Audiorosity

CPE Bach: Sanguineus and Melancholicus [Channel Classics CCS 11197] Florilegium

2010-12-18T18:56:00.003+01:00

Biber: The Mystery Sonatas [Virgin 0777 7595512 5] John Holloway, David Moroney, Tragicomedia

2010-11-19T21:08:00.000+01:00

Vivaldi: La Stravaganza [Decca 444 821-2] Carmel Kaine, Alan Loveday, Academy of Saint-Martin-in-the-Fields, Neville Marriner

2010-11-19T21:02:00.001+01:00

CPE Bach: The Three Cello Concertos [BIS CD-807] Hidemi Suzuki, Bach Collegium Japan

2010-07-19T17:41:00.001+02:00

Palestrina: Missa Assumpta est Maria, Missa Papae Marcelli [Regis 1025] Pro Cantione Antiqua, Mark Brown

2010-07-13T08:58:00.001+02:00

Schubert: 24 Lieder [EMI 5 627754 2] Elisabeth Schwartzkopf, Edwin Fischer, Gerald Moore, Geoffrey Parsons

2010-05-02T15:53:00.000+02:00

Haydn: The Symphonies [Decca 448 531-2] Philharmonia Hungarica, Antal Dorati

2010-04-23T20:07:00.000+02:00

Mozart: Piano Concertos 9 & 18 [EMI 5 57803 2] Leif Ove Andsnes

2010-04-23T17:21:00.001+02:00

Haydn: String Quartets Opp. 77, 42 & 103 [ASV GLD 4010] The Lindsays

2010-04-13T22:40:00.000+02:00

Haydn: String Quartets Op.76 No.1, No.2 "Fifths", No.3 2Emperor" [ASV CD DCA 1076] The Lindsays

2010-04-11T10:39:00.001+02:00

Haydn: Piano Sonatas [EMI 556 756-2] Leif Ove Andsnes

2010-04-07T22:09:00.000+02:00

Beethoven: Piano Sonatas Nos. 7, 8 Pathétique, 12, 14 Moonlight [Testament SBT 1189] Solomon Cutner

2010-04-06T16:40:00.001+02:00

Beethoven: Beethoven Sonatas [DG 4776360] Emil Gilels

2010-04-03T10:56:00.001+02:00

Beethoven: Leonora-Overture No.3 Op.72, Prokofiev; L'Armour des trois Oranges, Dvorak; Symphony No.9 [BBC 4056-2] BBCSO, Kempe

2010-03-30T17:52:00.002+02:00

Beethoven & Mozart: Violin Concertos [DG 447 403-2] Wolfgang Schneiderhan, Eugen Jochum, Berliner Philharmoniker

2010-03-23T19:47:00.002+01:00

Bach CPE: Sonatas & Rondos [DG 459 614-2] Mikhail Pletnev

2010-03-13T16:44:00.002+01:00

D'India & Monteverdi: Mannerist Madrigals [EMI 7 63065 2] Nigel Rogers, Chiaroscuro, London Baroque

2010-01-17T10:44:00.003+01:00

Handel: Sacred Cantatas [BIS CD-1065] Emma Kirkby, London Baroque, Charles Medlam

2010-01-07T18:11:00.003+01:00

Händel: Solomon [Philips 475 756-1] Watkinson, Argenta, Hendricks, Johnson, Gardiner Monteverdi Choir, English Baroque Solists

2010-01-02T13:47:00.000+01:00

The London Concert [Sony SK 57497] Wynton Marsalis, English Chamber Orchestra, Raymond Leppard

2009-12-31T13:54:00.000+01:00

Famous Classical Trumpet Concertos [Philips 464 028-2] Hardenberger, I Musici, ASMF, Marriner, LPO, Howarth, Preston

2009-12-31T02:15:00.002+01:00

Vivaldi: Concertos For The Emperor [HMU907332] Andrew Manze, The English Concert

2009-12-30T10:08:00.002+01:00

Telemann: Recorder Suite in A Minor, Viola Concerto [Naxos 8.550156] Capella Istropolitana, Richard Edlinger

2009-12-29T11:50:00.000+01:00

Tartini: The Devil's Sonata and other works [HMU907213] Andrew Manze

2009-12-28T10:05:00.002+01:00

Purcell: Dido and Aeneas [Decca 466 387-2] Janet Baker, Anthony Lewis, English Chamber Orchestra

2009-12-27T21:18:00.000+01:00

Manfredini: Concerti Grossi Op. 3 Nos. 1-12 [Naxos 8.553891] Jaroslav Krcek, Capella Istropolitana

