Chopin+Pollini: 12 études op.25

What a delicious CD. It flows glowing. Soft, virtuous, precise.
This is CD #7 in the Maurizio Pollini edition box set.

See this post on Pollini's interpretation of Brahms to see another superb recording.

Deutsche Grammophon page.

Maurizio Pollini, Fréderic Chopin (1810-1849). Deutsche Grammophon 1972(études), 1985(sonata), 1991(Berceuse). 

Name	Key	Catalogue	Musicians	Observations
12 Études		op.25		Ab: Allegro sostenuto Fm: Presto F: Allegro Am: Agitato Em: Vivace G#m: Allegro C#m: Lento Db: Vivace Gb: Allegro assai Bm: Allegro con fuoco Am: Lento - Allegro con brio Cm: Molto allegro con fuoco
Piano Sonata no.2	Bbm	op.35		Grave - Doppio movimento Scherzo Marche funèbre. Lento-attacca Finale. Presto
Berceuse	Db	op.57

Bruno Walter: Beethoven & Mahler

This is the rare Volume 2 for Grammofono 2000's "His First Recordings in America for Columbia". Bruno Walter conducts the New York Philharmonic Orchestra. And he plays the piano in "Lieder und Gesänge aus der Jugendzeit" for Desi Halban, soprano.

I really enjoyed Mahler's Symphony no. 5 with Walter, as compared to Claudio Abbado's. I think Walter's is how it was intended... much more subtle, playful, serene (of course, his closeness to Mahler must have played a key role in his interpretation). While Abbado's gives it a cinematographic touch, very much with the grandiosity used in incidental music, Walter's is more situated, theatrical... less lights and more imagination. The comparison would be similar to Hollywood productions today vs. Hollywood productions from the 50's.
Regardless, both are worth listening to. Enjoy particularly the fifth movement of Mahler Symphony No. 5.

Beethoven's Eroica is very expressive, especially with his use of dynamics.

Link to Amazon's page for this CD set: Beethoven: Symphony No. 3; Mahler: Symphony No. 5

Name	Key	Catalogue	Musicians	Observations
Disc 1: Beethoven
Symphony No.3	Eb	Op.55 Columbia M449	Jan. 1941	Eroica
Disc 2: Mahler
Symphony No.5	C#m	Columbia SL 171	Feb.10,1947
Selection from "Lieder und Gesänge aus der Jugendzeit" for Voice and Piano(1880-1890)		Columbia SL 171	Desi Halban, soprano Bruno Walter, Piano Dec. 16, 1947	I.Frühlingsmorgen (Leander) II. Erinnerung (Leander) III. Hans und Grethe (Mahler) VII. Ich ging mit Lust durch einen grünen Wald (*) IX. Starke Einbildungskraft (*) XI. Ablösung im Sommer (*) XII. Scheiden und Meiden (*) XIII. Nicht wiedersehen (*)

Joan Sutherland: Best Recordings

It is astonishingly beautiful. Her precision, emotion, and plasticity are amazing. I can never hear enough of the virtuosity riquired by Lucia di Lammermoor.

Handel — Alcina

1. Dí, cor mio quanto t'amai

Bellini — Norma

2. Casta Diva
3. Fine al rito — Ah! Bello, a me ritorna
4. Oh, rimembranza
5. Deh! Con te
6. Mira, o Norma
7. Si, fino all'ore

Händel — Alcina

8. Oh Ruggiero... Ombre Pallide

Verdi — La Traviata

9. É strano! Ah, fors'è lui

Donizetti — Lucia di Lammermoor

10. Regnava nel silenzio quando rapita in estasi
11. Il docle suono ardon gl'incensi
12. Spargi d'amaro pianto

Brahms: Sonatas for Cello & Piano (Op. 38,99,108)

Beautiful 1991 Sony Classical recording of Yo-Yo Ma (cello) and Emanuel Ax (piano). This CD is full with so many emotions and states. From competing lines, to quiet listening of the other instrument, to merging melody and support, all three sonatas are beautiful and interesting.
I particularly enjoy the Allegro vivace of the Sonata in F, and the ending of its last movement (allegro molto)
Noteworthy about this CD is that it holds Yo-yo- Ma's early recordings, which are known to be of more sensibility than later recordings.

Name	Key	Catalogue	Musicians	Observations
Sonata for Cello and Piano	Em	Op.38
Sonata for Cello and Piano	F	Op.99
Sonata for Violin and Piano	Dm	Op.108		originally for violin, here for the Cello

Schubert: 24 Lieder

Beautiful short varied pieces, with Schwarzkopf's expressiveness and precision.
Elizabeth Schwarzkopf (soprano) accompanied on the piano by Edwin Fischer(3-14), Gerald Moore (1,2 & 15-22), and Geoffrey Parsons (23 & 24). I have to say that my favorite version for (8) is with Gerald Moore, unfortunately I have not yet found it with Schwarzkopf (in fact I do not even know if they recorded it together).

1. Die Vögel
2. Liebhaber in allen Gestalten
3. An die Musik
4. Im Frühling
5. Wehmut
6. Ganymed
7. Das Lied im Grünen
8. Gretchen am Spinnrade
9. Nähe des Geliebten
10. Die junge Nonne
11. An Silvia
12. Auf dem Wasser zu singen
13. Nachtviolen
14. Der Musensohn
15. Litanei
16. Ungeduld
17. Heidenröslein
18. Der Jüngling an der Quelle
19. Der Einsame
20. Die Forelle
21. Liebe schwärmt aug allen Wegen
22. Seligkeit
23. An mein Klavier
24. Erlkönig

Mozart: Piano Concertos, II-8, KV 466 & KV 482

Beautiful way to return. Brilliant's Vol.2 CD8, Piano Concerto No. 20 and 22.
Soft yet vigorous interpretation, with a small Orchestra for better degustation. What lyricism in the piano line of KV482, accompanied by the flute for emphasis on a light-hearted interpretation. The theme of the 3rd movement is just so catchy, that it makes it one of the best works to involve children in classical music.
Derek Han, piano. Paul Freeman directs the Philharmonia Orchestra.

Name	Key	Catalogue	Musicians	Observations
Piano Concerto No. 20	Dm	KV 466
Piano Concerto No. 22	Eb	KV 482

Mahler: Symphony No. 5 (Abbado)

After a long drought of listening to nothing, I listened again to Gustav Mahler's Symphonie Nr. 5. It took many several times to begin to appreciate it. I have to say that I am neither impressed nor inspired. But finally I can recognize the wide spectrum of emotions and scenes. From the barren fields of the first part, to the epic reunion in the third part. Both, the first movement, has a very somber theme, and the fifth one, has a light-hearted one, making an interesting transition.
Claudio Abbado directs the Chicago Symphony Orchestra, 1981
Edit: I have listened to this once more, many months later. I do like it better now. I can even say that I was awaiting to. Acoustic memory sure plays a huge role to taste (esp. in laymen, I suppose). The themes are strong and resounding.

Erster Teil

1. Trauermarsch.

In gemessenem Schritt. Streng. Wie ein Kondukt

2. Stürmisch bewegt.

Mit größer Vehemenz

Zweiter Teil

3.Scherzo

Kräftig, nicht zu schnell

Dritter Teil

4.Adagietto

Sehr langsam

5.Rondo-Finale

Allegro - Allegro giocoso. Frisch

Albinoni: Concertos opus 10, #7-12

Nice baroque. Nice soft listening.
I solisti Veneti, conductor Caludio Scimone
violin Giuliano Carmignola (#7-#10) and Piero Toso (#11 & #12)

This continues the CD in post albinoni-concertos-opus-10-1-6

Name	Key	Catalogue	Musicians	Observations
Concerto for violin, strings and continuo	F	Op.10 no.7
Concerto for violin, strings and continuo	Gm	Op.10 no.8
Concerto for violin, strings and continuo	C	Op.10 no.9
Concerto for violin, strings and continuo	F	Op.10 no.10
Concerto for violin, strings and continuo	C	Op.10 no.11
Concerto for violin, strings and continuo	Bb	Op.10 no.12

Beethoven: The Cello Sonatas

Pau Casals hums through the profound and rich Cello Sonatas in the 1993 recording with Rudolf Serkin. A super bit mapping CD from Sony Classical, The Cello Sonatas: complete edition. This 2CD cannot be missed !!
Amazing.

Name	Key	Catalogue	Musicians	Observations
Disc 1
Sonata no.1	F	Op.5 no.1		recorded 1953
Sonata no.2	Gm	Op.5 no.2		recorded 1951
Sonata no.4	C	Op.102 no.1		recorded 1953
Disc 2
Sonata no.3	A	Op.69		recorded 1953
Sonata no.5	D	Op.102 no.2		recorded 1953
7 Variations on "Bei Männern, welche Liebe fühlen"		WoO 46		from Mozart's "Die Zauberflöte", recorded 1951
12 Variations on "Ein Mädchen oder Weibchen"		WoO 66		from Mozart's "Die Zauberflöte", recorded 1951

Beethoven: The Complete Violin Sonatas Vol.II

These are beautiful. In Deutsche Grammophon's edition, the 1970 recording by Yehudi Menuhin and Wilhelm Kempff is superb.


I have listened to this many times, and I still cannot come up with something intelligent to comment on them. My experience is only one, and I cannot decompose it into aspects. Thank God for this!

