Monteverdi: Madrigals

When I first started this collection, this box-set was in the first purchase I made. I listened to it, and was bored. Due to methodological discipline, I wanted to publish the corresponding post, so I listened to it again. I AM CURED !!
This is one of the best purchases I have done, and the price is fantastic for such a wonder. Really a little piece of heaven (ok, ok, I take it back).

And well, about getting cured. I recently listened a version of Vivaldi's 4 Seasons that played on some radio station. I was shocked to see that I did not enjoy it. I found fault and lack of brightness and intention throughout. Before, I would have been delighted just to have found it. Alas, civilized music listening has killed the last drop of my innocent self.

CD	Work	Musicians
CD 1	Madrigali erotici e spirituali	The Consort of Musicke
CD 2	Madrigali sui testi del Tasso	Concerto Italian Rinaldo Alessandrini
CD 3	Settimo libro de madrigali (Book 7 part 1)	Ensemble "Concerto" Roberto Gini Cappella Mauriziana Mario Valsecchi
CD 4	Settimo libro de madrigali (Book 7 part 2)	Ensemble "Concerto" Roberto Gini Cappella Mauriziana Mario Valsecchi
CD 5	Scherzi musicali (1632): Lamento d'Arianna Lamento d'Ottavia	Ensemble Arte-Musica Francesco Cera
CD 6	Lamento della Ninfa Combatimento di Tancredi e Clorinda Il Ballo delle Ingrate	Ensemble "Concerto" Roberto Gini

Schubert: Impromptus, Moments musicaux, Piano Sonatas [Kempff]

Kempff makes each note count for itself, and his control is superb at all times, through pianissimo or fortissimo passages alike.

Moments musicaux

Nice interweaving of echos, like jumping wild dogs in the bushes in #1.
Ah, famous #3. No wonder it is known by itself.
Lovely tempo for the theme in #4, and its baroque-like variation.

Piano Sonatas

Beautiful lyricism in movement 1 of D664. What a natural and simple way of flowing from one passage to another. What a beautiful theme in the 3rd movement, delicious way to end a CD.

Thoroughly delighted by the 1st movement of D960. It is a pearl by itself, and how enjoyable Kempff's transparent interpretation (just for this track alone is this CD worth it! ). The other movements are nice, of course, particularly the scherzo: allegro vivace. But all well below the 1st: molto moderato. I will quote the booklet, because if I wrote this myself, it would seem too far-fetched, but I feel this too[my emphasis]:

One would be reading too much into the score if one said that the [first] movement communicates a sense of leave-taking from life itself, but there is, beyond a doubt, resignation without resentment underlying the music.

Impromptus

I do not like Kempff's attacks, and the military air of #1. What a nice impromptu is #2of D899.
#3 is quite romantic, the beginning is somehow similar to Chopin. Playful yet insightful #4, like the unrest of the last Sunday before returning to school.

Beautiful lyricism in #2 of D935. Dreamy euphoria in #3, some parts sound like tango. Interesing slightly spanish obstinato in #4.

DISC 1
Name	Key	Catalogue	Musicians	Observations
Piano Sonata	Bb	D960
Moments musicaux		D780 op.94
DISC 2
4 Impromptus		D899 op.90
4 Impromptus		D935 op.ph.142
Piano Sonata	A	D664 op.ph.120

Mahler: Rückert-Lieder (Kindertotenlieder, 5 Rückert-Lieder, fahrendes Gesellen)

This is a Great Recordings of the 20th Century CD from EMI, including 2 song cycles, a song set, and a glorious repetition of single song song from a second set. The set and one cycle are poems by Rückert, while the other cycle is Mahler's unlove poems. The lyrics are included in Spanish, French, German (original, all), English. I have to say that by far the best translation of the three is the Spanish. It keeps the essence and keeps closer elements to the German. The other two have been worded too freely.
I have to say that it is very seldom that one can find a working of 4 different people so well put together: Rückert, Mahler, Barbirolli, and Baker. It is hard to believe that each worked on its own. On its own time and space, to be empathic with the tone of the lyrics. Alone, of course, until Baker and Barbirolli joined on rehearsals. The booklet's text is very appropriate for this CD (which is something unusual, in my opinion), because the writer gives a 1st person perspective as well as a personal narrative.

Whoever listens to this CD (unless a German expert, of course... oder Deutsche als Muttersprache, aber natürlich) should follow reading the lyrics closely to enjoy this fully.
The last song, which repeats the 2nd set's fifth song, is superbly performed, sublime interpretation by all.

Janet Baker, mezzo-soprano; John Barbirolli conducts the Hallé Orchestra, New Philharmonia Orchestra

CD contents

• Kindertotenlieder, song cycle for voice & piano [or orchestra] (Rückert)
• Rückert Lieder, song collection for voice & piano [or orchestra] (Rückert)
• Lieder eines fahrenden Gesellen, song cycle for voice & piano [or orchestra] (Mahler lyrics)
• Ich bin der Welt abhanden gekommen, song for voice & piano [or orchestra] (#5 of 7 Songs by (Rückert) )

Lipatti: Bach, Liszt, Bartók

I have to say that Dinu Lipatti is amazing. Despite this fact, I could not enjoy Liszt nor Bartók, as I expected (due to my taste of authors, of course). But Busoni's adaptation for piano of Bach's BWV 1052 - Concerto for harpsichord No.1 in D minor in the hands of Dinu Lipatti is just sublime.

