Complete Solo Piano Music" (awarded the 2003 Choc de la Musique); "The Magic of Satie" (released in fall 2002, awarded with a 2003 Echo award for Best Solo Repertoire of the 20th Century); a CD of the Mendelssohn Piano Concerti with the Leipzig Gewandhaus Orchestra, Herbert Blomstedt conducting; a collection of arias entitled "Night Songs" with soprano Renée Fleming featuring works by Fauré, Debussy, Marx, Strauss and Rachmaninoff (awarded Best Lieder Recital award at Germany's 2002 Echo Classical Music Awards); and a Chopin/Grieg disc with the Rotterdam Philharmonic and Valery Gergiev. Mr. Thibaudet's diverse repertoire includes works by Rachmaninoff, Debussy, Liszt, Messiaen, Chopin, Shostakovich, Gershwin, Brahms, Schumann, D'Indy, Wolf and Ravel, for which his recording of the complete piano works received a Grammy nomination. He has made successful forays into the world of jazz as well, including "Reflections on Duke: Jean-Yves Thibaudet plays the music of Duke Ellington" and "Conversations with Bill Evans." Selections from the two jazz recordings were merged into one CD, "DAYDREAMS: Reflections on Bill Evans and Duke Ellington" (2002), and released in Australia, where the recording has met with great acclaim. Among his numerous recording awards, Mr. Thibaudet counts the Echo and Schallplatten Preis Awards, the Diapason d'Or, Choc de la Musique, Gramophone Award, and Edison Prize. Outside of the traditional concert stage, Mr. Thibaudet's talent has also been recognized. In November 2004, Mr. Thibaudet served as President (an honor extended to luminaries) of the annual charity auction at the prestigious Hospices de Beaune, in Burgundy, France. He had an onscreen cameo in the Bruce Beresford feature film on Alma Mahler entitled "Bride of the Wind" (released June 2001), with his playing showcased throughout the movie soundtrack. His playing can also be heard in the movie soundtrack of the feature film "Portrait of a Lady" for which he played two Schubert Impromptus (1997). He was featured in the 2000 PBS/Smithsonian special, "Piano Grand!," a piano performance television special hosted by Billy Joel to give tribute to the 300th anniversary of the piano. The fashion world has taken notice of Mr. Thibaudet as well. His concert attire is designed by the celebrated London fashion designer Vivienne Westwood. Of French and German heritage, Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At age 12, Thibaudet entered the Paris Conservatory where he studied with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age fifteen he won the premier Prix du Conservatoire, and three years later won the Young Concert Artists Auditions in New York. In 2001, the Republic of France awarded Mr. Thibaudet the Chevalier de l'Ordre des Arts et des Lettres. In 2002, Jean-Yves was awarded the PremioPegasus from the Spoleto Festival for his artistic achievements and his longstanding involvement with the festival.

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Customer Reviews

Aria: Opera Without Words
I saw in these pages an ad regarding Jean Yves Thibaudet, the pianist, in one of his recent numerous CDs. First I was attracted by the beautiful presentation of the CD and an invitation to hear samples of it. After listening to some of them, I was immediately caught by his elegant style, his finesse and the profound expression he gives to each interpretation. I couldn't resist the temptation to order one and I decided on the spot, to order one more for a dear friend. So when I received the package and played mine at my home, I realized I was done a good choice. It is so wonderful that I play it over and over and I'm very happy I bought it.

Aria Sings
In "Aria: Opera without Words" Jean-Yves Thibaudet has chosen arrangements, and sometimes co-arranged operatic melodies in a way that allows the piano to enhance the original rather than being a substitute for the voice. I had thought I would never buy an instrumental arrangement of arias, especially after hearing the sentimental renderings of a certain popular classical violinist, but I heard several tracks of "Aria" on KUSC-FM and immediately purchased two copies, one for me and one for a Christmas present.

Aria my response
I first heard an excerpt from this CD on WQXR and was impelled to hear the rest of the album ( if that is what a collection is called nowadays.) I have played the CD often and am reminded of the Liszt "transcriptions" of popular themes as I listen. Except for the Wagner , I have enjoyed every selection. "Opera Without Words" is a very accurate title for this CD.

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Holiday Pops

Holiday Pops

Product Details

Amazon Sales Rank: #88744 in Music

Released on: 1998-09-29

Number of discs: 1

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Customer Reviews

Holiday Pops
I ordered this CD because I had received one for the music library at the public radio station where I was music director before my retirement. I loved hearing it every Christmas when I programmed music from it to air on my station, so I decided to get one for my own library at home when I no longer had access to the CD at work. I love it! And amazon.com processed my order quickly. Thanks!

