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Error processing SSI fileGustav MAHLER (1860-1911) Symphony No.4 in G Major (1899-1900)
Camilla Tilling (Soprano) Philharmonia Orchestra/Benjamin Zander Walthamstow Assembly Hall, London. June 6-8, 2000 Includes a free 70 minute discussion disc
A patrician and thought-provoking guide to Mahler’s most approachable symphony casting the last movement in its correct perspective.
Felix MENDELSSOHN (1809-1847) String Quartet in E flat major, Opus 12 String Quartet in A minor, Opus 7
The Leipzig Quartet score when it comes to points of detail, with the virtuosity of individual players allocated a higher priority in the recorded balance. Swings and roundabouts, then in a head-to-head with the ASV-Vellinger disc.
Felix MENDELSSOHN (1809-1847) String Quartet in E flat major, Opus 12 String Quartet in A minor, Opus 7 Fugue in E flat major, Opus 81 No. 4
In both performances the Vellingers play immaculately, but also with great expressive freedom. The attention to detail in matters of dynamic nuance brings much reward too: this is quartet playing of the highest order.
André MESSAGER (1853-1929) Véronique - operetta (complete with dialogue)
René Duclos Choir Orchestre de l’Association des Concerts Lamoureux/Jean-Claude Hartemann Rec. Paris, 1969Messager's gift lies in warm melodies and harmonies that are easy on the ear. His orchestration has a classical suppleness and charm. The soloists both sing and act well with the required element of fun and delight.
Nikolai MIASKOVSKY (1881-1950) Symphony No. 6 (1923)
Do not let this convincing and idiosyncratic symphony elude you. A successor in the line of Tchaikovsky's Pathétique.
Italo MONTEMEZZI (1875-1952) L’amore Dei Tre Re (The Love of Three Kings) A tragic poem in three acts Libretto by Sem Benelli after his play
A mono recording by Italian Radio. Despite shortcomings in the sound the drama completely takes you over. Very creditable singing from Petrella and Berdini. Bruscantini’s performance alone would justify this purchase.
Wolfgang Amadeus MOZART (1756 - 1791) Mozart Edition Volume 1 Concertos for Wind Instruments,Violin Concertos
This first volume of Brilliant Classic’s complete Mozart set certainly bodes well for the other 23 volumes. The performances range from good to excellent, the sound is almost always fine. ... see Full Review
Wolfgang Amadeus MOZART (1756 - 1791)
Once again, Brilliant Classics comes up with a very good set of Mozart’s works. While not perfect, these performances and recordings are fine. The budget price is an additional incentive for those interested in discovering all of Mozart’s works for piano and orchestra. ...see Full Review
Wolfgang Amadeus MOZART (1756 – 1791) Symphony No. 41 in C Major (The Jupiter) – (1791) - Clarinet Concerto in A Major K.622 – (1791) Bassoon Concerto in B Flat Major K.191 – (1774) - Jack Brymer (clarinet), Gwydion Brooke (Bassoon)
Go ahead and purchase with confidence – not only do you get a superb trio of works and performances, you also get deluxe packaging and all at mid-price.
Wolfgang Amadeus MOZART (1756-1791) Violin Concerto no. 4 in D, K. 218 (1) Ludwig van BEETHOVEN (1770-1827) Violin Concerto in D, op. 61 (2)
It is above all for the very humane, vocal manner of Szigeti’s playing that these performances are valuable.
Wolfgang Amadeus MOZART (1756-1791) Oboe Quartet in F K370, Clarinet Quintet in A K581, Clarinet Concerto in A K622One magnificent recording and two very fine ones at super-budget price. A fine disc. ... see Full Review
Wolfgang Amadeus MOZART (1756-1791) Divertimento in E flat, K. 563, Duo in B flat, K. 424*.
The Leopold String Trio are very, very good, no mistake about it, but mightn’t they have been a little more outgoing?