2009-12-27T11:29:00.000+01:00

Handel: Ombra Mai Fu [HMC901685] Andreas Scholl, Akademie Für Alte Musik Berlin

2009-12-26T18:36:00.000+01:00

Corelli: Violin Sonatas Op.5 [HMU907298.99] Andrew Manze, Richard Egarr

2009-12-25T10:01:00.001+01:00

Cavalli: La Calisto [Decca 436 216-2] Baker, Bowman, Cotrubas, Raymond Leppard, Glyndebourne Festival Opera Chorus, LPO

2009-12-23T21:18:00.000+01:00

Buxtehude: Opera Omnia I - Harpischord Works 1 [Challenge Classics CC 72240] Ton Koopman

2009-12-22T10:29:00.000+01:00

Biber: Missa Bruxellensis [Alia Vox 9808] Jordi Savall, La Capella Reial de Catalunya, Le Concert des Nations

2009-12-21T14:50:00.000+01:00

Bach JS: Well-Tempered Clavier, Book I [RCA 82876623152] Sviatoslav Richter

2009-12-20T08:58:00.000+01:00

Bach JS: Violin Concertos BWV 1041-43 & 1060 [Philips 420 700-2] Grumiaux, Holliger, Krebbes, New Philharmonia Orchestra

2009-12-19T08:38:00.000+01:00

Bach JS: St. John Passion [Decca 443 859-2] Pears, Howell, Harper, Benjamin Britten, English Chamber Orchestra

2009-12-19T08:13:00.000+01:00

Bach JS: Cello-Suiten 1-6 [EMI 5 55363-2] Mstislav Rostropovich

2009-12-19T08:11:00.000+01:00

Bach: Songs Without Words [Sony SK 66511] Murray Perahia

2009-12-17T21:37:00.001+01:00

Bach JS: Sonatas & Partitas [EMI 476 808-2] Itzhak Perlman

2009-12-15T17:53:00.000+01:00

Bach JS: Das Wohltempierte Clavier - Book 2 [Hyperion CDA 67303.4] Angela Hewitt

2009-12-11T17:54:00.001+01:00

Bach - Das Wohltempierte Clavier - Book 1 [Hyperion CDA 67301.2] Angela Hewitt

2009-12-10T19:12:00.001+01:00

Bach JS: Six Suites for Solo Cello [BIS 803-804] Torleif Thedéen

2009-12-04T23:09:00.001+01:00

Bach JS: Complete Violin Sonatas BWV 1014-1023 [Philips 454 011-2] Arthur Grumiaux, Chrisiane Jaccottet, Philippe Mermoud

2009-12-04T21:58:00.002+01:00

Bach JS: Cantatas Vol.34 [BIS-SACD-1551] Bach Collegium Japan, Masaaki Suzuki

2009-12-02T07:10:00.001+01:00

Bach: Cantatas Vol.30 [BIS-SACD-1471] Bach Collegium Japan, Masaaki Suzuki, Carolyn Sampson

2009-11-29T00:18:00.002+01:00

Bach & Handel: Arias from St. Matthew Passion & Messiah [Decca 414623-2] Kathreen Ferrier, Adrian Boult, LPO

2009-11-28T14:45:00.002+01:00

Cornysh: Magnificat, Stabat Mater [Gimell CDGIM014] Peter Phillips, The Tallis Scholars

2009-11-27T18:28:00.004+01:00

Monteverdi: Madrigali Guerrieri et Amorosi - Libro VIII [Naïve OP 30435] Concerto Italiano, Rinaldo Alessandrini

2009-11-18T18:07:00.002+01:00

Gramophone Awards 2009: Record of the Year

2009-11-05T07:02:00.005+01:00

Byrd, Palestrina, Victoria, Philips, Gabrieli, Lassus [EMI CDB 7 67265 2] David Willcocks, King's college Choir

2009-08-10T14:50:00.002+02:00

Victoria: Missa Gaudeamus, Missa Pro Victoria, Motets [ASV Gaudeamus CDGUA198] Andrew Carwood, The Cardinall's Musick

2009-07-01T18:47:00.001+02:00

Victoria: Ave Maris Stella, O Quam Gloriosum [Hyperion CDA 66114] David Hill, Westminster Cathedral Choir

2009-06-30T10:34:00.001+02:00

Taverner: Missa Corona Spinea, Gaude plurimum, In pace [Hyperion CDH 55051] Harry Christophers, The Sixteen

2009-06-29T09:35:00.001+02:00

Ockeghem: Missa L'homme armé, Ave Maria (Josquin; Memor esto verbi tui) [Naxos 8.554297] Oxford Camerata, Jeremy Summerly

2009-06-27T12:11:00.002+02:00

Hildegard von Bingen: Canticles of Ecstacy [Deutsche Harmonia Mundi 0547273202] Sequentia

2009-06-26T11:28:00.003+02:00

Clemens: Missa Pastores quidnam vidistis [Gimell 454 913-2] Tallis Scholars, Peter Phillips