~Mary Lee Warner

Best for Christmas Cheer !!
This is one of the cleanest orchestral recordings of the 90s and shows the Boston Pops to great advantage. The production values are amazingly good to my ears, as is the wonderful interpretation of Maestro Lockhart. Amazon should list his name (not Mark Oswald's) to increase sales. This one will put you in the spirit of the holidays, for certain!

John Whitney, Music Director, Southern Tier Symphony

Can listen all year
This is a great cd and Farandole has been a favorite of our son for over a year (he's 2 1/2). I highly recommend it!

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Flute For Relaxation

Flute For Relaxation

Product Details

Amazon Sales Rank: #40948 in Music

Released on: 2000-10-10

Number of discs: 1

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Customer Reviews

Soothing Music
This music is really soothing and relaxing. All you have to do is put the CD on and close your eyes. Stress relief on a CD. Great!

A Little Piece of total enjoyment
This CD is the BOMB-- I really enyoy listening to it

Wonderful!
This is a great CD. If you're a James Galway fan, this is a must have. He is, after all, THE GREATEST flutist in the world today. The CD is filled with some of the most beautiful (and relaxing) music ever written. Buy it. You will love it.

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Mahler: Symphonie No. 3 in D Minor

Mahler: Symphonie No. 3 in D Minor

Product Details

Amazon Sales Rank: #60443 in Music

Released on: 1989-07-20

Number of discs: 2

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Editorial Reviews

Amazon.com essential recording
Leonard Bernstein more or less owned this symphony, and both this and his earlier Sony recording are superb. He was one of the few conductors who wasn't afraid of the musical insanity that Mahler unleashes in the first movement (a collision between two marches of very different character), and the New York Philharmonic is one of the few orchestras in the world with the stamina to carry the whole thing off. This is the longest symphony ever written that's in the international repertoire, but listening to Bernstein's way with it, you'd never guess. This recording is also included in DG's magnificent box set of the complete Mahler symphonies. --David Hurwitz

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Customer Reviews

Bernstein's Symphony No. 3 Not Mahler's
So some of this is oustanding and thrilling in its own special way. It is pure musical bravado and showmanship. Leonard Bernstein, who died in 1989, remains the most renowned American conductor of all time and has a huge following that will not go away. He makes the music so visceral and in-your-face, that one would think he was possessed as he conducted. This symphony is perhaps the most dramatic interpretation and never fails to electrify the ear. But even with the theatricality of it all, it cannot compare to Herbert Von Karajan's interepretation of Berstein's Symphony No. 3 or Zubin Mehta's. At least Karajan and Mehta understand the significance of honoring the composer's vision. Bernstein, more than any other conductor, gained notoriety for HIS particularly charged, intense and overblown interpretations of Beethoven and especially Mahler symphonies. While most classical music lovers enjoy and even laud his Mahler as the all-around best, I disagree. Mahler should not be treated with such monstrous force. Mahler was the last German Romantic, and that entails a spirituality, a mellowness, a mysticism which Bernstein never suffused his recordings with. His orchestra is taught to pull out all the stops in a modern showman way. Sure, being a German Romantic, Mahler was influenced by Wagnerian fatalism and harshness. However, he strayed from using too much Wagnerian techniques in his own music and only when warranted does the music become dark and dramatic. Mahler's symphonies, his later ones in particular, described in musical phrasing, the existential questions about God, man's purpose and the universe as a living entity. Bernstein fails to show us any of this. If you're a fan of Bernstein, then you will regard this as his best work and it actually is. He pulls out all the stops here. He is at his best here. The music is alive and roars with majestic power. It is really LOUD in some parts and it is sure to invade your stereosystem and even make your windows shake. The power of the music, however, is misguided. It ought to be about the inner notes. If you're more of a purist and prefer old-school conductors who treat Mahler reverently, go for Karajan's complete Mahler symphony recordings.

Mahler creates a massive world...
What a huge symphony. It's enormous. Both discs of this recording together run approximately an hour and forty-five minutes (64'12 + 41'40). Throughout this seemingly impossible span the melodic themes intertwine like celtic knots, the dynamics range from a whisper to a SCREAM, and along the way we meet Friedrich Nietzsche, a solo vocalist, and a boys choir. Leonard Bernstein and the New York Philharmonic pelt this one out with gusto, but some listeners have complained that Berstein meddles too much with the production (the symphony does balance on the fence of melodrama in places, and a steady guide needs to keep it from tipping into the mushy goo on the wrong side). The recording overflows with full lush strings and horns throughout giving it a very dramatic texture. It's not a piece or a recording suited for background music. It demands attention.

Six movements (in two parts) spontaneously and linearly create Mahler's symphonic world. Mahler originally drew up program notes to go along with the work's multifarious parts (with titles such as "Pan Awakes", "What the Animals in the Forest Tell me", "What the Angels Tell me", and "What Love Tells me"), but he later abandoned them as too stringent. He didn't want to shove his interpretation down the throats of his audience and stifle the carte blanche experience of listening.

