I was recommended this 3-CD set very highly, but I did not find it appealing. Nonetheless, I can comment on the wide character variation and expressivity that Hotter adds to the Winterreise.
CD 1Franz Schubert
Beethoven
Mozart
| CD 2Franz Liszt
JS Bach + Kempff
|
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.
If one read the booklet included in this Yedang CD, written by Boris Gontarev, one would think this is a marvelous product. He speaks so warmly about all the (major) musicians involved...
Alas, my opinion is much lesser than that. Yet, both concerti are a playful way of developing a lyrical theme, quite melodic in fact. Regardless, these concertos are necessary in a good music collection.
Interesting to know was that Shostakovich (Šostakovič ) had actually dedicated the 2nd concerto, and written for Rostropovich the 1st concerto.
Now, what an interesting duo. I have not known that Rostropovich played the piano (like that, of course). The married couple, Rostropovich and Vishnevskaya interpret the satires.
Composer: Shostakovich (Дмитрий Дмитриевич Шостакович)
Cello: Mstislav Rostropovich (Мстисла́в Леопо́льдович Ростропо́вич)
Conductor: David Oistrakh
Moscow Philharmonic Orchestra
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Cello Concerto #1 | Eb | Op.107 | Recorded 24.01.1965, mono | |
| Cello Concerto #2 | G | Op.126 | Recorded 12.11.1967, mono | |
Satires (Pictures of the Past)
| Op.109 | Soprano: Galina Vishnevskaya Piano: Mstislav Rostropovich | Five Romances for Soprano and Piano. Dedicated to Galina Vishnevskaya. Recorded 21.10.1967 | |
I must say that I was not thrilled by this CD. I mean, the pieces are fantastic, and the small orchestration allows for details that are not usually available in other more modern big philharmonic interpretations. Like the flute in the 3rd movement that is always hidden, or at least from me, in other versions. I personally think the cadenza is too ornamented and not in the same spirit as the concerto.
Of course, the period instruments of the Orchestra of the 18th Century allow for a very particular enjoyment in addition to all else. All in all, it is a good buy, but I had higher expectations from Frans Brüggen. Zehetmair plays the violin in this Philips record.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Romance for Violin No. 2 | F | Op.50 | ||
| Romance for Violin No. 1 | G | Op.40 | ||
| Concerto for Violin | D | Op.61 | I. Allegro ma non troppo II. Larghetto III. Rondo. Allegro |
This is a simple CD. Easy listening of very courtly music. It will be quite familiar to most listeners, and one cannot go wrong giving this Decca CD as a gift.
Christopher Hogwood directs (and plays the fortepiano) the Academy of Ancient Music on authentic instruments of the period.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Symphony #96 | D | "Miracle" |
| |
| Symphony #94 | G | "Surprise" "Mit dem Paukenschlag" |
|
I personally did not like this alto CD. I am not someone that enjoys the idolatry of a person nor its objects; so even listening to a 1879 piano belonging to the composer, did not light my imagination.
Radoslav Kvapil is too harsh for my taste, but according to his biography he certainly has the qualifications to interpret these in his own way. The listener must decide.
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
Brilliant finally got out their Complete Beethoven collection. This box has 85 CDs, although I have the 100 CD box with 15 historical recordings.
Gewandhausorchester Leipzig, Kurt Masur, 1974 recording.
(Interesting slavic theme which I had not noticed before)
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Symphony No.1 | C | Op.21 | ||
| Symphony No.3 | Eb | Op.55 | Eroica |
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 |
|
It is astonishingly beautiful. Her precision, emotion, and plasticity are amazing. I can never hear enough of the virtuosity riquired by Lucia di Lammermoor.
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.
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.
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 |
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.]
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 |
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 |
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 |
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.
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]