2009-06-25T13:04:00.002+02:00

Clemens non Papa

Missa Pastores quidnam vidistis

Tallis Scholars, Peter Phillips

Gimell 454 913-2

Bach JS: Cello-Suiten 1-6 [EMI 5 55363-2] Mstislav Rostropovich

2009-05-10T14:11:00.006+02:00

Johann Sebastian Bach
Cello-Suiten 1-6
Mstislav Rostropovich
EMI 5 55363-2

2CD/574MB - EAC (ape+cue+log)+scans

Rosette Winner - Highest rating in The Penguin Guide to Classical Music

Mstislav Rostropovich is one of the few musicians who can create a larger-than-life experience through the combined forces of exceptional music, a beautiful instrument, and uncommonly facile communicative skills. In his performances of Bach's transcendent masterpieces for solo cello, Rostropovich finds a perfect balance between a romantic, rhapsodic interpretation and one that emphasizes the purely formal "aridity" of Bach's structures. Although it's nearly impossible to isolate one or two highlights, the Sarabande and Prelude from Suite No. 5 are among the most profoundly moving cello performances you will ever hear--the closest we probably will ever come to experiencing through music the soul of both Rostropovich and Bach. Not everyone will immediately appreciate the very resonant sound that emphasizes the cello's lower register. But after a few minutes your ears adjust, the music takes over, and nothing else seems important.

David Vernier, Amazon.com

Dufay: Complete Secular Music [L'Oiseau-Lyre 452 557-2] Davies, Medieval Ensemble of London

2009-04-27T13:59:00.009+02:00

Guillaume Dufay
Complete Secular Music
Davies, Medieval Ensemble of London
L'Oiseau-Lyre 452 557-2

5 CD - 1.35 GB (ape+cue+scans) log-siles are missing

This recording was posted on MM by Virelais and with scans seeded by non other than Tante Inge who was even kind enough to make a special upload of them to include in this project. Big thanks to them both for their help!

Early Music Essential Recording
The Gramophone Classical Music Guide

To add to the splendid comments by the first reviewer -- this is quite possibly the best, most faithful/authentic/scholarly Dufay ever recorded. It's worth every penny (and at 30 bucks this is beyond a bargain for 96 chansons!) just to hear such masterpieces as: (10 on disc 1) 'Mon cuer me fait tous dis penser' -- possibly the most gorgeous chanson of the 15th century. Plus, to hear the whole corpus of secular music presented in one huge macro-performance is extremely instructive in crystalizing one's impression of Dufay's genius. His style strikes even (especially?) the modern listener as amazingly fresh and relevant -- the liner notes and complete texts are quite an oeuvre by themselves... a lovely anthology of period formes-fixes poetry! (And, I might add -- I find all the performers, including Timothy Penrose both masterly and scholarly in their interpretations.) This is a must buy for fans of Early Music and a worthy introduction to 15th century music for those who are unfamiliar with the period but wish to invest in a guaranteed winner. You won't be disappointed!

Customer review, Amazon.com

Gluck: Orfeo ed Euridice [Philips 434 093-2] John Eliot Gardiner, Monteverdi Choir

2009-04-26T00:10:00.005+02:00

Christoph Willibald Gluck
Orfeo ed Euridice
John Eliot Gardiner, Monteverdi Choir
Philips 434 093-2

2 CD - 393 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

There have been a number of recordings of Orfeo ed Euridice issued lately, in one or other of its incarnations, among them a version under John Eliot Gardiner of a compromise nineteenth-century text (a compromise, that is, between the Italian original of 1762 and the 1774 Orphee et Eurydice) and a very fine recording of the original version under Frieder Bernius with Michael Chance in the title-role. That version, my recommendation at least until now, has more the aura of an 'early music' performance than does the present one, with quicker tempos, a more detached string playing style and a cooler, purer Orpheus at the centre of it. The new version, however, also played on period instruments and following the original text, has a degree of spiritual force to which the earlier scarcely aspires, and that is to the credit primarily of the conductor, again John Eliot Gardiner.

It begins with a taut, almost explosive account of the overture, moves to a deeply sombre opening chorus and then a ballo of intense expressiveness, finely and carefully moulded phrases (but plenty of air between them) and a lovely translucent orchestral sound. Every one of the numerous dances in this set, in fact, is the subject of thoughtful musical characterization, shapely execution and refined timing of detail. This is of course the essence of what Gluck was seeking, music that conveys something strong and specific in terms of drama and character; I am sure he would have relished such a performance, although I think he probably would have found some of the tempos a little slower than he himself would have chosen. The Second Act too starts very powerfully, again with an intensely characterized ballo—and then with a huge unleashing of energy as the Furies let fly at the docilely lute-playing Orpheus. Exaggerated?—well, it is certainly wonderfully effective, and a reminder that this is no mere rococo entertainment and we are dealing with issues of life and death. Dynamics throughout are given full value, if not more. The choruses during this act are again very carefully weighted so that the sense of the Furies' fading resolution in the face of Orpheus's grief is progressively felt. And then, as we enter the Elysian Fields, the orchestral fabric assumes a glorious richness, sweetness and light, with gorgeously florid detail, for ''Che puro ciel!''. The 'heavenly' ambience of the remainder of the act is movingly and joyously conveyed. And the tension and violence of the first part of Act 3 is no less faithfully captured.