Name	Key	Catalogue	Musicians	Observations
Disc 1
Sonata for Piano and Violin	A	op.30 no.1
Sonata for Piano and Violin	Cm	op.30 no.2
Rondo for Piano and Violin	G	op. 30 no.3
Disc 2
Sonata for Piano and Violin	A	op.47		Kreutzer
Sonata for Piano and Violin	G	op.96

Beethoven: The Complete Violin Sonatas Vol.1

These are beautiful. In Deutsche Grammophon's edition, the 1970 recording by Yehudi Menuhin and Wilhelm Kempff is superb.
After "Frühlings Sonate" there is not much that can be listened.
I personally think that Kempff played much better than Menuhin, esp. in CD1. My impression is that Menuhin played "a little bit dirty", but it adds to the playfulness of the recording, which no doubt was enjoyed very much by both interpreters.

Name	Key	Catalogue	Musicians	Observations
Disc 1
Sonata for Piano and Violin	D	op.12 no.1
Sonata for Piano and Violin	A	op.12 no.2
Sonata for Piano and Violin	Eb	op.12 no.3
Rondo for Piano and Violin	G	WoO 41
Disc 2
Sonata for Piano and Violin	Am	op.23
Sonata for Piano and Violin	F	op.24		"Spring Sonata"
Twelve Variations on "Se vuol ballare"		WoO 40		from Mozart's opera "Le nozze di Figaro"

de Falla, Stravinsky: El Amor brujo, El sombrero de tres picos, The Firebird,

These are good works. Very evocative, with attention to melody and instrumentation. I find it difficult not to relate these to incidental music. Probably due to auditive conditioning.

"El sombrero de tres picos" is one of my favorite pieces, the pace and rhythmic complexity of the main them is quite energizing.

Radio Symphonie Orchester Berlin, conducted by Lorin Maazel.
Recorded Polydor, Stravinksy 1958, de Falla 1966.

Manuel de Falla



• El Amor brujo (L'Amour sorcier), Grace Bumbry, mezzosopran


• Tänze aus "El sombrero de tres picos"



Igor Stravinsky



• L'Oiseau de feu, Suite

Ravel, Dvořák, Strauss: Orchestral works

The orchestration of these recordings is very good, I think. Small enough to be eloquent, yet big enough to establish a degree of the unearthly. Distinctive sounds among the groups yet strings that can show the different levels of sounds in the wind.

From Strauss, I have to say that I found Don Quixote quite appealing. Forceful, surreal, enthusiastic, reflexive, popular. Characteristics that can well describe the phenomenal character it is based on.
Perhaps in the same spirit, I would have to accept that Also sprach Zarathustra resembles its cynical character. Yet, musically, it did not resound with me in the least (except for the well known initial part).

About Dvořák, I have to say that I am becoming quite fond of his work. Conflictive yet he is not in a fight against melody, which I appreciate. The New World Symphony is very evocative, and the title defines the setting quite nicely.

Ravel, well, Boléro is very good, well known, and this interpretation has some peculiarities which I do not yet know if I like or not.
Noteworthy is the Feria, 4th part of Rapsodie espagnole. Amazing how the people and music and megaphones are represented.

A disc from Sony Essential Classics. All works by Philadelphia Orchestra and directed by Eugene Ormandy, except: Valses directed by Charles Munch, "New World" by London Symphony Orchestra, and Serenade by Münchener Philharmoniker directed by Rudolf Kempe.

Maurice Ravel



• Boléro


• Rapsodie espagnole


• Alborada


• Le Tombeau de Couperin


• Valses nobles et sentimentales



Antonín Dvořák



• Symphony No.9 in Em, Op.95 "From the New World"


• Serenade for Strings in E, Op.22



Richard Strauss



• Also sprach Zarathustra, Op.30


• Don Quixote, Op.35

Tchaikovski: Piano Concerto, Violin Concerto

Пётр Ильич Чайкoвский (Čajkovskij). Very nice works. Argerich sounds harsh while hammering on the keyboard, but the concerto calls for a forceful interpretation, perhaps?. On the other hand, Milstein is refined, subtle and virtuoso. This Deutsche Grammophon's Millenium Collection CD is to be bought for Milstein's interpretation.

Name	Key	Catalogue	Musicians	Observations
Concerto for Piano and Orchestra	Bbm	Op.23	Martha Argerich, Royal Philharmonic Orchestra, Charles Dutoit
Violin Concerto	D	Op.35	Milstein, WPO, Abbado

Mozart: Symphonies 10

These are refined but too tamed, or (and I insist from last Mozart symphony post) have I become numb ? Brilliant's box CD 1-10.

Mozart Akademie Amsterdam
Jaap ter Linden

Name	Key	Catalogue	Musicians	Observations
Symphony #38	D	KV 504		Prague
Symphony #39	Eb	KV 543

Albinoni: Concertos opus 10, #1-6

Nice baroque. Nice soft listening.
I solisti Veneti, conductor Caludio Scimone
violin Pero Toso, all except op.10#5:Giuliano Carmigola
This continues the CD in post albinoni-concertos-opus-10-7-12.

Name	Key	Catalogue	Musicians	Observations
Concerto for violin, strings and continuo	Bb	Op.10 no.1
Concerto for violin, strings and continuo	Gm	Op.10 no.2
Concerto for violin, strings and continuo	C	Op.10 no.3
Concerto for violin, strings and continuo	G	Op.10 no.4
Concerto for violin, strings and continuo	A	Op.10 no.5
Concerto for violin, strings and continuo	D	Op.10 no.6

Furtwängler: Beethoven, Symphonien 5 & 7

[post modified jun-2010]
This is a beautiful interpretation. I used to be a musical ignorant and snob to the point that I would have frowned upon the dull recording of this CD. Fortunately, this experiment (of listening to great interpretations) has broadened my enjoyment, and can now heartedly recommend this Deutsche Grammophon CD as a cornerstone for a collection.
What a wide range of emotion, the precision of the attacks and releases is of such beauty. Furtwängler is in control of the orchestra at each step. What a crisp orchestration.
Be prepared for some deliberate slowness in the 5th, and an overwhelming precision and impetus in the 7th. This was an opportunity for Furtwängler and the Berlin Philharmoniker to protest against the way Nazi Germany was heading towards the end of WWII.

Berlin Philharmoniker,Wilhelm Furtwängler

Name	Key	Catalogue	Musicians	Observations
Symphony 5	Cm	Op.67		Live, Berlin, Philarmonie, 30.6.1943
Symphony 7	A	Op.92		Live, Berlin, Philarmonie, 3.11.1943

My Favourite Cello (Tortelier, de Machula, Fournier, Piatigorsky)

This is a sampler of different legendary cello players, with digitally remastered recordings from 1946-1950. I found Gregor Piatigorsky especially good playing Dvořák's concerto, which I have heard with Rostropovich. This Centurion Classics CD is well worth (and very cheap) because of Dvořák's concerto. The Beethoven's variations are interesting, too.

Name	Author	Catalogue	Musicians	Observations
12 Variations: Mädchen, for cello and piano	Beethoven	Op.66	Paul Tortelier, Cello, Karl Engel, piano
Abendlied	Schumann	Op.85 no.1	Tibor de Machula, Residentie Orkest den Haag c. Willem van Otterloo	arr. Machula, for Cello and Orchestra
Abendlied	Schumann	Op.85 no.12	P.Fournier, pellas-Lemon, piano	for cello and piano
Concerto for cello and orchestra in Bm	Dvořák	Op. 104	Gregor Piatigorsky, Cello, Eugene Ormandy cond. Philadelphia Orchestra

Bach: Sonate e Partite per Violino Solo 2/2

Beautiful! At times it is hard to believe it is a violin solo playing.
Inspirational, energetic yet soothing.
Mark Lubotsky. Violin Guadagnini, 1728.

Name	Key	Catalogue	Musicians	Observations
Partita #2	Dm	BWV 1004
Sonate #3	C	BWV 1005
Partita #3	E	BWV 1006

Enrico Caruso: Best Recordings

Beautiful voice. Soft interpretation, full with sentiment. The sound is quite punished, esp. regarding the orchestral instrumentation. Lacking power, as compared to Pavarotti, he more than compensates with his intention. It is almost as if he himself were surprised with his facility to do as he pleases with his voice. With such fluid transitions, it is a shame the recordings sound so bad, but most are near or more than a century old.
Classic Options, CD: 20 tracks

Name

Year

Observation

Addio a Napoli

1919

Lolita

1908

O Sole mio

1916

La danza

1912

Tarantella sincera

1911

A Granada

1918

español

Vaghissima sembianza

1920

Vieni sul mar

1919

Le pecheurs de perles

Je crois entendre encore

Rigoletto

1908

Questa o quella

La Regina di Saba

1909

Magiche Note

Il trovatore

1906

Di quella pira

Aida

1911

Celeste Aida

Pagliacci

1907

Vesti la giubba

Un ballo in maschera

1911

Di tu se fedele

Manon Lescaut

1913

Donna non vidi mai

La Juive

1920

Rachel, quand du Seigneur

La Tosca

1909

Recondita armonia

Ombra mai fu

1920

Messe solennelle

1920

Domine Deus

Ligeti: Works for Piano 3

I did not grow fond of this one, though I listened to it repeatedly. Nevertheless, I did find perhaps something in it. Musica ricercata is an interesting exploration of the spatial effects that a piano as a percussion instrument can develop. It concentrates on this by developing volume/intensity lines, by controlling reverberation, and by actually changing the spatial direction of sound, since a piano is a big instrument having different registers distinctively located.