Wolfgang Amadeus MOZART (1756-1791) Complete String Quintets, Volume 2 Quintet in C minor, K406; Quintet in C major, K515
The Ensemble Villa Musica does the music proud, aided by a recording which is atmospheric and full of presence. It really is of 'demonstration quality'. The quality of the sound has a musical advantage, moreover, since the details in the texture and the rich sonorities are heard to full advantage.
Wolfgang Amadeus MOZART (1756-91) Così fan tutte.
Here is a recording that really deserves the label ‘Great’. This set surely represents the bright, busy epitome of comic opera. It is pure joy from beginning to end and will be making many return visits to my player.
Wolfgang Amadeus MOZART (1756-1791) Don Giovanni, opera (1787)
Hungarian Radio Chorus, Nicolaus Estherházy Sinfonia/Michael Halász
Rec. Phoenix Studio, Budapest, Nov. 2000This performance and recording stands ahead of many in the catalogue, even if not supplanting Giulini’s 1959 recording for EMI, which may never be bettered, but that is at full price. ... see Full Review
Wolfgang Amadeus MOZART (1756 – 1791) Die Zauberflöte – Opera in two acts - (1791)
recorded in the Brahmsaal,Vienna,2,3,6-9, 7-16, 20-21/12/50 ADD MONO.
I cannot recommend this issue highly enough. Truly a Great Recording of the Century!
Wolfgang Amadeus MOZART (1756 – 1791) Famous Opera Arias
Some famous arias sung by some famous soloists and for the most part with great success. ... see Full Review
Wolfgang Amadeus MOZART (1756-1791) Overture: Der Schauspieldirektor, Concerto for Two Pianos in E flat major, K365, Aria: L'amero, saro costante, K208 (Il re pastore), Concert Aria: Ma, che vi fege, o stelle, K368, Symphony in F major, K112
Erika Köth (soprano) Camerata Academica Salzburg Bernhard Paumgartner Rec 4 August 1957, Mozarteum SalzburgSome of the finest Mozart performers of their generation but their abundant freshness and vitality is rather undermined by the sound
Wolfgang Amadeus MOZART (1756-1791) Complete Piano Variations
Brautigam’s brilliance and enthusiasm, as well as the instrument itself, are just what is needed most of the time.
Wolfgang Amadeus MOZART (1756 – 1791) Overtures: The Nozze di Figaro K.492. Bastien und Bastienne, K.50. Der Schauspieldirektor, K.486. Lucio Silla K.75. Cosi fan Tutte, K.588. La Finta Giardiniera, K.196. Die Entführung aus dem Serail, K.384. Il Re Pastorale, K.208. Idomeneo, K.366. La Clemenzo di Tito, K.621. Don Giovanni, K.527. Die Zauberflöte, K.620.
It is a disc which you are unlikely to listen to entirely without a break, but if you do, as I did, you will be entranced by the quality of playing and recording. This recording was a bargain at full price and now at super-bargain ….
MOZART?! Volume 7 Wolfgang Amadeus MOZART (1756-91) Adagio in B flat, K484a. Serenade in B flat, K371a, ‘Gran Partita’ (arr. Gleissner).
One of the most civilised, harmless discs I have ever come across. Play it while you cook the dinner.
Modest Petrovich MUSSORGSKY (1839-81) Piano Music, Vol. 2 Pictures at an Exhibition, Hopak de jeunes ukrainiens, Scène de foire, Sonata (piano duet), C major
A disc that provides an authoritative performance of Pictures at an Exhibition plus some enjoyable and interesting lesser known Mussorgsky piano works. ...see Full Review
Carl NIELSEN (1865-1931) Symphony No.1 in G minor Op.7, Violin Concerto Op.33 Henrik Hannisdal (violin) Norwegian Radio Orchestra Ari Rasilainen, conductor (Symphony)
Ari Rasilainen and the Norwegian Radio Orchestra give the symphony not only a good sense of pace but also draw out the kaleidoscopic moods of the first movement. Henrik Hannisdal’s playing in the concerto is sweet-toned especially in the higher positions on the E string, bringing a Bruch like quality to the music, and in the more virtuosic passages rather surprisingly evokes Mediterranean tone colours.