The first movement (composed in 1896, a year after the following five movements) opens with a triumphal imposing horn blasting melody. Allusions to Brahms and Wagner lurk beneath the melodies and harmonies. The movement itself is as dynamic as the entire structure of the symphony. From loud and garrulous to near silence, the movement marches and trunches forth while throwing some diversions here and there along with some lovely solo violin speckles. This movement alone makes up Part I of the symphony. The remaining movements make up Part II.

The second movement opens in great contrast to the first. A lonely but danceable horn melody leads us into a beautiful minuet which later transforms into downright danceable and bouncy music. It eventually flutters out with strings.

Next, in the third movement, some shades of the "nature sounds" of Mahler's first return. A "cuckoo" whistles and the orchestra performs some dramatic loopty-loops before breaking out into full song. Musical hints of birds flitter everywhere in this movement. It ends with a clenching creshendo buildup and finally with an unmistakable, almost shocking, bang.

Over an hour of music passes between the beginning of the work and the first vocal movement (the fourth). Here Mahler puts to music the "Midnight Song" from Nietzsche's "Thus Spake Zarathustra". Following the bang of the previous movement, Mahler treats us to a tense painfully beautiful song. Nietzsche was still alive while Mahler composed this symphony, though he had fallen into his "famous" madness (he died in 1900). Mahler also apparently had some regard for Nietzsche -at one point he was going to name the entire symphony after Nietzsche's 1882 work "The Gay Science".

Once again, in great contrast, the next song (and the work's shortest movement at only slightly over 4 minutes) gives off a joyous feeling. The boy choir even chants happy bell sounds.

And then the big finale. The sixth and final movement. A painfully beautiful buildup of some twenty minutes brimming with juicy strings and a few explosions precedes the final thumping drums and majestic climax. It contrasts greatly with the symphony's first mostly raucous movement. And here's another of Mahler's big endings. The sixth movement as a whole provides a stunning conclusion to the piece.

Mahler's Third Symphony is simply overwhelming. It's as difficult to get one's mind around as it is to get one's arms around an aircraft carrier. It's a hulk, a behemoth. But it's also amazing and more than worth the numerous listens required for the symphony to begin to reveal its nuances and hidden gems. Did Mahler attempt to reflect life itself in this gargantuan work? Does that explain its complexity and size? Possibly, but regardless of how one interprets it, the work is full of great Mahlerian music that doesn't require picky granular analysis to enjoy.

A Mahler's Third for the ages
Mahler's Third is a very difficult piece to play and understand. Not only is the longest symphony in the standard repetoire, it also showcases Mahler's desire to show the entire universe in a symphony. There are more contrasts between light and dark, happy and sad, loud and soft, fast and slow, etc, in this symphony than in any other Mahler symphony. It makes this symphony a very difficult piece to listen to, and perhaps Mahler's most inaccessible for the casual listener or Mahler novice. That said, one must still agree that Bernstein gives this symphony a reading that is simply unforgettable. Bernstein manages emphasize the essential contrasting elements of the music, especially in the seemingly endless first movement, and keep the listener at the edge of his seat from the tension and emotion Bernstein elicits. Plus, this recording has excellent sound. Some of the best I've heard, in fact. The explosions are more explosive than in any other recording I've heard. It's something you have got to hear for yourself! I've grown to love this symphony and now it's one of my favorites; however, without this recording, who knows how positively I'd feel about this difficult (yet very fulfilling) composition.

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Saint Säens: Christmas Oratorio/Britten: Ceremony of Carols

Saint Säens: Christmas Oratorio/Britten: Ceremony of Carols

Product Details

Amazon Sales Rank: #162722 in Music

Released on: 1990-10-11

Number of discs: 1

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Customer Reviews

One of the most beautiful pieces of music I have ever heard
As others have written, I had never heard this oratorio until I took it from a store's bin of Christmas tapes more than ten years ago. When I saw it again last year in CD, I grabbed it again. I don't know about the inspiration of the performance; I just think the soprano's voice is one of the most lyrical and unencumbered I have ever heard. Her voice floats over the beautiful passages including the words "in principio." I plan to buy two more copies to hedge against the wearing out of my current one. There may be other choirs who perform technically better, but I cannot imagine any soprano singing more ethereally than does the lovely voice on this CD. Having sung the Ceremony of Carols many time in many choirs, I loved it, although I do prefer the old English words.

Splendid Saint-Saens
I don't usually disagree with prior reviews but here I have to. I have owned this CD for at least 8 years, maybe longer. And I love it. The Saint-Saens is a very special piece of music and I am totally dumbfounded why nobody ever plays it. It does not sound difficult, so a church chior and orchestra could easily take a stab at it. Instead, we get one Handel Messiah after another at Christmas. And this performance sounds just perfect to me. True, there are no texts but remember, this a super budget CD and your are lucky to get performer's names sometimes. As for the Britten, it is a piece I have little love for. And so I will not comment on the performance.