• Études pour Piano (1er livre)


• Études pour Piano (2eme livre)


• Musica ricercata


• Études pour Piano (extrait du 3eme livre). XV White on White (world premiere recording)

Bach: Sonate e Partite per Violino Solo I

It has not been as easy as I thought to enjoy all "classical" music. In this case I actually mean baroque which is my favorite hands down. This is the 3rd time I listen to the Sonatas for violin from Bach. I have also listened to the Suites for Cello several times. I can now tolerate their listening. In fact, I can say it is ok.

Mark Lubotsky, violin ( J.B. Guadagnini 1728)

Name	Key	Catalogue	Musicians	Observations
Sonate No.1	Gm	BWV 1001
Partita No.1	Bm	BWV 1002
Sonate No.2	Am	BWV 1003

Haydn: Violoncello Concertos & Symphony

Lovely. Joyful! Superb. Light and inspirational.
Wispelwey is quickly becoming one of my few favorite interpreters. 73 minutes of nonstop barroque beauty.

Name	Key	Catalogue	Musicians	Observations
Concerto per il Violoncello	C			Adagio has cadenza form 18th century
Symphony	D	no. 104		transription for flute, 2 violins, viola, violoncello and pianoforte
Concerto per il Violoncello	D			all cadenzas Wispelwey's

von Otter: Music for a While (baroque melodies)

Amazing technical and expressive resources: the crescendo/decrescendo alternation during a legato is surprising. Joy, disdain for the world, intimacy, honesty. Although I love baroque, this is not my favorite. But for someone that enjoys vocal pieces, is a lover of technique, or likes baroque (and is not biased against the human voice, ahem, like me) this is an Archiv CD not to miss.

Anne Sofie von Otter, mezzo-soprano
Jory Vinikour, Harpsichord & Chamber organ
Jakob Lindberg, theorbo, lute & baroque guitar
Ander Ericson, theorbo

Note: the booklet includes the lyrics.

Benedetto Ferrari

1. Amanti, io vi so dire

Girolamo Frescobaldi

2. Se l'aura spira

Giulio Caccini

3. Dovrò dunque morire

Claudio Monteverdi

4. Ecco di dolci raggi
5. Quel sguardo sdegnosetto
6. Adagiati, Poppea

Giovanni Girolamo Kapsberger

7. La Capona
8. Arpeggiata

Barbara Strozzi

9. Udite, amanti

Bernardo Storace

10. Ciaccona

Henry Purcell

11. Saraband with Division
12. Sweeter than roses
13. Dear, pretty youth
14. Music for a while
15. There's not a swain
16. An Evening Hymn

John Dowland

17. In darkness let me dwell
18. Can she excuse my wrongs?
19. Weep you no more, sad fountains
20. What if I never speed?

Robert Johnson

21. Fantasia

Mozart: Symphonies I/9

I believe that either I am becoming numb or this is too known. But I have not much to say.

Name	Key	Catalogue	Musicians	Observations
Symphony 31	D	KV 297		Paris
Symphony 36	C	KV 425		Linzer
Symphony 40	Gm	KV 550		First version without clarinets

Bach: Double Concertos

Disc I-9 is one of Bach's best. It has those melodic counterpoint, complex theme development, concerto structure alternating slow and fast movements. He has played with the instrument selection, which make each unique, for this as well.

Name	Key	Catalogue	Musicians	Observations
Concerto for flute, violin, harpsichord, strings & bc	Am	BWV 1044
Concerto for oboe, violin, strings & bc	Dm	BWV 1060
Concerto for oboe d'amore, strings & bc	A	BWV 1055
Concerto for 2 violins, strings & bc	Dm	BWV 1043

Bach: Goldberg Variations (Leonhardt)

This is one of the most beautiful CD possible. Leonhardt's interpretations is precise, concise, yet emotional. Nothing is missing, nothing is too much. The sound is excellent. It is hard to think a person is playing something so virtuously.

Dinu Lipatti: Bach, Mozart, Scarlatti, Schubert

This CD has been praised so heavily, it was a must-have. And certainly it did not fail to the expectations created.

How sweet was the decrescendo in the sixth movement of the partita.

Beautiful "Jesus bleibet meine Freude" and the sonata for flute & harpsichord #2. Especially in the latter, how beautiful the transcription made by Kempff, that one can distinctly listen the flute in the piano.

Wow! Such a carefree playing of Mozart's Sonata #8 in Am.

The sound of the 1957 recording, that is Schubert's, is a bit too muted, and is the least giving, perhaps for being live. Yet, it is amazing how Lipatti plays each style so distinctively. And how tender and lovingly, yet seemingly carefree, he interprets each.

These recordings were done in 1950, 51 and 57, and they are so clear, a CD by EMI Classics.

Name	Key	Catalogue	Musicians	Observations
Partita #1	Bb	BWV 825	Bach	1950
Choralvorspiel		BWV 599	Bach	1951, "Nun komm', der Heiden Heiland" (arr. Busoni)
Chorale Prelude		BWV 639	Bach	1951, "Ich ruf zu dir, Herr Jesu Christ" (arr. Busoni)
Cantata		BWV 147	Bach	1951, "Jesu bleibet meine Freude" (arr. Hess)
Sonata for flute & harpsichord #2		BWV 1031	Bach	1951 (arr. Kempff)
Sonata	E	Kk 380	Domenico Scarlatti	1951
Sonata	Dm	Kk9	Domenico Scarlatti	1951, "Pastorale"
Sonata #8	Am	K310	Mozart	1951
Impromptu	Gb	D.899 N.3	Schubert	1957
Impromptu	Eb	D.899 N.2	Schubert	1957

Schubert: String Quintet

I had to listen to this CD 4 times, before I could appreciate it. I will quote myself after my first listening:

Well despite boasting the participation of Rostropovich, I have to say that I am not impressed by this work. I feel that it simply accumulates many loose phrases that end not being sufficiently tied up in a coherent work. I think it sounds like a Beethoven wannabe, with little dramatism.

This is my first impression, and I will listen to it again.

Now I can say that I enjoy it. The bass gives it a solidity that is not particular of a general basso continuo.

Name	Key	Catalogue	Musicians	Observations
StreichQuintett	C	D 956	Emerson String Quartet and Rostropovich

Bach: Suites for Cello 1&2/2

Ah! What an amazing listening! Wispelwey plays so wonderfully: precise, emotive, subtle. I have heard (and posted before) on Casal's and Jaap ter Linden. Although both are recognized as good, I did not find either to appealing to my taste. I can also say that both have a similar free emotional style.

I look forward to listening more from Wispelwey.

Recording: January 1998
Baroque cello: Barak Norman, 1710
Violoncello piccolo (s.XVIII)

Satie: Oeuvres pour piano

This is a 2 CD set under EMI Classics that includes several pieces for piano from Erik Satie (1866-1925). Noticeable are the 3 Gymnopéedies, and the Gnossiennes 1-6. Not much has to be said. Aldo Ciccolini's interpretation is of a good quality, though I personally did not like it, prefering Anne Queffélec's. As I read somewhere in the internet states, French piano composers should be played by women. I would qualify this interpretation as a good academic interpretation that I would rather ignore. [I bolden only the pieces I enjoyed. Most are just tedious.]

CD 1

• 3 Gymnopédies
• Les 3 Valses distinguées du préciuex dégoüté
• Gnossiennes 1-3
• Gnossiennes 4-6
• 3 Mouvements en forme de poire, à 4 mains
• Croquis et Agaceries d'un gros bonhomme en bois
• Sonatine bureaucratique
• 3 Nocturnes
• Premiàre pensée et sonneries de la Rose+Croix
• Le Fils des Etoiles, wagnerie kaldéenne du Sar Peladan

CD 2

• Jack in the box
• Sports et divertissements
• Embryons desséchés
• Préludes flasques (pour un chien)
• En Habit de cheval, à 4 mains
• Aperçus désagréables à 4 mains
• Descriptions automatiques
• 3 Petites pièces montées (à 4 mains)
• Peccadilles importunes
• Pièces froides
• La Belle Excentrique, fantaisie sérieuse pour piano à 4 mains
• 3 Sarabandes

Rachmaninoff & Prokofiev:Concerti #3

This is a Van Cliburn CD from RCA Super Audio CD. Van Cliburn won the Tchaikovsky competition in Moscow and immediately back in the USA played in this concerto.

It took me several listenings until I appreciated these works closer to what I should have. The interpretation is flawless with seemless transitions. The interpretation of Rachmaninoff's main theme has quite a distinct touch. As the booklet describes about van Cliburn's magnetism with John Briggs words: "...I would simply say it is musical control coupled with spontaneous beauty." Nothing more clearly noted that in the first movement of Sergei Rachmaninoff's concert.

Rakhmaninov's (Сергей Васильевич Рахманинов, 1 April 1873 – 28 March 1943) concerto is full of layers. Instead of big orchestral chords and accents, I can compare it with the layers of watercolor paintings, where to paint on top one has to let the lower one dry to preserve transparency.

