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.
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 |
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| CD 2 | Madrigali sui testi del Tasso |
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| CD 3 | Settimo libro de madrigali (Book 7 part 1) |
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| CD 4 | Settimo libro de madrigali (Book 7 part 2) |
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| CD 5 | Scherzi musicali (1632): Lamento d'Arianna Lamento d'Ottavia |
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| CD 6 | Lamento della Ninfa Combatimento di Tancredi e Clorinda Il Ballo delle Ingrate |
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This combination can never go wrong: Schubert, Dietrich Fischer-Dieskau and Gerald Moore. This is one of the safest CD's to buy, just lovely and inspiring.
These lieder allow Fischer-Dieskau to show a vast range of dynamics and emotions, while Gerald Moore shows how well he merged into the singer's intention. My favorite accompanying pianist.
I have to say that I am deeply touched by "Das Zügenglöcklein"(6). Fischer-Dieskau's is magnificent in the "command to come in", as well as in the delicacy of the last line of each of the verses. And what a magnificent poem speaking about the parish bell calling on someone's imminent death.
An Emi Classic CD of digitally remastered (1988) recordings of mostly 1965, except for 21:1958, and 15+16:1962.
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
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 | |
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
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 |
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It is astonishingly beautiful. Her precision, emotion, and plasticity are amazing. I can never hear enough of the virtuosity riquired by Lucia di Lammermoor.
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).
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
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.
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.
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
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)
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.