The real gem here is the Oratorio
I think this album is worth buying for the Oratorio alone. Saint-Saens' Oratorio is way too underrated and underperformed, and I hadn't heard of it myself until my fine arts program put on a production of it this semester. It's a small scale work written only for strings, harp and organ (and chorus and soloists of course), nevertheless it is absolutely gorgeous. Even the recitative is beautiful! My personal fav's are the Soprano and Baritone duet (in which the soprano hits a high C without shattering the windows), the Tenor, Soprano and Baritone Trio which in itself is one of the most beautiful and haunting pieces of music that I've heard, and the Quartet for Alto, Soprano, Mezzo, and Bass. I don't know anything about Britten's ceremony of carols, but I would still buy this album even if it were solely for the Oratorio. And regardless of what others have said, I think this particular recording of it is marvellous.

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Gershwin: An American in Paris; Ives: Symphony No. 2

Gershwin: An American in Paris; Ives: Symphony No. 2

To celebrate Leonard Bernstein's 90th birthday, Deutsche Grammophon has issued a number of musically and historically important performances on DVD. These DVDs document the astonishing talent and virtuosity of Bernstein in a variety of works. The concerts are taken from the 1970s and 1980s and many include Bernstein's educational introductions to the pieces. His invaluable ability to communicate music and teach the general public still astounds as much as his energy and skill on the podium

Product Details

Amazon Sales Rank: #53896 in DVD

Released on: 2008-11-25

Rating: NR (Not Rated)

Aspect ratio: 1.33:1

Number of discs: 1

Formats: Classical, Color, DVD-Video, NTSC

Original language: English, German

Subtitled in: French, Spanish

Number of discs: 1

Running time: 92 minutes

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Hector Berlioz - La Damnation de Faust / von Otter, Lewis, van Dam, Rose, CSO, Solti (1989)

Hector Berlioz - La Damnation de Faust / von Otter, Lewis, van Dam, Rose, CSO, Solti (1989)

Product Details

Amazon Sales Rank: #45785 in DVD

Released on: 2006-01-17

Rating: NR (Not Rated)

Aspect ratio: 1.33:1

Number of discs: 1

Formats: Classical, Color, DVD-Video, NTSC

Original language: English, French, Spanish

Subtitled in: German, English, French, Spanish

Number of discs: 1

Running time: 134 minutes

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Customer Reviews

concert version
I recently saw a staged version of the damnation en direct from the Met in HD at a local cinema. No comparaison possible! I had to force myself to stay awake listening to the concert version on that cd; I had to hold my breath during the staged version!

All but staged. Wonderous!!
This production, apart from being a quite satisfying performance of the musical piece, has excellent dramatic presentation. The soloists perform as they sing, with facial expression, emotional intensity and interaction that almost transports them to an imaginary theatrical set provided by the musical imagery. Kind of like radio dramas, but with some visual support. This facet of the presentation is showcased by a well crafted videography that is relentlessly capturing the strongest musical and dramatic moments with well timed shot sequences. A real tribute to the true intent of the composer.

Kudos to the excellent camera crew for this live production.

Curious Tuba Players Beware!
I gave this DVD a positive review because it is beautiful music, it's great to see Sir Georg & Co. go at it, and it is certainly interesting to know what happens in this work outside of the "Hungarinan March". However, as a Tuba Player, I have to warn others, who, like me, may be wishing to observe our forefather Arnold Jacobs in action. All who fall into this category will surely be disappointed as not only does the camera seem to deliberately avoid the low brass, and specifically the chair with whoever is playing tuba in it (for the record, all photography directors hired for these gigs need to be taken aside at some point and shown the basics of score reading), but there is no audible presence from the Tuba at all (whomever it might actually be ;-). This DVD is a complete failure in terms of capturing the "legendary" sound of the Chicago Symphony Brass Section, and thus the characteristic sound of the Orchestra as a whole. I am eagarly awaiting an oppourtunity to check out Decca's "Solti: the Maestro" DVD set Georg Solti: The Maestro for better reference material. Finally, Tuba Players and audio engineers, I refer you to TDK's DVD of Gunter Wand conducting the NDRS in Bruckner's 8th Symphony Gunter Wand: Anton Bruckner - Symphony No. 8if you wish to find out what makes this reviewer happy ;-)

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Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41

Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41

Product Details

Amazon Sales Rank: #9238 in Music

Released on: 2003-07-01

Number of discs: 3

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Customer Reviews

driving music
This 3 CD collection is perfect for those long Sunday drives. If you are a Mozart fan you will not be disappointed. The style of the conductor is subtle, without too much vibrato, which makes the music sound timeless compared to mid-century recordings.