Prokofiev's (Сергей Сергеевич Прокофьев, as he was born under Russian Empire; or Сергі́й Сергі́йович Проко́ф'єв, because he was born on what is now Ukraїne; 27 April 1891 – 5 March 1953) concerto, on the other hand, is full of pictoresque themes and phrases. It is lively and, thankfully, still contains melodic emphasis, despite the period's trend.

Name	Key	Catalogue	Musicians	Observations
Piano Concerto #3	Dm	Opus 30	Symphony of the Air, Kiril Kondrashin	Recorded Live in concert in 1958
Piano Concerto #3	C	Opus 26	Chicago Symphony Orchestra, Walter Hendl	Recorded in 1960

I only wanted to add that despite me having mastered the opening of the CD box, each time I face it, I have to find the trick again. And I think it is great!

Oistrakh: Beethoven, Mozart, Brahms, Prokofiev 2/2

What a lovely interpretation by David Ositrakh and Pierre Fournier. It is the second disc of the EMI Classics, double forte, that has Beethoven's Triple Concerto and Mozart's Violin Concerto No. 3.
Full of passages from where to make postcards, I loved especially the theme for the 3rd movement, Vivace non troppo - Poco meno allegro, directed by Alceo Galliera and the Philarmonia Orchestra. In the first movement, just after its first third, the intertwining of both soloists, just before the entrance of the orchestra is quite beautiful. It could well be one scene he wanted to capture while he was writing this next to a lake. It resembles to me those little tableclothes that are of picked cotton.
As for Prokofiev's Violin Concerto No. 2 in Gm, Op. 63, I can say what a graceful interpretation of a bland ouevre. With a comic British ending of the 2nd movement, I cannot say more.
The double forte 2CD edition seems to be out of print, but this is the most similar I found.

Name	Key	Catalogue	Musicians	Observations
Brahms: Double concerto	Am	Opus 102	Oistrakh(violin),Fournier(cello)
Prokofiev: Violin concerto #2	Gm	Opus 63

Mozart: Symphonies I/8

Brilliant's CD1-8 sounds like a Mozart that escapes my comprehension, though not my enjoyment. These are courtly and mature. Symphony #33 shows resemblence to what will be #45.

Name	Key	Catalogue	Musicians	Observations
Symphony #33	Bb	KV 319
Symphony #34	C	KV 338
Symphony #35	D	KV 385		Haffner

Mozart Akademie, Jaap Ter Linden

Schubert: Arpeggione Sonata

This disc is amazing too.

It plays a very nice sonata with its intended dead (as in latin) instrument, and its contemporary companion. These are the arpeggione a fretted, bowed, 6-string instrument, and the famous pianoforte which evolved into modern pianos.
I have to say that Rostropovich's interpretation is fantastic (as noted in earlier posts), but the charm of this historic recording is amazing. Very hard to find, indeed.

Along with the arpeggione sonata come the variations for flute and pianoforte "Trockne Blumen". I will omit comments on it, as it did not impress me.

Constructors:
Arpeggione: Anton Mitteis, mid s.XIX
Flute: Matheus Schrafft, 1830
Fortepiano: Joseph Brodmann, Vienna ca.1810

Name	Key	Catalogue	Musicians	Observations
Sonata für Arpeggione		D.821	Klaus Storek, arpeggione Alfons Kontarsky, fortepiano
Trockne Blumen		D.802	Hans-Martin Linde, flute Alfons Kontarsky, fortepiano

Bach: Concertos for 2 & 3 Harpsichords

Brilliant collection CD I-8.

Beautiful as it should be. Again flawless executions. (I have heard too many harpsichord works and feel a bit numb to comment further)

Musica Amphion, Pieter-Jan Belder

Name	Key	Catalogue	Musicians	Observations
Concerto for 2 harpsichords and strings	C	BWV 1061	Belder and Menno van Delft
Concerto for 2 harpsichords and strings	Cm	BWV 1062	Siebe Henstra and Belder
Concerto for 3 harpsichords and strings	Dm	BWV 1063	Belder, Henstra, and van Delft
Concerto for 3 harpsichords and strings	C	BWV 1064	Belder, van Delft, and Henstra

Bach: Harpsichord Concertos (2/2)

This is beautiful. Though the continuous listening of harpsichord works is a bit tiring, these works cannot be missed on any account.
The enjoyment I feel is so profound, that more words are irrelevant.

Brilliant CD1-7.
Neues Bachisches Collegium Musicum
Burkhard Glaetzner

Christine Schornsheim, harpsichord/Cembalo
Armin Thalheim, cembalo
Mechtild Stark, cembalo
Violetta Liebsch, cembalo
Paul Leenhouts, recorder/Blockflöte
Karel van Steenhoven, Blockflöte

Name	Key	Catalogue	Musicians	Observations
Harpsichord Concerto	Fm	BWV 1056
Concerto for harpsichord, 2 flutes, strings & b.c.	F	BWV 1057
Harpsichord Concerto	Gm	BWV 1058
Concerto for 2 harpsichords, strings & b.c.	Cm	BWV 1060
Concerto for 4 harpsichords, strings & b.c.	Am	BWV 1065

Vivaldi: Concerti per mandolini e concerti con molti strumenti

Ah! what a joy!

Most pleasurable listening!!

The only thing I would have to say, beyond joyful exclamations is that I missed the recorder trills, that are so prominent in other versions.

Note: grade:F is for fabulous and favorite... It can't be Failed since I would not feel my attribute to evaluate a work like that.

Europa Galante & Fabio Biondi, direction and violin

Concerto RV 532

for 2 mandolines

Concerto RV 558

for 2 violini in tromba marina, 2 recorders, 2 mandolines, 2 chalumeaux, 2 theorbos & cello

Concerto RV 576

for violin, 2 recorders, 3 oboes & bassoon

Concerto RV 564

for 2 vioins, 2 cellos & strings

Concerto RV 319

for solo violin, 2 oboes, bassoon & strings

Concerto RV 425

for mandoline

Concerto RV 555

for 3 violins, oboe, 2 recorders, 2 viole all'inglese, chalumeau, 2 cellos, 2 harpsichords & 2 violini in tromba marina

Bach: Cembalokonzerte

This CD I/6 from Brilliant is exquisite.

BWV 1052 is, for sure, one of my favorite pieces of all. Beautiful harmonic progression, conflict in the theme, tempo and pace, softness of instruments. It has it all, though the Adagio lacks in my opinion.

BWV 1053 has some nice passages, but did not impress me much.

BWV 1054 is a great piece, too. Definitely a piece to have on a (formerly, duh ;) deserted island.

Finally, BWV 1055 is the most rounded work of the set. It is soberly impressive. The initial theme of the 1st movement is very nice. The finale is also very strong.

1, 2, and 4 need to be in a collection.

Christine Schornsheim, Cembalo
Neues Bachisches Collegium Musicum, Burkhard Glaetzner

Name	Key	Catalogue	Musicians	Observations
Harpsichord concerto	Dm	BWV 1052		Amazing!
Harpsichord concerto	E	BWV 1053
Harpsichord concerto	D	BWV 1054		Beautiful
Harpsichord concerto	A	BWV 1055

Bach: Violinkonzerte

CD I-5 from Brilliant's take on Bach is beautiful too. Special are BWV 1041 and BWV 1042. The Concerto fro 3 violins is nice too, but too needlessly exalting. Concerti Dm and Gm did not tell me anything new (I might even skip them during next hearing :-o )

Emmy Verhey, violin
Camerata Antonio Luco
(all except concerto for 3 violins, as detailed below)

Name	Key	Catalogue	Musicians	Observations
Violin Concerto	Am	BWV 1041
Violin Concerto	E	BWV 1042
Violin Concerto	Dm	BWV 1052
Violin Concerto	Gm	BWV 1056
Concerto for 3 violins, strings & b.c.	D	BWV 1064	Rainer Kussmaul, Henk Rubingh, Thomas Hengelbrock: violins Amsterdam Bach Soloists

Mozart: Symphonies 1/7

The interpretation of all these pieces is impeccable, with a small orchestra, clear sound and precise tempo. I would call it in my humble ignorance as a neutral interpretation.

Symphony 24 has a beautiful Allegro 3rd movement, that contrasts in creativity with both first movements. Very pleasant to listen.

Symphony 26 is quite intranscendental, not too pleasant nor too tragic.

Unnumbered symphony KV 196 is small, fast, and nice.

Symphony 29 has a famous first movement, which is very enjoyable. Curiously, and I do not know exactly what instrument it is, there is a sound, distinctly heard in the Andante, that is very much like a Glockenspiel.

Symphony 32's Allegro spiritoso sounds so much like Beethoven! The climax is the same, the orchestration. This just reminds me of the piece of information I have heard a couple of times that Beethoven was Mozart's pupil, which as far as I know is false.