Derek Lee Ragin excels himself as Orpheus; the sound is often very beautiful, the phrasing quite extraordinarily supple and responsive for a countertenor voice. The arguments for a woman's voice in this role need to be taken seriously, the most important of them residing in the 'sexlessness' of the countertenor; but the more disembodied quality here (or equally in Chance's performance) has its own justification and appeal. Ragin, in any case, sings with passionate involvement—listen to the drama of the recitative at the end of Act 1, or the ardour of his pleas to the Furies, or his fervour in the duet with Eurydice at the beginning of the final act. Ragin ornaments Orpheus's part a good deal, taking his cue, and his notes, from the text alleged to have been sung by the original Orpheus, Guadagni. Whether Guadagni ornamented his part under Gluck, who was so eager to rid opera of the abuses of singers, we do not know, but he certainly did when he sang the role (in J. C. Bach's revised version, incidentally) in London. The strofe at the beginning of Act 1 is ornamented progressively, to good effect (the unusual orchestral colours are highly evocative here, too, by the way), and ''Che faro senza Euridice'' is considerably elaborated. I am not quite convinced that it gains in force from that, but we are all creatures of habit and after repeated listening it will perhaps seem more natural. Eurydice is sung clearly and truly, and with due passion, by Sylvia McNair—she delivers ''Che fiero momento'' and some of the recitative, with considerable force—and the casting of Cyndia Sieden, with her rather pert, forward voice, as Amore is very successful. There are those who will, like me, slightly prefer Chance's poised and refined artistry in Orpheus's music, but in general this is, I think, as a total interpretation of the work, more penetrating than any other in the catalogue.'

Stanley Sadie, Gramophone.com

Xenakis: Metastasis, Pithoprakta, Eonta [Le Chant du Monde LCD 278368] Le Roux, Orchestre National de l'O.R.T.F

2009-04-22T09:07:00.007+02:00

Iannis Xenakis
Metastasis, Pithoprakta, Eonta
Le Roux, Orchestre National de l'O.R.T.F
Le Chant du Monde LCD 278368

1 CD - 170 MB (ape+cue+log+scans)

With the generous help of legendary AvaxHome hero Peachfuzz this
hard to find recording is now available for download. Thanks friend!

Into the Future Essential Recording
The Gramophone Classical Music Guide

Iannis Xenakis' music is impenetrable to many listeners, and a good number of those folks would describe it as "unlistenable" as well. Here we have a composer who also was a mathematician and architect and never was afraid to build (or construct, if you like) works based on hugely complex mathematical calculations. These recordings, made in 1965 but sounding remarkably clean and broad, cover three of his compositions: Metastasis (1953-55), written for 61 players, all playing different parts(!); 1955/56's Pithoprakta for strings, trombones, xylophone, and woodblock; and Eonta, composed in 1963-64 and scored for piano, trumpets, and trombones. (Konstantin Simonovic conducts the Paris Contemporary Music Ensemble in Eonta; Maurice Le Roux and the ORTF musicians take on the other two pieces.)

At the risk of angering the late composer's spirit by considering the music's aesthetics rather than its theoretical bases, I will say that Metastasis, with its relentless, slow-moving upward glissandos and manic tremolos, is effective. (Think of the closing moments of the Beatles' "A Day in the Life".) Pithoprakta, too, optimizes the range of the strings' textures with pizzicatos, ominous col legnos (in which the players hit the wood of their bows against the strings), glissandos, and short, shuffling bowings. The composer asserted that the goal of Pithoprakta was to lose the individual players' contributions in one mass of sound, but on this recording at least a zinging pizzicato here and a sharp woodblock knock there certainly zoom into sharp focus. As with so many of Xenakis' compositions, the spiky Eonta demands formidable technique from the musicians brave enough to tackle it. In this respect, Yuji Takahashi doesn't disappoint, and the five brass players show off equal virtuosity.

Anastasia Tsioulcas, Classics Today.com

Beethoven: Symphony No.9 'Choral' [DG 415 832-2] Herbert von Karajan, Berliner Philharmoniker

2009-04-20T12:18:00.005+02:00

Ludwig van Beethoven
Symphony No.9 'Choral'
Herbert von Karajan, Berliner Philharmoniker
DG 415 832-2

1 CD - 282 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

This is the second of Herbert von Karajan's three versions of this symphony for Deutsche Grammophon, and it's a very nice one. Karajan always did well by the orchestral portions of this symphony, playing them sort of like proto-Bruckner. In the finale, as in his 1963 recording, he seems to prefer a very light, backward-balanced choral sound that will not appeal to those who believe that Beethoven meant the words to be heard. That reservation aside, this performance can be recommended as typical of Karajan and the Berlin Philharmonic Orchestra in top form.