* * * 1/2 Well-played, beautifully-recorded, but a little bland
My first reaction was "25 and 29 were *late symphonies?" He was basically a kid when he wrote them! However, who cares about labels--these are some of Wolfie's best works. And in the hands of Bernstein and the Vienna Philharmonic, they achieve a polish and grace that's hard to beat. Recorded in the gorgeous acoustical space of the Musikverein, they sound ravishing too. So what's the problem?

Well, nothing, really. If you want these works well-played, in you-are-almost-there sound, go for this set. The price is right.

But there's something missing. Lenny doesn't really *say* anything new in these readings. There's a certain genial autumnal quality, like a man looking backwards, and I'm sure that's what Lenny was doing at the time these were recorded (late 80s). Plus, the Vienna Philharmonic, with a sound that's the opposite of bright and a tuning that's lower than most other orchestras, add to the slightly somber feeling. This is not bright, singing Mozart but rather a more reserved composer.

But there's something more to the way these works come across. With many performances of chestnuts, one feels like the conductor and orchestra are discovering the work afresh. Bruno Walter's performances of these same symphonies, recorded with the New York Philharmonic and the Columbia Symphony Orchestra in the mid-50s to early-60s, have this urgent quality. At their best, they sound like they're being made up on the spot. It's joyous music-making.

Bernstein's performances here sound almost the opposite. They feel as though he, and we, already know this music, and we are giving it one more go 'round. It's like he's coming back to old familiar friends for a final, wistful reunion. The prospect of new discoveries with this music wasn't even on his agenda. This is very different than, say, his approach, also late in life, to the Tchaikowsky 6th, also on DG.

The result is readings that sound beautiful and are seductively recorded, but don't have a lot of freshness or spark to them. I'd recommend this set as a supplement to other, more vibrant recordings, such as the aforementioned Walter, Brüggen, Mackerras, and even Bernstein's own earlier readings on Sony. These CDs won't add anything to your appreciation of the works. But they sure are purdy.

A good bargain
A bargain set, which whilst quirkily performed (in places), is a never-the-less continually entertaining to re-visit.

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Haydn: The 12 "London" Symphonies [Box Set]

Haydn: The 12 "London" Symphonies [Box Set]

Product Details

Amazon Sales Rank: #15822 in Music

Released on: 2003-10-14

Number of discs: 5

Formats: Box set, Collector's Edition

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Customer Reviews

Surprise......and not just Symphony 94
I should qualify my views by saying I don't find the early instrument approach to Haydn, Mozart, Beethoven or Berlioz to be more satisfying than great performances played by a modern orchestra.

Because of my interest in Jochum I decided to purchase this set of "London Symphonies". I listened to one of my very favorite Haydn works, "the Miracle" symphony, #96 in D. I was struck by the first phrase of the allegro; here was a reading that surpassed the supposed "great master", Szell. Jochum was a bit faster and full of glee as the first and second violins rocked back and forth on an octave in the exposition. I had always thought precision to be the key to these pieces. When I was in college to say otherwise would have been out of the question. I discovered that I had been fooled for YEARS by this misconception.

Its easy to sum up this box set. Via team work and simplicity of approach, Jochum achieves what Haydn must have - sunshine - both at the core of the music AND the music making; the players seem to be having fun. What a lovely way to work. When precision excludes humor in some music all is lost. I can say that another way. Listen to Toscanini conduct Haydn.

When I wake up in a less than happy mood, Jochum's Haydn always makes the coming day better; these performances, treasures all, (pardon this) are a sonic tonic.

Better than 4 stars
I'm prompted to write this review by our Haydn fan:

There's a story about Brahms listening to a performance of his first piano concerto, turning to his friend sitting next to him and saying, "You can play it that way, too." Most of us would never think that one conductor would reveal everything there is to reveal in a Beethoven or Mozart symphony; why would we think differently about Haydn?

Haydn's late symphonies are immensely sane and optimistic, unfailingly inventive, full of contrasts and surprises, bold and daring, and multi-dimensional emotionally. In other words, they are just as complex as the more obviously complex symphonies of the romantic era, despite their seemingly placid surfaces; they are just more subtle.

My standard for "great" performances are ones that communicate emotionally, hold together structurally, and tell me something new about the piece. Jochum's performances of the "Salomon" symphonies are amongst that group. Jochum clearly loves this music, and his love comes through in every bar. These are genial, warm, robust performances, recorded live by DGG in a London concert series. A photo of the orchestra in rehearsal with Jochum shows a slimmed-down version of the London Philharmonic, so textures are relatively transparent. Tempi are brisk in general, but never rushed and without the waywardness that could creep into Jochum's performances of romantic composers. Everything feels judiciously considered and spontaneously rendered. Jochum apparently wanted to record these symphonies with an English orchestra, and the London Philharmonic has that "English" sound, with slightly nasal woodwinds, smooth but lean strings, and somewhat brash brass. The sound is DGG's early-70's analog stereo at its best: detailed and warm, with great hall ambience. The cd transfers, not surprisingly, are excellent.