Carl NIELSEN (1865 – 1931) Symphony No. 1, Op. 7 (1891-92)
Symphony No. 2, "The Four Temperaments", Op. 16 (1901-02)The overall characteristic is that of vitality and both of these performances display this characteristic to the full. The Finlandia recording is superb, and the orchestra is set in a fully believable acoustic.
Carl NIELSEN (1865-1931) Symphony No. 2 Four Temperaments (1902) Symphony No. 4 Inextinguishable (1902)
Recordings of performances that are not merely vivacious but of eruptive ferocity. Historic rather than merely historical! Superbly transferred by Dutton in good sound. ...see Full Review
Carl NIELSEN (1865-1931) Symphony No. 1 (1893) Symphony No. 5 (1922) Helios Overture (1904)
Robert Layton's notes and Dutton's discriminating decision to use reproductions of the original LP sleeves complete a catalogue-significant issue. ... see Full Review
Jacques OFFENBACH (1819-1880) La Belle Hélène
Many regard La belle Hélène as Offenbach most enjoyable operetta. This recording does much to encourage that view.
Jacques OFFENBACH (1819-1880) La Périchole (1868)
This well-priced mono reissue should not dissuade the listener for the balance and clarity is good and does not distract from the confident performance and charming music. ... see Full Review
Max d'OLLONE (1875-1959) Piano Quartet (1949) String Quartet (1898) Piano Trio (1920)
rec Jan 1999, Salle des fêtes de l'Académie de ParisChamber music fans need to hear this as much as Arion's recent Bonnal disc. ...see Full Review
Carl ORFF (1895-1982) Carmina Burana
The extensive percussion is spectacularly well captured. The tam-tam and timpani can rarely have sounded so thrilling in a recorded performance. Mehta conducts with consummate control of his massed forces though he is occasionally a little indulgent with slow tempi. ... see Full Review
Andrei PETROV (born 1930) Suite from the Ballet The Shore of Hope (1959) St Petersburg Philharmonic Symphony Orchestra/Eduard Serov Symphonic Cycle The Songs of our Days (1964) St Petersburg Philharmonic Symphony Orchestra/Arvid Jansons Suite no 3 from the Ballet Creation of the World (1975)
All recorded in the St Petersburg Recording Studio: the dating is unclear.Not recommended to those who worship at the shrine of the avant-garde, but for middle-of-the-road music-lovers this disc will be a delight.
Robert PLANQUETTE (1848-1903) Les Cloches de Corneville (The Chimes of Normandy) operetta (1877) (complete, with dialogue in French)
This is a strong cast headed by Mady Mesplé who with her characteristically light soprano voice and rapid vibrato seems right for Germaine. ...see Full Review
UGIS PRAULINS ODI ET AMO - music composed and arranged for Boys and Men's choir
A choir of world calibre. If you get a chance to hear them do not miss the opportunity such is their precision, golden tone and attack. I would very much like to hear them in some more classically orientated repertoire.
Yves PRIN (b. 1933) Dioscures (1977/revised 1984) a Concerto grosso for flute, clarinet and chamber orchestra; Ephèmeres (1973/revised 1992) a Capriccio for Violin and chamber orchestra; Le Souffle d’Iris (1986/revised 1992) a Concerto for flute and orchestra
Three fascinating but challenging works. Prin shares with Dutilleux the ability to think in long, lyrical lines as at the end of ‘Dioscures’.