David Hurwitz, Amazon.com

Händel: Concerto Grossi Vol.03 [Chandos 0622] Simon Standage, Collegium Musicum 90

2009-04-19T09:54:00.002+02:00

Georg Friedrich Händel
Concerto Grossi Vol.03
Simon Standage, Collegium Musicum 90
Chandos 0622

1 CD - 291 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

This last instalment of this group’s Op. 6 Concertos is as pleasurable as its predecessors (Chandos, 9/97 and 8/98), with playing that is always on its toes – positively twinkling in dance movements such as the concluding fugal gigue of No. 12 (whose theme Handel lifted from a keyboard piece by his childhood teacher, Zachow). The final two concertos, No. 11 in particular, also give Simon Standage an opportunity to shine as a soloist; his ad lib sections are tastefully done, without excesses, and his semiquavers in the variants of the A major Andante are feather-light. Dynamics everywhere are well contrasted in a natural way (no suspicion of being imposed from without), and tempos are nicely judged; a slightly faster repeat of the first half of No. 10’s fifth movement suggests the splicing of a different take. As a fill-up to the series there is the Alexander’s Feast Concerto grosso, for which the string group is joined by oboes and bassoon. The excellent concertino of two violins and cello is thrown into high relief, and the Allegro movements are delightfully springy. Very enjoyable.'

Lionel Salter, Gramophone.co.uk

Schubert: The Hyperion Schubert Edition, Vol. 24 [Hyperion CDJ33024] Schäfer, Ainsley, George, Johnson

2009-04-18T09:21:00.006+02:00

Franz Schubert
The Hyperion Schubert Edition, Vol. 24
Schäfer, Ainsley, George, Johnson
Hyperion CDJ33024

1 CD - 268 MB (ape+cue+log+scans)

This recording has been made available by the kind effort and extreeme
patience of my friend theoadam over at Demonoid. Thanks man!

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Schubert's songs often prove the fact that the best poetry does not always lend itself to a musical setting, and many of his most famous pieces employ less than magnificent texts. Goethe's poetry is the exception that proves the rule. This program consists entirely of songs to poems by the great German writer, and some of them are certainly Schubert's best. Ironically Goethe himself, on being sent a volume of musical settings by Schubert, never even replied to the composer. His lack of musical taste was as legendary as his poetry.

David Hurwitz, Amazon.com

Mozart: Piano Concerto No.25 in C, K503 [Decca 425 791-2] András Schiff, Sándor Végh, Camerata Academica

2009-04-17T10:06:00.002+02:00

Wolfgang Amadeus Mozart
Piano Concerto No.25 in C, K503
András Schiff, Sándor Végh, Camerata Academica
Decca 425 791-2

1 CD - 224 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

Beethoven: Complete String Quartets [Naïve 4871] Quartour Végh

2009-04-14T09:43:00.004+02:00

Ludwig van Beethoven
Complete String Quartets
Quartour Végh
Naïve 4871

8 CD - 2.4 GB (ape+cue+log+scans)

Credits to blackdragon over at Cnfm265.com for make these
recordings available for the essential recordings collection.

Classical Era Essential Recording
The Gramophone Classical Music Guide

These sterling performances have been high among the prime available Beethoven Quartet sets since their initial appearance in the early 1970s as sought-after Telefunken LPs. Naïve's booklet and transfers are the same as those of the 1987 Auvidis Valois set. So what's this release got that the previous one didn't? A bargain price, with the eight CDs marked down to the price of four. These are happy days for Beethoven Quartet lovers: my three favorite complete sets (the others are the Quartetto Italiano on Philips and the Talich on Calliope) are all now available at midprice. All share a concern for mining the music's profundities even if it sometimes means limiting drive and excitement. The Italiano is the best blended and technically secure; the Talich runs them close but tends to stodginess in the Op. 18; and the Végh is as insightful as the Italiano but sometimes the violins tend to hardness. First violinist Sandor Végh's occasional intonation lapses are easily forgivable given his elegant phrasing and stylistic perfection. His dominant role is obvious, but the group is very much in the central European tradition, with tonal balances built from the ground up, with the cello prominent. The Végh has a knack for finding just the right tempo for any given movement, and the four players sniff out the humor in these works as unerringly as they dig deepest into the slow movements. The sound is closeup, detailed and impactful, but excessively bright on top at times. There's more to these masterpieces than any single ensemble, no matter how good, can reveal. So while I could live with any of the three sets cited above, I live much happier with all of them--supplemented with versions by the old Budapest and the newer, exciting Emerson Quartet. Nor would I want to be without the Hollywood and Busch Quartets for the late works. But whatever equation you set for Beethoven sets, the Végh belongs in the mix.