Should this be your only set of these symphonies? No. There is much to learn from Beecham, Bernstein, Scherchen and Szell, amongst others, and amongst the newer generation, Thomas Fey, whose series of Haydn symphonies is generating alot of interest. Music this complex and this good deserves to be heard several ways; as Brahms would have said, "You can perform it that way, too!"

Jochum Performances Lack the Ultimate in Sparkle, Wit, and Imagination
Contrary to almost all the reviewers I don't care nearly so much for this set. I'm especially surprised someone would give up the Davis set for this one. Late Jochum seems to produce some divided opinions, his style later in his career generally running to less dramatic, suaver performances.

Haydn is a very challenging composer - most conductors only discover after a recording session how extremely difficult it is to completely capture a satisfactory reading of any his mature works. The works seem to play themselves, and then you look back and realize how much didn't come out. You might have gone any number of ways at this, that or another point in the score. As one noted podium hustler quipped to me, after his up-beat sunny reading of Haydn's Drum Roll, "Yeah, but I could also have done it tragic - it's more bloody complicated than Mahler."

I find it interesting so many reviewers were so ecstatic about these very pleasant and essentially genteel performances. Certainly even the earliest and to my taste the most powerful recordings in this set, such as 88, do not rise to the level of a Furtwangler or a Scherchen. Nor do I hear the invigorating readings others do, certainly not in direct comparison to those conductors who I do find invigorating in these works. Jochum never achieves the sort of electric energy and crispness found in the Cleveland Orchestra under Szell, the searching imagination of Scherchen, which despite a plethora of orchestra issues remains a benchmark, or even the easy knowing informality of Beecham.

Frankly I prefer listening to the rarely discussed von Karajan set, which has it perversities, but also sports some new and provocative ways of looking at Haydn.

Readers should understand in referring them instead to the Davis Philips set of Haydn's London Symphonies over this one I am decidely NOT a Colin Davis fan. I panned his most recent Beethoven set. However, for the moment I still think his Philips set remains the best overall of the large orchestra versions available. Haydn: The London Symphonies, Vol. 1Haydn: The London Symphonies, Vol. 2

For quite simply the best in Haydn performances Szell's with Cleveland remain exceptional with superb orchestra playing, superior to the London Philharmonic and riveting attention to those tiny details so beloved and fundamental in these incredibly tightly contructed works. Haydn: Symphonies Nos. 92, 94, & 96Haydn: Symphonies Nos. 93, 95 & 97

If you remain a fan of this Jochum set despite my critical perorations then if by chance you happen to see the equally middle of the road approach of the Mogens Woldike set of the last six symphonies don't hesitate to grab it if the price is not too dear. The Woldike set, reissued on Vanguard Classics, remains one of the handsomest all around interpretations with superb woodwinds, excellent grand overall pacing, a full bracing momentum, and lovely early stereo. It's only shortcoming is a tendency to downplay the wit and humor, vital features in Haydn, even in his grandest symphonies. Amazon won't let me highlight the listing - currently unavailable - but you can still find it by looking under "Woldike Haydn". You can still hear samples of Woldike's impressive way in these ultimate works of Classicism and I urge you to try them and keep your eyes peeled!

For a set of this size to receive five stars it has to be the very best available. Right now that laurel goes to the Colin Davis set. However, it can be bettered, and I look forward to the competition among the younger set when they grow tired of playing around with Mahler and Bruckner and move up to Haydn.

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The Bells of St. Genevieve and Other Baroque Delights

The Bells of St. Genevieve and Other Baroque Delights

Product Details

Amazon Sales Rank: #9192 in Music

Released on: 1992-01-28

Number of discs: 1

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Customer Reviews

Best CD I own!
The Bells of St. Genevieve CD is a great addition to any collector of great Baroque Music. Treat yourself!!!

One of my all-time classical favorites
I reach for this CD time and again. It is both relaxing and upbeat. I like every recording on this CD...even if they are selections and not the complete works. You cannot go wrong this this purchase!!

The Bells! The Bells!
I give this album an average rating as it does what it sets out to do which is give the average listener of classical music various average samples of average performances of great classical compositions. Albums such as these are always a great way to explore various or specific classical music styles with pieces that are usually not too intrusive to the common ear. The only downside of these albums is that they unfortunately, more often than not, introduce a new listner to only the most elementary of performances and leave them believing that all others sound as the ones they just heard when such differences in most cases are huge ones. I chose to review this particular album after hearing the Sonnerie "Bells" de Ste Genevieve on this album (originally composed by the unfortunately obscure Marin Marais) as it is a perfect example of what I am trying to convey.

