Stravinsky: Le Sacre du Printemps, L'oiseau de feu, u.a.

I feel this music more as being incidental... or spatial. It is more of sensation evocation, rather than emotions... more a music for the skin, than a music for the heart or mind.
In an earlier version of this same post I wrote

I (ashamed to confess, as usual :*(  ) did not find a particular connection to Le Sacre du Printemps. Conversely, I even feel relieved when I listened to L'oiseau de feu. Perhaps my still unsophisticated (although improving) ear still cherishes the comfort of acquaintance to a particular work.

I can say now, several months later that I enjoy it and anticipate listening to it. I have to say that I needed to watch a TV documentary that explained the Rite of Spring to the broad audience, in order to enjoy the deliberate inebriatedness of the work. I still will have to contrast this version to Maazel's with the Radio Symphonie Orchester Berlin.

Claudio Abbado conducts the London Symphony Orchestra in this Deutsche Grammophon CD. With Teresa Berganza, mezzo-soprano; Ryland Davies, tenor; John Shirley-Quirk, bass

Name	Key	Part	Musicians	Observations
CD 1
Le Sacre du Printemps(La consagración de la primavera)		Part 1: The Adoration of the Earth		published 1947
Le Sacre du Printemps		Part 2: The Sacrifice		published 1947
L'oiseau de feu (The Firebird)				Suite 1919
Jeu de cartes
CD 2
Petrouchka		4 scenes
Pulcinella Ballet		in one act		revised version of 1947

Bartók: Concerto for Piano and Orchestra #1,#2

Béla Bartók's work is always quite compact. There is no waste of space or time.
Play of the first concerto is so hasty, that I personally cannot find the subtle interpretation I am used to expecting from Pollini (and I am sure it is because of my simpleness in taste). But thankfully he makes up for it in the 2nd one, especially in the second movement.
On other topic, the swirling of the orchestra intermixed with the pianissimo and fortissimo are very well accomplished. No nice melodies, but plenty to listen to.
In the 2nd concerto, there are some nice fanfares, piano solos, and a few amenities.
Claudio Abbado conducts the Chicago Symphony Orchestra, with Maurizio Pollini at the piano.

Concerto for Piano and Orchestra #1

1. Allegro moderato - Allegro
2. Andante - Allegro - attacca
3. Allegro molto

Concerto for Piano and Orchestra #2

1. Allegro
2. Adagio - Presto - Adagio
3. Allegro molto - Presto

I like this Deutsche Grammophon CD in the Awards Collection series. But, I grade it lower, because I do not see myself choosing it to listen to. This shows that it is more of a priority listening order, rather than a grading per se, something I would not attempt.

Brahms: Piano Concertos

This is a fantastic CD from Deutsche Grammophon. Great virtuosismo and expressiveness. The orchestra is soft and full in the 2nd concerto. Supreme combination of Claudio Abbado and Maurizio Pollini.
Then I listened to the Tragic Ouverture, which was new to me. Energetic and melodic, delightful.
Lastly I would comment on the beauty of the first and third movements of the 1st concerto.
All directed by Karl Böhm and the Wiener Philharmoniker, except 2nd concerto directed by Claudio Abbado, pianist Maurizio Pollini

Name	Key	Catalogue	Musicians	Observations
Concerto for Piano and Orchestra #1	Dm	op.15	Maurizio Pollini	CD 1
Variations on a theme by Joseph Haydn		op.56a		CD 1
Concerto for Piano and Orchestra #2	Bb	op.83	violoncello solo:Robert Scheiwein	CD 2
Tragic Overture		op.81		CD 2

Beethoven: Symphony no.9

My disc is from Deutsche Grammophon's "entrée" collection, whereas the one I present is from DG's Numerique. Both are exactly the same May 1986 live recording with Claudio Abbado conducting the Wiener Philharmoniker.

Abbado's version of Beethoven's Symphony no. 9 is quite controlled and precise. It seems dragging in time, at moments, but the sound clarity is great... a lot of detail and warm, full sounds. I am not sure to recommend it, in general, but it sounds quite well, with a fabulous dynamic range.
Gabriela Beňačková - soprano; Marjana Lipovšek - contralto; Gösta Winbergh - tenor; Hermann Prey - baritone; Konzertvereingung Wiener Staatsopernchor

Beethoven: Symphony no.9, Dm, op.125



1. allegro ma non troppo, un poco maestoso (17'14)


2. molto vivace (14'21)


3. adagio molto e cantabile


4. presto - "o freunde, nicht diese töne!" - allegro assai (final chorus from Schiller's ode "An die Freude")

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