Dan Davis, Classics Today.com

Lully-Moliére: Le Bourgeois Gentilhomme, Campra: L'Europe Galante [DHM GD77059] Gustav Leonhardt, Le Petite Bande

2009-04-11T15:37:00.002+02:00

Lully-Moliére: Le Bourgeois Gentilhomme
Campra: L'Europe Galante
Gustav Leonhardt, Le Petite Bande
DHM GD77059

2 CD - 581 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

Pergolesi: La Serva Padrona [Accent ACC96123D] Sigiswald Kuijken, La Petite Bande

2009-04-10T12:25:00.004+02:00

Giovanni Battista Pergolesi
La Serva Padrona
Sigiswald Kuijken, La Petite Bande
Accent ACC96123D

1 CD - 361 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

Brilliant la serva padrona with a fine coupling. Pergolesi lived for only 26 years (1710-1736) but in his short life he inherited us three unmissable works: The stabat mater, the opera buffa "Lo frate 'nnamorato" (excellent performance of Muti and Teatro alla Scala on EMI) and the intermezzo "La serva padrona". This outstanding intermezzo had a great influence on the development of French opera-comique later. The performance in this CD is good. While Gilbert Bezzina's better performance on disques Pierre Verany is hard to find now, this CD has the advantage of coupling a very good performance of Livietta e Tracollo (from 1734), another intermezzo which although is not as brilliant as the former (1733) La serva padrona, still has some good music.

Customer review, Amazon.com

Janacek: Sinfonietta [Decca 410 138-2] Charles Mackerras, Wiener Philharmoniker

2009-04-07T23:57:00.002+02:00

Leos Janacek
Sinfonietta
Charles Mackerras, Wiener Philharmoniker
Decca 410 138-2

1 CD - 233 MB (ape+cue+log+scans)

Huge thanks to Scoredaddy for providing this wonderful CD
making completion of this collection one step closer.

Into the Future Essential Recording
The Gramophone Classical Music Guide

Josquin Desprez: Missa L-homme armé sexti toni [Astrée Naïve E8809] Fabre-Garrus, A Sei Voci

2009-04-05T21:23:00.004+02:00

Josquin Desprez
Missa L-homme armé sexti toni
Fabre-Garrus, A Sei Voci
Astrée Naïve E8809

1 CD - 338 MB (ape+cue+log+scans)

Allow me to express my huge gratitude towards Ranapipiens
for her help providing this recording. Thank you so much Rana!

Early Music Essential Recording
The Gramophone Classical Music Guide

I'm not going to ramble on here: I'll simply say that this is some of the very best Josquin singing you will ever hear. The interpretation is lush, vivid, and imaginative, the ensemble superb, and the rich colours of this music are enhanced by inspired microphone placement. The final Agnus Dei of the Missa Super Voces Musicales is the most deeply moving passage of music Josquin ever wrote. It is worth the price of the disc for these three minutes alone.

Customer Review, Amazon.com

Händel: Concerto Grossi Vol.02 [Chandos 0616] Simon Standage, Collegium Musicum 90

2009-03-25T22:48:00.004+01:00

George Friedric Händel
Concerto Grossi Vol.02
Simon Standage, Collegium Musicum 90
Chandos 0616

1 CD - 297 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

Expectations aroused by this group’s recording of the first five of Handel’s ever-pleasurable Op. 6 Concertos (9/97) are, happily, fulfilled in this continuation of the set. The same qualities of vitality, clean-cut articulation, crisp rhythm and effective but natural-sounding tonal contrasts are in evidence; and except, rightly, in the sombre colours in the splendid Sixth (G minor) Concerto – here played with Handel’s extra oboe parts and with the agreeable addition of a theorbo to the continuo – there is a general air of cheerfulness about the performances that is most engaging. The fugue in No. 7 is wittily buoyant, the Allegro in No. 9 borrowed from the Cuckoo and the nightingale Organ Concerto could scarcely be more high-spirited, the final Passepied of No. 6 and the Hornpipe of No. 7 are spring-toed; and Standage’s feeling for convincing tempos is nowhere better shown than in the long Musette of No. 6, which too often, in other hands, can drag. Phrasing everywhere is shapely, and the surprise chords that interrupt the flow of No. 8’s Allemande are admirably ‘placed’. (Another surprise here, however, is that the disc’s producer writes that “each of this movement’s two sections is repeated” when he doesn’t make the players do this.) A thoroughly enjoyable disc, cleanly recorded: now for the completion of the 12 concertos, please!'