Although some but few classical chamber pieces can be played well by pretty much any average group, some pieces such as "The Bells" require a certain expertise in instrument and style that very few musicians can properly apply to bring out all of the desired qualities of the piece. The interpretation on this album is a perfect example. Marin Marais was a French Baroque composer who was one of several royal court composers for King Louis XIV in the 17th-18th centuries. He was a soloist prodigy in the viola da gamba which actually sound as if they're being played by cellos here instead. Aside from any change in instruments, they are played with such deficiency in terms of quality, interpretation, and execution,here that it is rather sad that this would be included in an album such as this one. The viola is an instrument with a lot of range as it has more strings and is larger than the cello and the notation is made for the range of such instruments. In particular, there are literally less than five musicians today who are anywhere near proficient with this type of music and those playing here aren't anywhere near the top contenders. All of these things take out an enormous aspect of the full potential of this piece in terms of how it is supposed to sound and performances such as the one here are literally mutilations instead of transcriptions or interpretations. Such performances in many ways cheat the curious listener who is exploring this music as to the music's real potential as intended by its genius source. I recommend to those who may have heard a sample of the 'Bells' here and liked it to then compare it to the performance of this piece by Jordi Savall and Le Concert Des Nations in the soundtrack for 'All The Mornings of the World" available on Amazon. You will hear what I mean and understand how there's simply no comparison. Jordi Savall is the undisputed master in performing on authentic violas that have completely different acoustics than their modern counterparts. Savall is also an established conductor of French Baroque music unlike those here who completely misinterpret the piece as a result. Buying classical music is not as simple as just buying a certain piece by any performer thinking it's great. Unless you really don't care too much and just want to use it as background muscac in your life, classical music requires fine tuning just like playing the instruments themselves as the musicians are in a sense the instruments of the composer and the conductor's interpretatation. Don't settle for second best because the catastrophic results such a choice entails is similar to the range on the Richter scale: the difference between a No. 1 and a No. 4 best performance is exponential as the difference with the 'Bells' version I have mentioned perfectly illustrates. There are differences between symphonic and chamber groups, conductors, soloists, instruments, specialities of technique, production, etc. All of these things fine tune the performance and make the difference between epic and atrocious.

In sum then, although this album is a great source of introductory material as to the range of classical styles and in some cases has reputed perfomers, it is certainly not a sample of the best performances around. These types of albums always require a closer look because you never know what you're gonna get anyway unless you know what you're looking for. Trusting record labels to find stuff for you is not always a good idea. More often than not, this is the place where mediocre professionals can make some form of living without having to wait for a major deal that's never gonna come. If you feel you like the style of music here once you've heard it, expand your horizons in terms of performances as many on this album and similar ones are often simply mediocre in one form or another and there's stuff that's so much better out there for your listening enjoyment of a particular composition and/or style. Hope this helps! Good luck!

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Handel: Water Music Suites

Handel: Water Music Suites

Product Details

Amazon Sales Rank: #35327 in Music

Released on: 1999-04-20

Number of discs: 1

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Customer Reviews

good music
really like this cd~ kinda bought it on a whim, there was a discount...beautiful recording, sensitively played.

THE modern orchestra recording to have of the complete Water Music
Riccardo Muti's recording of Handel's "Water Music" with the Berlin Philharmonic, recorded in 1985 in DDD sound, is THE recording to have of the complete "Water Music" played by a modern instrument orchestra. Muti's tempos are so sensible and musical. There is a harpsichord in the texture, and the Berlin Philharmonic seems a little leaner than in other recordings, taking into account no doubt that this is Baroque music. Muti doesn't shy away from slow tempos in some movements, such as the closing movement of Suite I, to make the points needed to be made. The Allegros really move and sizzle, and the orchestra never sounds scrawny or puny. Yet it is not the big orchestra treatment of Ormandy (CBS), Szell/London Symphony (Decca), Steinberg (Seraphim) for the 6 movement suite, or Van Beinum/Concertgebouw (Philips LP) for the complete "Water Music". Perhaps it would be safe to say that Muti/Berlin can satisfy the Baroque purist, as well as those loving a great modern orchestra sound.

This is my favorite recording of the complete "Water Music". I also like Van Beinum, and the Warchal/Capella Istroplitana (Naxos) is good, but a smaller ensemble and sound. For period instruments, I like Pinnock/English Concert (DG Archiv) and Hans Martin Linde (Virgin Classics). For such a small amount of cash, you can't go wrong with Muti's "Water Music."