Mozart Akademie Amsterdam, Jaap ter Linden

Name	Key	Catalogue	Musicians	Observations
Symphony 24	B flat	KV 182
Symphony 26	E flat	KV 184
Symphony	D	KV 196
Symphony 29	A	KV 201
Symphony 32	G	KV 318

Bach: Orchestersuiten 3 & 4

The Ouverture of Orchestral Suite No.3 is a nice listening with a powerful Bach leading us into an important work, as I interpret it from the detail and richness of feelings, for him. In this case, when such a well-known piece is reviewed as is BWV 1068 Air and Gavotte I & II, we must place more attention on the particularities of the interpretation. The Air was so sweetly and precisely interpreted, with no abusive decor. Thoughtful sobriety. The Gavotte I & II are cheerfully and forcefully played. Well directed weaving of the different winds and strings sections.

Wir müssen durch viel Trübsal in das Reich Gottes eingehen is so strong. It conveys perfectly the hopeful struggle needed to arrive at God's Kingdom. I must say that I personally feel that this is one of Bach's most achieved pieces. The organ setting beautifully the self-absorbed atmosphere, with the trumpet's leading the harmonic melody, and the strings sustaining it all with small bursts of energy. The main theme reappearing just to set what is important and not let the listener astray.

Personally I did not enjoy particularly BWV1069 in Brilliant's CD1-4. I would rescue the emphatic Réjouissance, from the otherwise well-built Orchestral Suite 4.

La Stravaganza Köln, Andrew Manze
Christoph Lehmann, Organ

Name	Key	Catalogue	Musicians	Observations
Ouverture No.3	D	BWV 1068		3 trumpets, timpani, 2 oboes, strings and continuo
Sinfonia from Cantata BWV 146 Wir müssen durch viel Trübsal in das Reich Gottes eingehen
Ouverture No.4	D	BWV1069

Schubert, Schumann, Debussy: Arpeggione

As the booklet quotes, the sound quality is amazing... it is so warm yet harsh. Both musicians, Rostropovich(cello) & Britten(piano) are so well coupled that it sounds as a perfect unit. And though the Schubert's Arpeggione sonata is simple, it is so direct and with such an emotional interpretation that it keeps resounding after it is over. Amazing sound produced by the cello, with plucked chords at some point.
Schumann's five pieces are quite lively and wholehearted.
Debussy is more contemplative and excessively tentative, instead of inspired to my taste.

Definitely a must buy!!
Decca: Legendary Performances, Legends 1968
engineered at 96Khz 24-bit (Super Digital transfer) above standards

Name	Key	Catalogue	Musicians	Observations
Franz Schubert: Sonata for arpeggione and piano		D821		Recorded Snape, 1968
Robert Schumann: Fünf Stücke im Volkston		p.102		London 1961
Claude Debussy: Sonata for cello and piano		L.135		London 1961

Pavarotti: The Essential Pavarotti

This was a bit of a turn off. The selection of pieces was not superb, as I had expected. Fortunately there are these jewels that make it worth listening. Of course, Nessun dorma is one of them, along with the most popular pieces.
At some point I confused Pavarotti with Andrea Bocelli, probably in the youngest recordings.

1. La donna è mobile


2. Che gelida manina


3. E lucevan le stelle


4. Nessun dorma


5. Una furtiva lagrima


6. M'appari


7. La fleur que tu m'avais jetée


8. Vesti la giubba


9. Di quella pira


10. Caruso


11. Mattinata


12. Aprile


13. Core 'ngrato


14. La danza


15. Volare


16. Funiculì-Funiculà


17. Torna a Surriento


18. 'O sole mio!

Bach: Orchestersuiten 1&2

These are too very beautiful. Obviously we can mention the more obvious Badinerie of the OS 2, but I have to mention especially Track 8 the Sinfonia from Cantata 29. The play is beautiful, and the theme is deep, in the dimension of inter-instrument (timbral?) counterpoint.

La Stravaganza Köln,
Andrew Manze

Name	Key	Catalogue	Musicians	Observations
Ouverture No.1 for 2 oboes, bassoon, strings and continuo	C	BWV 1066
Sinfonia from Cantata BWV 29 'Wir danken dir, Gott, wir danken dir'			Christoph Lehmann, Organ	amazingly !!
Ouverture No. 2	Bm	BWV 1067	Masahiro Arita, flauta traverso (9-15)

Mozart: Symphonies 6/1

This is mature Mozart.
Solid melodies, bass melodies, timbral balancing.

Symphony #25 is one of the very very few (2, perhaps?) works composed in minor mode.
To me, it sounds like a hurt but valiant anti-hero, or a rusted magnificence.

This is music to be heard indefinitely.

Name	Key	Catalogue	Musicians	Observations
Symphony	D	KV 111a
Symphony 18	F	KV130
Symphony 19	E flat	KV 132
Symphony 25	G minor	KV 183		very rare, in minor mode !

Mozart Akademie Amsterdam
Jaap ter Linden

Bach: Brandenburgische Konzerte 4,5,6

Breathtaking! Absolutely outstanding! (Knowing me, I think I have to be in specially receptive mood now)

Although I have heard them many many times, (and I have heard this precise recording before, Brilliant CDI-2) it still sounds so new. Such a compelling tempo, crystal clear distinction of instruments. For example in the Allegro of BWV 1049, I just noticed some virtuosissimi violin scales that I had not distinguished in any other recording.

Concerto no. 4 G BWV 1049
Rémy Baudet, violin
Pieter-Jan Belder, Saskia Coolen, recorder

Concerto no. 5 D BWV 1050
Wilbert Hazelzet, traverso
Rémy Baudet, violin
Pieter-Jan Belder, harpsichord

Concerto no. 6 B flat BWV 1051
Staas Swierstra, Sayuri Yamagata, viola
Mieneke van der Velden, Johannes Boer, viola da gamba
Lucia Swarts, cello

Pieter-Jan Belder, conducts Musica Amphion.

Pachelbel & Fasch

What an interesting 1968 recording of the famous Canon by Pachelbel. So sober and precise interpretation. It sublimes the piece away from the usual "cheesy" interpretations that we all have in mind about it.
The other pieces by Pachelbel (1653-1706) are rather blunt, from "dull sweetness". There is really no conflict, and the themes though nice are just like a breath.

Fasch in contrast aspires to more. He has some tempo contrast, more interesting themes. And although these pieces are quite simple, they are nice.

Overall, an interesting CD to have for light listening.

Orchestre de chambre Jean-François Paillard,
JF Paillard,
Maurice André, trumpet
Pierre Pierlot, Jacques Chambon, oboe

Beethoven & Brahms: Violinkonzerte

This is Jascha Heifetz soloist interpretation of 2 beautiful works:
Beethoven's op. 61 and Brahms Op. 77 concerts for violin and orchestra.

Beethoven's concert just leaves us begging life he had written more of these. With his usual mix of bass strings and high pitched themes of flute and violin. With rhythmic patterns in the strings giving way to sweet melodies.

Heifetz is not shy when trying to give his interpretation a sublime intent. He is playful whilst being sober, which as far as I can imagine is the way Beethoven might have wished this to be.

As for Brahms', Heifetz does a powerful first movement, with so sweet spots and a forceful cadenza. The second movement has also a very tender violin interpretation. And the third, with the timbral weaving of the presentation of the theme, turns it from pleasurable to beautiful.

I have to confess that it took me some active listening of Brahms' concert, to find the beauty beyond just following the tune. But that is what this endeavor is about.

A RCA Victor, Red Seal CD.


Beethoven, Concerto Op. 61, in D
Boston Symphony Orchestra, Chales Munch
recorded Nov. 27 & 28, 1955, Symphony Hall, Boston, USA
Cadenza 1st movement: Auer - Heifetz
Cadenza 3rd movement: Joachim - Heifetz

Brahms, Concerto Op. 61, in D
Chicago Symphony Orchestra, Fritz Reiner
recorded Nov. 21 & 21, 1955, Orchestra Hall, Chicago, USA
Cadenza 1st movement: Heifetz

Mozart: Symphonies 5/1

Very much like the previous CD 4 in Vol. 1, I think this was much less expressive than what we would expect from Mozart. Yes, it is joyful, but I think it is too courtly. To me it seems that these were just charged work, and delivered.

Mozart Akademie Amsterdam
Jaap ter Linden, conductor

Bach: Brandenburgische Konzerte 1,2,3

Concerto no. 1 in F BWV 1046. Did not impress me much. I even doubted it was a Brandenburgische Konzert LOL.

Frank de Bruine, oboe
Rémy Baudet, violin piccolo
Teunis van der Zwart, Erwin Wieringa, horn

Concerto no. 2 in F BWV 1047
William Wroth, trumpet
Frank de Bruine, oboe
Pieter-Jan Belder, recorder
Rémy Baudet, violin

Concerto no. 3 in G BWV 1048

Now we talk. I again have to say I have fallen for small orchestras. The intimacy achieved with each instrument. Beautiful Brandenburg Concerto #3.

Rémy Baudet, Sayuri Yamagata, Irmgard Schaller, violin
Staas Swierstra, Marten Boeken, Mariëtte Holtrop, viola
Rainer Zipperling, Richte van der Meer, Albert Brüggen, cello

Mozart: Symphonies 4/1

Here distinct intentions are perceived. Military fanfares, playful trivialities as in Symphony 22 Presto assai.
I would say a little bit pretentious lacking substance, but certainly evolving towards the usual (for us these days) Mozart music.