Giacomo PUCCINI (1858-1924) Madam Butterfly (in English)
This is opera in English at its best. Only the very elite of the "authentic" Butterflies can actually boast a finer overall performance. …see full review
Sergei RACHMANINOV (1873-1943) Symphony No. 1 in D minor, Opus 7 Etudes-Tableaux (orchestrated Respighi)
Russian State SO and Valeri Polyansky enter a competitive field with heads held high. The recording is ambient and allows the rich textures of Rachmaninov's scoring to be heard to excellent effect. There is still a special colour and intensity about a Russian performance of this music.
Sergei RACHMANINOV (1873-1943)Piano Concerto No. 2 in C minor, Op. 18. Prelude in G sharp minor, Op. 32 No. 12. Etudes-tableaux, Op. 33 – No. 1 in F minor; No. 2 in C; No. 9 in C sharp minor. Variations on a Theme of Corelli, Op. 42.
Here is a clear case of marketing gone, if not barking mad, certainly disturbingly cuckoo. Grimaud can and should stand perfectly well on her own ten fingers without props such as this, especially as this is such a well-planned Rachmaninov disc.
Sergei RACHMANINOV (1873-1943) Prelude in C sharp minor, Opus 3 No. 2, Ten Preludes, Opus 23, Six Moments musicaux, Opus 16
Frankly thrilling: no other word will do. Rhythmic drive and phrasing heard in an excellently delivered balance. Lugansky has the measure of the rhythmic tautness so central to Rachmaninov's style.
Sergei RACHMANINOV Cello Sonata in G minor, op 19 Dmitri SHOSTAKOVICH Cello Sonata, Op 40
I have never heard the scherzo of the Rachmaninov played better. It is, a complete revelation and I have known and loved this sonata for almost 40 years.[DW]
The present performances, recorded as far back as the early 1970s, are very fine and quite satisfying, though the recorded sound may at times show its age. They have much to offer.[HC]Joachim RAFF (1822-1882) Piano trios. Op 112 in G; Op 155 in A minor.
The sound is good and the performances are fine although there is a slight over-emphasis on emotional content, I feel.
Alan RAWSTHORNE (1905-1971) Sonata for violin and piano (1959) Theme and Variations for two violins (1938) John McCABE (b.1939) Maze Dances for violin (1973) Star Preludes for violin and piano (1978)
This is a worthwhile disc, which it is to be hoped encourages the same advocacy of McCabe’s little recorded chamber output as Rawsthorne’s has received in recent times.
Ottorino RESPIGHI (1879-1936) The Fountains of Rome, The Pines of Rome, Roman Festivals,
What immediately impresses is the quality of the sound, both of the recording itself and of the playing. And since these are the prerequisites for a recording of this music, the standard set initially is encouraging and satisfying.
Ormandy imbues the interpretations and playing with guts, ferocity and passion. The sound is unsubtle but the effect is edge-of-seat. ... see Full Review
Nikolay Andreyevich RIMSKY-KORSAKOV (1844-1908) The 1001 Nights - Sheherazade, Op. 35 Sinbad the Sailor, The Story of a Dervish, The Prince and Princess, The Story of the Second Dervish
A first class Philharmonia performance of Sheherazade packaged with tales from the Arabian Nights ably narrated by Bernard Cribbins.
Josephe GUY-ROPARTZ (1864-1955) Ouverture, Variations et Final (1914) Musiques au Jardin (1920) Nocturne No. 3 (1922)
Ropartz in bardic and in impressionistic garb. Well advocated by Thinat and Arion. ... see Full Review
A SECOND TRIO OF QUARTETS
Arnold ROSNER (b1945) String Quartet No. 4 (1972) Lester TRIMBLE (1923-86) String Quartet No. 1 (1950) Irwin SWACK (b1919) String Quartet No. 4 (1986-90)
De rigueur listening for twentieth century quartet specialists. Impressive for the gritty Rosner and the promising Swack.
[Part 1 New] [Part 2 A-B] [Part 3 C-L]
[Part 4 M-R] [Part 5 S-Y] [Part 6 Misc]
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