Name	Key	Catalogue	Musicians	Observations
JS Bach: Concerto for harpsichord #1	Dm	BWV 1052	Eduard van Beinum / Concertgebouw orchestra,  1947	Arranged by Busoni
Franz Liszt: Piano Concerto #1	Eb	S.124	Ernest Ansermet / Orchestre de la Suisse Romande, 1947
Béla Bartók: Piano Concerto #3		Sz. 119	Paul Sacher / Orchester des Südwestdeutschen Rundfunks, 1948

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

Schubert: Alfred Brendel plays Schubert

This is amazing. It is a lovely set of 3 CD's from Vox. There is no loss throughout the set. (I should come to write further sometime ;). Brendel is brilliant. The set is so favourably priced as well.

Disc 1 (75:04)



• Impromptus Op.90 (D.899) no.1-4


• Moments Musicaux Op.94 (D.780), no.1-6


• Three pieces Op. Posth. (D.946) no.1-3



Disc 2 (67:27)



• Fantasia in Fm for piano 4-hands, Op.103 (D.940)


• Allegro in Am for piano 4-hands, Op.144 (D.947) "Lebensstürme"


• "Grand Duo" Sonata in C for piano 4-hands, Op.140 (D.812).
  With Evelyne Crochet



Disc 3 (74:56)



• Fantasy in C Op.15 (D.760) "Wanderer"


• Impromptus Op.142 (D.935) no.1-4


• Schubert & Liszt: Fantasy in C for Piano and Orchestra
  Michael Gielen conducts the Vienna Volksoper Orchestra

Chopin: Waltzes, Impromputs

This RCA Red Seal CD boasts Arthur Rubinstein's interpretation of Chopin. I would have to admit that it is until these recordings that I have a new feeling regarding Chopin. Before, I enjoyed the virtuous line as a chain of fioriture, but with Rubinstein, it seems to recover a sense that brings Chopin to the front, and not just the piano. I would have to fully agree with the description given by Harvey Sachs (as per the booklet): "extraordinary pose and tonal beauty".

Name	Key	Catalogue	Musicians	Observations
Waltz for piano	E flat major	Op. 18, CT. 207		Grande valse brillante
Waltz for piano	Ab	Op. 34 No.1, CT. 208		Valse brillante
Waltz for piano	Am	Op. 34 No.2, CT. 209		Valse brillante
Waltz for piano	F	Op. 34 No.3, CT. 210		Valse brillante
Waltz for piano	A flat major	KK IVa/13, CT. 221 (B. 21)		Two-four
Waltz for piano	Db	Op. 64 No.1, CT. 212		Minute
Waltz for piano	C#	Op. 64 No.2, CT. 213
Waltz for piano	Ab	Op. 64 No.3, CT. 214
Waltz for piano	Ab	Op. 69 No.1, CT. 215		L'Adieu
Waltz for piano	Bb	Op. 69 No.2, CT. 216
Waltz for piano	Gb	Op. 70 No.1, CT. 217
Waltz for piano	Fm	Op. 70 No.2, CT. 218
Waltz for piano	Db	Op. 70 No.3, CT. 219
Waltz for piano	E minor	KK IVa/15 CT. 222 (B. 56) op. posth.		opus posthumum
Impromptu for piano	A flat major	Op. 29, CT. 43
Impromptu for piano	F sharp major	Op. 36, CT. 44
Impromptu for piano	G flat major	Op. 51, CT. 45
Fantasy-Impromptu for piano	C sharp minor	Op. 66, CT. 46		Fantaisie Impromptu

Cecilia Bartoli: Opera Proibita

This CD is outstanding. Cecilia Bartoli does not stop surprising from track to track. The technique, the expression, the range, the instrumental interpretation. The ordering of the tracks, which interrupted and mixed the oeuvres, worked to a very nice rhythm.
Bartoli's diaphragm control technique along with her varied timbres make this CD a text-book for singers. What exquisite tenderness for Händel's Lascia la spina cogli la rosa.
Les Musiciens du Louvre and Marc Minkowski appear on this Decca CD. As a bonus, the booklet includes the lyrics to these arias.i

1. Scarlatti: All'arme si accesi guerrieri (Aria dell Pace)


2. Scarlatti: Mentre io godo (Aria della Speranza)


3. Händel: Un pensiero nemico di pace


4. Caldara: Vanne pentita a piangere


5. Caldara: Sparga il senso lascivo veleno


6. Scarlatti: Caldo Sangue


7. Händel: Come nembo che fugge col vento


8. Scarlatti: Ecco negl'orti tuoi...Che dolce simpatica


9. Scarlatti: Qui resta...L'alta Roma


10. Händel: Lascia la spina cogli la rosa


11. Scarlatti: Ahi qual cordoglio...Doppio affetto


12. Caldara: Si piangete pupille dolente


13. Caldara: Ahi quanto cieca...Come foco allo splendore


14. Händel: Disserratevi oh porte d'Averno


15. Händel: Notte funesta...Ferma l'ali

Mozart: Symphonies 1-11

Beautiful, lively, crisp,... sincere. Even though it is such a well-known pair of works, this version, in Brilliant's Vol.1 CD 11, still manages to surprise the listener.
Jaap Ter Linden conducts the Mozart Akademie Amsterdam.

Name	Key	Catalogue	Musicians	Observations
Symphony No.40	Gm	KV 550
Symphony No.41	C	KV 551		Jupiter

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

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

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

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

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