Mozart Akademie Amsterdam
Jaap ter Linden, conductor

Symphony 20 D KV 133
Symphony 21 A KV 134
Symphony 22 C KV 162
Symphony 23 D KV 181

Beethoven: Diabelli-Variationen

This one is great too.
So many jewels lost among big symphonic pieces. It takes someone with good knowledge to pick these ones.
Great soft joyful interpretation by Alfred Brendel, Philips Digital Classics.

I have to confess that by the end I got a bit overwhelmed by the repetitions. :*(

1. Tema (Vivace) - Variation I (Alla marcia maestoso)


2. Variation II (Poco allegro)


3. Variation III (L'istesso tempo)


4. Variation IV (Un poco più vivace)


5. Variation V (Allegro vivace)


6. Variation VI (Allegro ma non troppo e serioso)


7. Variation VII (Un poco più allegro)


8. Variation VIII (Poco Vivace)


9. Variation IX (Allegro pesante e risoluto)


10. Variation X (Presto)


11. Variation XI (Allegretto)


12. Variation XII (Un poco più moto)


13. Variation XIII (Vivace)


14. Variation XIV (Grave e maestoso)


15. Variation XV (Presto scherzando)


16. Variation XVI (Allegro)


17. Variation XVII (Allegro)


18. Variation XVIII (Poco Moderato)


19. Variation XIX (Presto)


20. Variation XX (Andante)


21. Variation XXI (Allegro con brio - Meno allegro - Tempo I)


22. Variation Xxii (Allegro Molto: Alla "Notte E Giorno Faticar" Di Mozart )


23. Variation Xxiii (Allegro Assai)


24. Variation Xxiv: Fughetta (Andante)


25. Variation XXV (Allegro)


26. Variation Xxvi (Piacevole)


27. Variation Xxvii (Vivace)


28. Variation Xxviii (Allegro)


29. Variation Xxix (Adagio Ma Non Troppo)


30. Variation XXX (Andante, sempre cantabile)


31. Variation Xxxi (Largo, Molto Espressivo)


32. Variation Xxxii: Fuga (Allegro - Poco Adagio)


33. Variation Xxxiii (Tempo Di Minuetto Moderato)

Mozart: Symphonies 3/1

More settled, with complete mozart sound. Especially, track 10 Symphony 16-Andante sounds so much like Eine kleine Nachtmusik.
I am now at a stage, where I start recognizing regularities within an author, and recognizing orchestration subtlities. There will be a time, where I can recognize cross-author theme reuse, for instance.

Mozart Akademie Amsterdam,
Jaap ter Linden, conductor

Symphony 14 A KV 114
Symphony 15 G KV 124
Symphony 16 C KV 128
Symphony 17 G KV 129

Händel: Messiah

Fabulous work. I was set in a state of timelessness. (I have to add that organic influences helped to this effect) This endeavor has modified my taste for music. I now enjoy vocal music, which I previously did not; and now I have become addicted to original instruments.
The first part of the Messiah I found the most powerful and suggestive. Obviously the famous Hallelujah is a caress. It is specially interesting of this version, that one can actually make sense from the words sung in the Philips' Digital Classics CD.
Nevill Marriner conducts the Academy of St Martin in the Fields.
Soprano: Sylvia McNair
Mezzo-soprano: Anne Sofie von Otter
Alto: Michael Chance
Tenor: Jerry Hadley
Bass: Robert Lloyd

ASMIF Chorus Master: Lázló Heltay

1. Messiah Hwv 56 (Complete)


2. Accompagnato: Comfort Ye, My People


3. Air: Ev'ry Valley Shall Be Exalted


4. Chorus: And The Glory Of The Lord


5. Accompagnato: Thus Saith The Lord


6. Air: "But Who May Abide The Day Of His Coming"


7. Chorus: And He Shall Purify The Sons Of Levi


8. Recitative: Behold, A Virgin Shall Conceive


9. Air - Chorus: O Thou That Tellest Good Tidings


10. Accompagnato: For Behold, Darkness Shall Cover


11. Air: The People That Walked In Darkness


12. Chorus: "For Unto Us A Child Is Born"


13. Messiah Hwv 56 (Complete)


14. Recitative: There Were Shepherds - Accompagnato: And Lo, The Angel Of The Lord -


15. Chorus: Glory To God In The Highest


16. Air: Rejoice Greatly, O Daughter Of Zion


17. Recitative: Then Shall The Eyes Of The Blind


18. Duet: He Shall Feed His Flock


19. Messiah Hwv 56 (Complete)


20. Messiah Hwv 56 (Complete)


21. Air: He Was Despised


22. Chorus: Surely He Hath Borne Our Griefs


23. Chorus: And With His Stripes We Are Healed


24. Chorus: All We Like Sheep Have Gone Astray


25. Accompagnato: All They That See Him


26. Chorus: He Trusted In God


27. Accompagnato: Thy Rebuke Hath Broken His Heart


28. Arioso: Behold And See


29. Accompagnato: He Was Cut Off


30. Aria: But Thou Didst Not Leave


31. Chorus: Lift Up Your Heads


32. Recitative: Unto Which Of The Angels


33. Chorus: Let All The Angels Of God


34. Air: "Thou Art Gone Up On High"


35. Chorus: The Lord Gave The Word


36. Air: How Beautiful Are The Feet


37. Chorus: Their Sound Is Gone Out


38. Air: Why Do The Nations


39. Chorus: Let Us Break Their Bonds Asunder


40. Recitative: He That Dwelleth In Heaven


41. Air: Thou Shalt Break Them


42. Chorus: "Hallelujah"


43. Air: I Know That My Redeemer Liveth


44. Chorus: Since By Man Came Death


45. Air: The Trumpet Shall Sound


46. Air: The Trumpet Shall Sound


47. Recitative: Then Shall Be Brought To Pass


48. Duet: O Death Where Is Thy Sting?


49. Chorus: But Thanks Be To God


50. Air: If God Be For Us


51. Worthy Is The Lamb - Blessing And Honour - Amen

Mozart: Symphonies 2/1

Already by now, we can find Mozart behind his work. Distinct orchestration, clear and joyful themes.
Mozart Akademie Amsterdam,
Jaap ter Linden, conductor

Symphony 8 D KV 48
Symphony 9 C KV 73
Symphony 10 G KV 74
Symphony 12 G KV 110
Symphony 13 D KV 112

Beethoven: Violin Concerto

Lovely and forceful. I am already addicted to period instrument orchestras.

Thomas Zehetmair plays the violin, and Frans Brüggen directs the Orchestra of the 18th Century, in this live recording 1997.

Along with Violin Concerto in D, op. 61, come Violin Romance 2, 1 (op 50, 40, resp.)

Mozart: Symphonies 1/1

Many many symphonies by Mozart.

I make a general comment now on KV16,19,19a,22,43,45 (Brilliant's Vol 1-CD1). They are so proper. So honest and straightforward. It causes joy just by itself, without having to "discover" things and intentions. It is the work of a child trying to make his big entrance into the adult's world, to make the father proud. And sure does.


Mozart Akademie Amsterdam,
Jaap ter Linden, conductor

Symphony 1 E flat KV 16
Symphony 4 D KV 19
Symphony F KV 19a
Symphony 5 B flat KV 22
Symphony 6 F KV 43
Symphony 45 D KV 45

Schubert: Winterreise

Beautiful interpretation by Dietrich Fischer-Dieskau (baritone) and Gerald Moore (piano) of Schubert's D911 (Deutsche Grammophon, 1972).

Great narrative was achieved by the baritone's sensibility and dynamic range, as he interprets different characters throughout the work from poems by Wilhelm Müller. No emotions were withheld by Fischer-Dieskau, marking the different characters with distinct voices (timbres). A must-listen. Moore's accompaniment is delicious as well. (Amazon indicated this album has been discontinued by DG)

1. Gute Nacht


2. Die Wetterfahne


3. Gefrorne Tränen


4. Erstarrung


5. Der Lindenbaum


6. Wasserflut


7. Auf dem Flusse


8. Rückblick


9. Irrlicht


10. Rast


11. Frühlingstraum


12. Einsamkeit


13. Die Post


14. Der greise Kopf


15. Die Krähe


16. Letzte Hoffnung


17. Im Dorfe


18. Der stürmische Morgen


19. Täuschung


20. Der Wegweiser


21. Das Wirtshaus


22. Mut


23. Die Nebensonnen


24. Der Leiermann

Bach: Das Wohltemperierte Clavier, Teil II

Now, this is nice. I guess it has to do more with my expectations... but it is hard to tell. The general comments before apply. I just have to say this is more listenable. (I hate my lack of expressive power >-( )

Announcement: revisit Mozart & Bach

Since when this blog was created I was already through many, though still not even 1/3 past the whole Bach & Mozart works as compiled in Brilliant, I have decided that I will relisten to those works to make their corresponding entry.

Therefore, this blog will have a jump in the order, but at some point I will catch up and we will still be a happy family. ;)

Mozart will restart now that I have finished Volume 2, and Bach will start after listening to the Well-tempered Clavier, which is the first work in the second volume.

Mozart: Sinfonia Concertante & Concertone

Neither caught my ear.

• Sinfonia Concertante for violin, viola & orchestra in E flat KV 364
  
• Concertone for 2 violins & orchestra in C KV 190

Gil Sharon, violin
Yuri Gandelsman, viola
Amati Chamber Orchestra, Gil Sharon

Anna & Guido Höbling, violin
Slovak Chamber Orchestra, Bohdan Warchal

Vivaldi: Le Quattro Stagioni & Oboe Concertos

Ah Vivaldi!! I am always marveled at what expressiveness the Four Seasons achieves in such short works. Undoubtedly, it is my favorite work of all!