Lionel Salter, Gramophone.co.uk

Händel: Concerto Grossi Vol.01 [Chandos 0600] Simon Standage, Collegium Musicum 90

2009-03-23T06:00:00.006+01:00

George Frideric Händel
Concerto Grossi Vol.01
Simon Standage, Collegium Musicum 90
Chandos 0600

1 CD - 326 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

What is so pleasing and refreshing about this baroque offering of Handel's Grand Concerto is the period instruments that Collegium Musicum 90 utilizes. It provides a different, yet satisfying sound, with the strings somewhat subdued which this reviewer is pleased by. It seems a modern desire to have the strings rise above the other instruments, but none of that here. It is all well balanced and vibrant. Their is excellent pace and intonation and dynamics in their playing, especially in their delightful rendition of the long Musette in No. 6.

Rodboomboom, Amazon.com

Mussorgsky: Boris Godunov [Philips 462 230-2] Valery Gergiev, Kirov Chorus & Orchestra

2009-03-21T21:12:00.004+01:00

Modest Mussorgsky
Boris Godunov
Valery Gergiev, Kirov Chorus & Orchestra
Philips 462 230-2

5 CD - 1.32 GB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Amazon.com essential recording

Besides being one of the best modern recordings of this masterpiece about a Macbeth-like czar who murders his way to the top, this five-disc set (sold for the cost of three) presents the opera both in its original 1869 version and in its 1872 revision, side by side. The former is clearly not finished: it needs more scenes (key characters have little stage time), and the ones that do exist don't always make their full dramatic impact. However, there's much brilliance even in nascent form, particularly with the composer's discreet breaks with traditional, functional harmony a full 30 years before Debussy. Even passages that sound inept do so eloquently, thanks to Valery Gergiev's seemingly telepathic rapport with Moussorgsky's psychologically penetrating dramaturgy. Key roles are often double cast, which gives vocal and interpretive variety and shows off just how rich the Kirov Opera is in bass voices. I prefer the earlier Boris (the lighter-voiced, more nuanced Nikolai Putilin) to the beefier Vladimir Vaneev in the later version. The later Grigory, Vladimir Galusin, shouts a bit but in a text-attentive way; besides, his character (the pretend czar) is likely to go for bombast. Borodina's Marina is relentlessly imperious and not sufficiently seductive--the one minor problem in this fine, studio-recorded set that signals a great sonic improvement over Kirov's more fatiguing outings in the Mariinsky Theatre.

David Patrick Stearns, Amazon.com

Weber: Der Freischütz [DG 457 736-2] Janowitch, Mathis, Schreier, Adam, Carlos Kleiber, Staatskapelle Dresden

2009-03-14T00:40:00.005+01:00

Carl Maria von Weber
Der Freischütz
Janowitch, Mathis, Schreier, Adam, Carlos Kleiber, Staatskapelle Dresden
DG 457 736-2

2 CD - 462 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential.

Thomas May, Amazon.com

Albéniz: Iberia, Navarra, Suite Espanola [Decca 417 887-2] Aligia de Larrocha

2009-03-13T23:22:00.004+01:00

Isaac Albéniz
Iberia, Navarra, Suite Espanola
Aligia de Larrocha
Decca 417 887-2

1 CD - 360 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Larrocha has recorded the Iberia suite several times, every new performance has been better than the last, and this is the best. Her playing concentrates on the melody and the flavor of each theme, she does not play every note as loud as the others, she plays the melody clear and the accompaniment in the background. Remember Iberia is a thematic suite, it has to capture the essence of the places each piece represents, and Alicia does that with rhythm and sentiment, not with sheer virtuosity.

I have listened to this suite with other players, like Granados, and this is definitely the best I've heard. Sound quality is also very good. Buy this set even if you have other recordings of Iberia, you wont regret it.

C. Ruiz, Amazon.com

Schoenberg: Verklärte Nacht, Piano Pieces, Five Orchestral Pieces [Teldec 4509 98256-2] Barenboim, Chicago Symphony Orchestra

2009-03-13T22:54:00.004+01:00

Arnold Schoenberg
Verklärte Nacht, Piano Pieces, Five Orchestral Pieces
Barenboim, Chicago Symphony Orchestra
Teldec 4509 98256-2

1 CD - 254 MB (ape+cue+log+scans)

Into the Future Essential Recording
The Gramophone Classical Music Guide

This disc successfully brings together four very different Arnold Schoenberg compositions. First is the tonal, post-romantic tone poem, Transfigured Night. Next are the Three Piano Pieces, amongst the first of Schoenberg's truly atonal compositions. The Five Orchestral Pieces are a continuation of his atonal experimentaion on a larger scale. Last are the Six Little Piano pieces, Schoenberg's first realization of of his serialist theories. The Busoni arrangement of the second of the Three Piano Pieces is on there too, but it is primarily of musicological interest.