My Favorite
This is my favorite recording of this piece. The pacing is faster than some, but not too fast. I have heard much slower pacings that put me to sleep. This recording just grabs me. I love Muti and the BPO.

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Mozart: Piano Concertos Nos. 9, 19, 21, 23 & 27

Mozart: Piano Concertos Nos. 9, 19, 21, 23 & 27

Product Details

Amazon Sales Rank: #40125 in Music

Released on: 2007-04-24

Number of discs: 2

Format: Original recording remastered

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Editorial Reviews

Album Description
Specially priced 2-CD set in space-saving brilliant box with accompanying three-language booklet. Digitally remastered to the highest standards at the world-famous Abbey Road Studios.

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Customer Reviews

Marvelous Mozart from Eschenbach
Since I had enjoyed Mozart: Piano Sonatas from Christoph Eschenbach, I was reasonably sure that his two cd Mozart concerto set from EMI's Gemini series would be quite marvelous as well. I could not have been more correct. The pianist does an equally splendid job with the concertos, just as he did on his sonata box set from DG. His playing is wonderfully thoughtful & precise, unencumbered with trivialities, as are his solo Mozart piano performances. Eschenbach proves himself an able conductor of Mozart as well, giving excellent direction to the London Philharmonic Orchestra from the keyboard.
Mozart's Piano Concerto #23 is always my benchmark when judging a pianist's aptitude in any of the composer's pieces for piano & orchestra. While Christoph Eschenbach does not exceed the marvelous versions available from Murray Perahia & Mitsuko Uchida, his performance of K.488 in this collection is certainly top level & holds up quite nicely along side of the work offered by both of those gifted artists.
This fine two cd set from EMI would be an excellent adddition to any classical music library. The sound quality of the recordings is first rate & the collection features some grand Mozart playing at an exceptional bargain price. Enthusiastically recommended!

The Only Concerto No. 21 there should be...
The most famous Mozart piano concerto - the 21, or "Elvira Madigan" is perfected beyond perfection by Christoph Eschenbach, who both plays and directs this piece. Many conductors move this work at a faster tempo, seeming to be in a hurry to be done with it. Eschenbach takes is slower, allowing the listener to savor every note, to ponder what the music is saying to them. The cadenza is arranged also by Eschenbach, and is heart-breakingly beautiful. The Eschenbach recording of the Mozart 21 is the only recording to which I can listen. Every other recording is lacking in comparison. Eschenbach also gives all of the other concertos on this set a feel and warmth that only he can impart. You will not regret having this album in your collection.

Sublime Mozart Piano Concertos
This fine collection of Mozart's piano concertos is yet another example of the quality of the EMI Gemini two-CD series. With a few exceptions, this has most of my favorite concertos in a bargain set. The performer is highly fluid and offers some beautiful performances here, and although he is not as renowned as other Mozart pianists he keeps the sounds fresh and vibrant. Surely this is how Mozart would like to hear them played. This is highly recommended to any fans of Mozart, whether you are just starting your lifelong love of his works or if you've been listening to him from the cradle (I wish I had been so lucky). Don't hesitate to buy this set, as it is a testament to the purity and brilliance of music that is Mozart. As one Mozart fan said (and I wish I could have said it), "Mozart's music is eternity made audible." Surely, she agreed that this music is the proof we would extend to God to show examples of our worth.

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Prokofiev - Peter and the Wolf / Narrated by Patrick Stewart · Opera de Lyon · Nagano

Prokofiev - Peter and the Wolf / Narrated by Patrick Stewart · Opera de Lyon · Nagano

Product Details

Amazon Sales Rank: #25271 in Music

Released on: 1994-11-15

Number of discs: 1

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Customer Reviews

Classical Childhood
One of the missing links between childhood and adulthood that gets missed. Like Wagners. "Ride of the Valkyres" or Tchaikofskys "1812 Overture" it's in the class of not just for adults who think this is sophisticated music.

Solid Recording
First, I have to say that I disagree with several reviews here complaining about the audio quality or mixing. This is well recorded and well mixed. I can only imagine that the problems reported are some combination of equipment used and/or people have just gotten used to the heavy dynamic compression used on radio broadcasts and prevalent on most contemporary pop albums. I detected no audible distortion from recroding on the CD. I actually felt that the the audio engineers were on the conservative side with this recording.

In fact, conservative very much describes this recording as a whole. Nagano and the orchestra were very safe with their interpretation. I did not find anything to be objectionable, but I also did not feel that any risks were taken either. Stewart's reading also was on the conservative side, though I would not categorize it as bland. My main complaint would be that the included album literature was on the limited side. Yes the text to Peter and the Wolf is there, but there is not much else.

Peter and the Wolf
Delightful...I was given the records at the age of 4 and was delighted that they are out in CD's bought them for all my grandchildren and one mfor me too.

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