How emotional are the Four Seasons. Ton Koopman and the Amsterdam Baroque Orchestra make a beautiful interpretation of the Vivaldi's Violin Concertos Op.8.
With such an unobtrusive orchestration, I could listen to notes I had not realized existed in the work. It is like a wooden interpretation, versus the rubber ones I have heard before, where all the instruments blend into each other.... and I loved these concertos even then!

The Oboe Concertos, in Am RV461 and Dm Op8 No9 RV 454, are not quite so appealing, but of course Vivaldi's baroque is (almost) never bad (avoid Motezuma[sic: Moctezuma] opera, 1733).

I would bring the reader's attention to Ottavio Dantone's version with Stefano Montanari at the violin. It can be bought at Aguilar's collection, number 5. It brings a very peculiar interpretation of tempo, which, after I surpassed the shock, left me with a smile.

Please refer to this amazing document (at buywell.com) written by Graeme Skinner for an explanation of how Vivaldi structured and thought about this work.

Particular highlights (section deprecated, see buywell document ;-) )

Spring

•  

Summer

• Summer's first movement the contrast of the period instruments when going into full summer shower mode
• What clear attacks on Summer's 3rd movement! 

Autumn

• 
  

Winter

• Winter's second movement sounds beautifully as a fine clockwork ticking

Ton Koopman, conductor, harpsichord & organ
Marcel Ponseele, oboe
Andrew Manze, violin
Amsterdam Baroque Orchestra
Elatus

Name	Key	Catalogue	Musicians	Observations
Concerto per violino	E	op8#1 (RV 269)	Andrew Manze, violin	La Primavera, spring
Concerto per violino	Gm	op8#2 (RV 315)	Andrew Manze, violin	L'Estate, summer
Concerto per violino	F	op8#3 (RV 293)	Andrew Manze, violin	L'Autunno, autumn
Concerto per violino	Fm	op8#4 (RV 297)	Andrew Manze, violin	L'Inverno, winter
Concerto per oboe	Am	RV 461	Marcel Ponseele, oboe
Concerto per oboe	Dm	op8#9 (RV 454)	Marcel Ponseele, oboe

Mozart: Horn Concertos

This were the Horn Concertos from Brilliant CD 2-15. Lovely pieces them all. This has to be among highlights of Mozart work, at least for naïve Blisteners.
Besides the enjoyable listening, I found the rather shocking track 15, which is a replay of track 9, the Rondo, Allegro from the Horn Concerto in D, KV 412. This one has Giorgio Mereu yelling Mozart's command on the execution. It is rather startling to imagine what is a Classical Music Composer (ooh!!) interrupting his own music.
Though I have heard that this happened with Mozart, the impression when listening is a bit bothering.

Herman Jeurissen, horn
Netherlands Chamber Orchestra, Roy Goodman

Chopin: Polonaises

Soft pearled sound. Emphatic. Pollini plays the Polonaises in a Polydor 1976 recording, now in a Deutsche Grammophon CD.
Acoustic Memory plays a long part in enjoying music, or is it that the more enjoyable music is the one remembered ? I say it because I enjoyed more those that I knew already.
I have to say, that this recording make me "feel" while listening as if I were experiencing a solid in space, ductile, tangible, soft to the grasp.

[2nd round, for omission of description]

Dvořák / Tchaikovsky : Cello Concerto / Rococo Variations

Beautiful! How many themes can fit into a Concerto, that boasts of creativity. How many "profound" themes for movie scores or similar have been inspired by Dvořák's Cello Concerto in Bm, op.104.
And such a nice interpretation by Rostropovich (Мстисла́в Леопо́льдович Ростропо́вич), with the Boston Symphony Orchestra conducted by Seiji Ozawa, an Elatus CD.

The Rococo Variations Op.33 remind us of Tchaikovsy's (Чайкoвский) pompousness. Nice listening, nevertheless.

Dvořák: Cello concerto in Bm Op.104



• Allegro


• Adagio ma non troppo


• Finale: Allegro moderato



Tchaikovsky: Variations on a Rococo Theme, Op.33

Schumman: Kinderszenen, Waldszenen, Papillons, Three Romances

Delightful. Like Mahler's on which I have just commented, this is subtle and straightforward. Wilhelm Kempff shows his lyricism with such expressive modulation.
Each piece is more beautiful than the other, in the Deutsche Grammophone CD with recordings from 1967, 1973 and 1974.
Although Three Romances (op.28) clearly contrasts with the other more situational works: Kinderszenen op.15, Waldszenen op.82, Papillons op.2. This one, I believe, does not necessarily try to evoke any particular sensations, but is, excuse my analogy, more discursive in nature, and not so descriptive.

Mahler: Des Knaben Wunderhorn

Wow. I am surprised how subtle, strong, simple and beautiful Mahler could sound. The way it is described is right: it just sounds as an honest interpretation.

This is on of the Great Recordings of the Century, in EMI Classics. Elisabeth Schwarzkopf (a:soprano), Dietrich Fischer-Dieskau (b:bariton, from which I already have other works), and George Szell conducting the London Symphony Orchestra, recorded live in 1968.

I have finally turned out to be a believer of vocal music.

1. Revelge, b


2. Das irdische Leben, a


3. Verlor'ne Müh, a+b


4. Rheinlegendchen, a


5. Der Tamboursg'sell, b


6. Der Schildwache Nachtlied, a+b


7. Wer hat dies Liedlein erdacht, b


8. Lob des hohen Verstandes, a


9. Des Antonius von Padua Fischpredigt


10. Lied des Verfolgten im Turm, a+b


11. Trost im Unglück, a+b


12. Wo die schönen Trompeten blasen, a+b

Bach: Das Wohltemperierte Claveir, Teil I (2)

This one I thought was too forcefully played. To much banging on the keyboardt to my taste. I enjoyed, notwithstanding, Prelude 15, and Prelude 21. I acknowledge it can be due to my lack of sensitivity to complex solo works, which require more on the part of the listener.
But today, BListener didn't appreciate it much.
Soloist: Leon Berben
Instrument: Copy after Couchet, by Willem Kroesbergen (1996)

Mozart: Violin Concertos 4-5

Just as in the other CD, this one, Brilliant's 2-17, has a nice interpretation of Violin Concertos 4 (KV218) and 5(KV 219). Concerto No. 4 I believe delivers, but nothing of excellence. On the contrary, Concerto No.5 has forceful themes, and, sometimes, harmony beyond Mozart's time.
The orchestration is clear and compact.
Director: Marturet
Orchestra: Concertgebouw Chamber Orchestra
Violin: Emmy Verhey

Brahms: Double Concerto in Am, Op. 102, Disc 2

What a lovely interpretation by David Ositrakh and Pierre Fournier. It is the second disc of the EMI Classics, double forte, that has Beethoven's Triple Concerto and Mozart's Violin Concerto No. 3.
Full of passages from where to make postcards, I loved especially the theme for the 3rd movement, Vivace non troppo - Poco meno allegro, directed by Alceo Galliera and the Philarmonia Orchestra. In the first movement, just after its first third, the intertwining of both soloists, just before the entrance of the orchestra is quite beautiful. It could well be one scene he wanted to capture while he was writing this next to a lake. It resembles to me those little tableclothes that are of picked cotton.
As for Prokofiev's Violin Concerto No. 2 in Gm, Op. 63, I can say what a graceful interpretation of a bland ouevre. With a comic British ending of the 2nd movement, I cannot say more.

Il Giardino Armonico: Artist Portrait

Well, for those that know Il Giardino Armonico, there is not much to say. Nice selection of works, well-known concertos from Vivaldi and Bach. Some small pieces, too.

But, for those that do not know Il Giardino Armonico, well... you are in for a surprise. Noise. Movement. You can listen to the player's gestures. You can even imagine their hair flying all over their face (not really sure about this ;-) ).
This group puts each instrument and interpreter under the spotlight. There can be historical evidence that suggests that this was in fact the way it was played, before music became an idol in itself. Therefore it is irreverent, gay (no reference to orientation), novel, controversial, abusive, imaginative, irreverent, and communicative.
No doubt worth listening to, but certainly no obligation to adopt. Listen to the plasticity of sounds, and the new dimension the works acquire.

Marco Uccellini (c.1603-1680)

Aria sopra "La Bergamasca"

Antonio Vivaldi (c.1678-1741)

Concerto in Fm, op.8/4 "l'Inverno"

Johann Sebastian Bach (c.1685-1750)

Brandenburg Concerto no.3 in G

Tarquino Merula (c.1594/5-1665)

Ciaccona

Giuseppe Torelli (c.1658-1709)

Concerto à quattro in Gm

Antonio Vivaldi

Concerto in C RV425

Johann Pachelbel (c.1653-1706)

Canon & Gigue in D

Antonio Vivaldi

Concerto in D RV564

Tomaso Albinoni (c.1671-1751)

Adagio (Oboe Concerto in Dm op.9 no.2

Antonio Vivaldi (c.1678-1741)

Concerto in Gm RV104 "La Notte"

Bach: Das Wohltemperierte Clavier, Teil I

Ah, how lovely !!
So much energy, sometimes seeming even furious. For Brilliant's CDII-1, Leon Berben plays the harpsichord/Cembalo.
Trying to describe each or my impressions to each, would be too bold, on my part. I will leave it like this.
Noteworthy is track 19, Praeludium for Prelude and Fugue #10 in Em, for its force and tempo. And Praeludia for Prelude and Fugue #1 and 3.

Bach: Violin Sonatas and Trio Sonatas

Sonata in Eminor BWV 1023 starts with a meditative, suggestive Prelude, worth noting.
The Sonata in G BWV 1021 shows a Bach more to what I had learned to expect, nice interweaving with the Basso continuo.
The ending of the Adagio from the Trio Sonata in G BWV 1039, couldn't but remind me of soul attempt to a new age Bach... confirming nihil novum sub sole.
Lively well rounded Trio Sonata in G, BWV 1038, especially the Vivace.

Bach: NotenBüchlein für Anna Magdalena Bach

You guessed right to what I have just listened. It (CD I-22) was very beautiful. Simple as it is supposed to be, Belder does a nice job (again) with a crisp, bright sound (like glass just about to be broken); and in the choral work, Johannette Zomer (soprano) sings with a nice, rich, unpretentious voice. Too many small pieces, but still nice.

I have to say I fall for those that I used to play, tracks: 2, 5, 15, 21 (the resonance on the bass), 25 (overly tentative), 26, 28 (though I like to play it sometimes twice this speed)

Editorial Note: the instrument list under Belder, says... silly mistake for such great work otherwise:
PIETER-JAN BELDER,
harpsichord/clavichord/o
rgan

Bach: Violin Sonatas

Bach violin sonatas are nice, perpetuum mobile. BWV 1017-1019 (CD I-21) are graceful but not demanding too much virtuosism from the soloist, in this case Luis Otavio Santos (baroque violin) and Pieter-Jan Belder (harpsichord).

Ligeti: The Ligeti Project II

Not everything is standard classical music (emphasize on classical). This is a well sought out version of Ligeti from 1923. Jonathan Nott directs the Berliner Philharmoniker. Great timbral combinations. The whole orchestra becomes one sound, shifting to another one. And yet, Concert Românesc has such lively East European (obviously) melody and rhythm, that is hard to believe it comes in the same Teldec Classics CD. I must remark Atmoshères for its suggestive nature.
I have to make a point here that my "grade" label is more on my own very personal relation to the work, than a (presumably very poor) aesthetic evaluation.
[edited 5-feb-08]

1. Lontano
2. Atmoshpères
3. Apparitions
4. San Francisco Polyphony
   
5. Concert Românesc.

Mozart: Violin Concerto #3 in G

[This post is copied in Oistrakh entry too, as it compares that disc too]

I have heard 2 versions of Violin Concerto No.3 in G, KV 216. One in Oistrakh's interpretation in Emi Classics, double forte, the other in Brilliant's CD2-16 with Verhey playing the violin.
I have to say that I prefer Brilliant's orchestration with Eduardo Marturet directing the Concertgebouw Chamber Orchestra. But Oistrakh's intention and force well surpasses Verhey's.
Nice piece. As has been my general experience so far, Brilliant's is worth listening to, but this time Oistrakh's shouldn't be missed.


In Violin Concerto No.1 B flat KV 207, Verhey's cadenza in the end is quite charming. Though concertos 1 and 2 are quite umpretentious, the natural fluency of Mozart's themes and scales are always welcome.

Oistrakh: Beethoven, Mozart, Brahms, Prokofiev 1/2

Wow! I could not imagine Beethoven as a care-free joyful being. The Triple Concerto Op.56 is that. Oistrakh's interpretation in Emi Classics, double forte is great.

Light, whole-hearted, warm, exquisite... a definite favorite.

Mozart: Violin Concerto

I have heard 2 versions of Violin Concerto No.3 in G, KV 216. One in Oistrakh's interpretation in Emi Classics, double forte, the other in Brilliant's CD2-16 with Verhey playing the violin.
I have to say that I prefer Brilliant's orchestration with Eduardo Marturet directing the Concertgebouw Chamber Orchestra. But Oistrakh's intention and force well surpasses Verhey's. This version features Oistrakh as director of the Philharmonia Orchestra.
Nice piece. As has been my general experience so far, Brilliant's is worth listening to, but this time Oistrakh's shouldn't be missed.


In Violin Concerto No.1 B flat KV 207, Verhey's cadenza in the end is quite charming. Though concertos 1 and 2 are quite umpretentious, the natural fluency of Mozart's themes and scales are always welcome.
The double forte 2CD edition seems to be out of print, but this is the most similar I found.

Mozart: oboe, bassoon, and winds

Regarding Brilliant's 2-14, how lovely.

I fear repeating myself to often (perhaps that is why I haven't really published this blog -officially- yet).

I decided to repeat the CD before moving on. The Bassoon Concerto KV191 is so lively and playful, then the Sinfonia Concertante KV 297b for Oboe, Clarinet, Horn, Bassoon & Orchestra is too. I have to say that the Oboe Concerto KV314 did not strike any note with me (pun intended ;) )

Especially the Bassoon Concerto is what I want to listen when I play a concerto for winds.

Bach: Violin Sonatas

This was the time for Violin Sonatas 1, 2, 3 (BWV 1014-1016). Pieter-Jan Belder plays beautifully the harpsichord, with a nice interpretation of Luis Otavio Santos playing the baroque violin. As with baroque strings, the instrument has a clearly different tuning, according to modern standards. Added to the usual screechy string sound of this kind of instruments, the atmosphere is well captured in this recording, Brilliant CD I-20.
The distinctive profound keyboard work of Bach is well additioned by the joyful violin, giving a light-hearted hue to the work, yet still inviting to reflection.

Bach: Musikalisches Opfer

How more Bach can you get? Deep, playful, sweet, persistent. Just lovely.

This comes in Brilliant's CD I-19, along with BWV1072-1078, and Verschiedene Canones über die ersten 8 Fundamental-Noten der Aria aus den Goldberg-Variationen. This last one is also very suggestive.

I have to say that the Sonata sopr'il Soggetto Reale is just stupendous... lively. The flute just makes wonders as it transverses up and down.

Candy Thompson, violin
Marieke Schneemann, flute
Floris Mijnders, cello
David Jansen, harpsichord (Cembalo)
Krijn Koetsveld, organ+conductor
Netherlands Bach Ensemble

Name	Key	Catalogue	Musicians	Observations
Musical Offering		BWV 1079		includes: Sonata sopr'il Soggetto Reale a Traversa, Violino e Continuo Thematis Regii, Elaborationes Canonicae
Canon a 8		BWV 1072
Canon a 4		BWV 1073
Canon a 4		BWV 1074		2 parts
Canon a 2		BWV 1075
Canon a 6		BWV 1076
Canon a 4		BWV 1077
Canon a 7		BWV 1078
Canon a 2		BWV deest
Verschiedene Canones über die ersten 8 Fundamental-Noten der Aria aus den Goldberg-Variationen				15 Tracks

Mozart / Bach :Flute Concerto / Viola da Gamba Sonatas

[This post relates to 3 different CDs. Later posts are 1 CD per post, as the date is reflected directly in the post's metadata. I did not split it at a later date, since it would appear on a different date. (I will probably review them on the 2nd tour)]

Well, this is to show that not all works from great composers are great. Despite the delightfully predictable first movement, Allegro maestoso, from the Flute Concerto No. 1 in G KV313, Vol.2-13 was a bit dull. It is definitely listenable, but certainly not deserving more comment. And neither does the Second Flute Concerto KV 313 in D. Yet, they both contain lively themes that are heart-lightening.

In the Bach corner, the Viola da Gamba Sonatas (CDI-18: BWV 1027, BWV 1028, BWV 894, BWV 1029 ) didn't raise any special emotions. Perhaps more academic insight might be useful.

[Feb 2 07] I have later on decided to only have a post per CD. In this one 2 were "reviewed", to save words. I will leave it as it is, as apparently they will not be central in any way.

Rekindling

Today was the opportunity for Mozart's Brilliant Classics Vol.2-12 to shine. And it did, with the beautiful KV299, Concerto for Flute, Harp & Orchestra. What a lively mixture of timbres. At the same time, how lively, playful and mature KV622, Clarinet Concerto, was. A very comforting CD.

Next came along Beethoven's Triple Concerto, in the EMI Classics Double Forte CD. What a joy to listen to Beethoven after a long history of Bach and Mozart. Beautifully interpreted by Oistrakh (violin), Oborin (piano) and Knushevitzky (cello).

Finally, to end the session, was Bach's Brilliant Classics Vol.1-17, Lute Works. So gentle, much fuller than Vol1-16. The Prelude BWV999 sounds so great in Lute.

And so it begins

The idea of collecting great versions of great musical masterpieces started a few months ago. I have invested some good money on it so far. I and a friend (esp. the friend, I must add) have been creating a list of great interpretations of great interpreters of great music from (sometimes) great musicians.
We pick the label, the recording, the work, and the musician. No need to pay more for the same recording; no need to pay less, either. Everything is set to build a great small sample of the most noteworthy work of great musicians. And those notes shall appear at BListener's Choice.