Under Barenboim's direction, the Chicago Symphony performs brilliantly. They bring out the romantic beauty in Transfigured Night. The Five Orchestral Pieces, presented in their original orchestration, are particularly intense. Barenboim's work at the keyboard is illuminating in that he plays with real emotion. Schoenberg's piano music is too often considered cold and formulaic. Upon examination, it is clear that every last detail has been fully considered in the context of the entire piece. Barenboim finds the dramatic arc of these works and brings it to the forefront.

Teldec's packaging and liner notes are commendable. There are several essays, Schoenberg's own explanation of Transfigured Night, and an interview with Daniel Barenboim.

Peter Mondelli, Amazon.com

Various: The Spirits of England and France Vol.2 [Hyperion CDA66773] Christopher Page, Gothic Voices

2009-03-13T22:41:00.001+01:00

Various Composers
The Spirits of England and France Vol.2
Christopher Page, Gothic Voices
Hyperion CDA66773

1 CD - 240 MB (ape+cue+log+scans)

Thanks to the original uploader for making
this recording available for this collection.

Early Music Essential Recording
The Gramophone Classical Music Guide

Catchy popular tunes are not a modern invention. Neither are poet-musicians with uniquely poignant, pertinent comments about life and love. All these things were very much a part of life in 12th- and 13th-century France, represented in the vast repertoire of the trouveres (northern provinces) and troubadours (southern provinces). This disc explores a tiny fraction of trouvere songs exemplified in the grand chant,a protracted meditation on the fortunes of loving, the jeu parti,a debate concerning questions of love, the chanson de toile,a song women sang as they embroidered, the pastourelle, the descort, the balade, and dansa. Each of these types of song had a particular poetic form and subject. Five different singers, unaccompanied or variously joined by bagpipe, percussion, fiddle, or medieval lute, give engaging and musically solid interpretations that deserve serious attention by all lovers of early music and singing.

David Vernier, Amazon.com

Various: The Marriage of Heaven and Hell [Hyperion CDA66423] Christopher Page, Gothic Voices

2009-03-13T22:34:00.006+01:00

Various Composers
The Marriage of Heaven and Hell
Christopher Page, Gothic Voices
Hyperion CDA66423

1 CD - 190 MB (ape+cue+log+scans)

Thanks to the original uploader for making
this recording available for this collection.

Early Music Essential Recording
The Gramophone Classical Music Guide

A wonderful collection. Lusciously sung sensuous music... a remarkable addition to the distinguished series of records from Gothic Voices.

Gramophone.co.uk

Monteverdi: Vespro della Beata Vergine 1610 [Virgin 561662-2] Andrew Parrott, Taverner Consort, Choir & Players

2009-03-13T21:15:00.003+01:00

Claudio Monteverdi
Vespro della Beata Vergine 1610
Andrew Parrott, Taverner Consort, Choir & Players
Virgin 561662-2

2 CD - 577 MB (ape+cue+log+scans)

Yet another great recording provided with kind help
of Scoredaddy over at Scoredaddy.blogspot.com

Baroque Era Essential Recording
The Gramophone Classical Music Guide

Andrew Parrott's recording is rightly considered by critics and listeners alike as THE recording of Monteverdi's Vespers of 1610. Using minimal forces, the individual voices layering upon one another can be clearly heard, not drowned out into a mass of sound as in many "fuller" recordings. The only other "five-star" recording of the Vespers is the Konrad Junghanel with Cantus Colln. If I could only own one recording of this work, the Andrew Parrott would me the one.

Frederick II of Hohenstaufen, Amazon.com

Couperin: Leçons de Ténèbres [Erato 0630 17067-2] Daneman, Petibon, William Christie, Les Arts Florissants

2009-03-13T19:52:00.003+01:00

Francois Couperin
Leçons de Ténèbres
Daneman, Petibon, William Christie, Les Arts Florissants
Erato 0630 17067-2

1 CD - 213 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

It figures that the ensemble most responsible for the French Baroque revival is the one to outdo Nelson and Kirkby's legendary recording of these lamentation settings. Sophie Daneman and Patricia Petibon don't have the earlier pair's gorgeous, distinctive voices (both occasionally wobble above the staff), but they sound plenty beautiful. More importantly, they've managed to make these major-key pieces sound like lamentations. Twenty years ago, Kirkby and Nelson were pioneers: merely singing with their white tone was risky; they couldn't take many chances with rhythmic freedom. Daneman and Petibon have had time to internalize Couperin's style: they can push ahead here, hold back there, extend an unaccompanied phrase and let it drop off suddenly--following rhetoric more than rhythm, they take your breath away.

Matthew Westphal, Amazon.com

Various: The Art of the Netherlands [Virgin 5 61334 2] David Munrow, The Early Music Consort London

2009-03-13T19:15:00.004+01:00

Various Composers
The Art of the Netherlands
David Munrow, The Early Music Consort London
Virgin 5 61334 2

2 CD - 490 MB (ape+cue+log+scans)

Thanks to the original uploader for making
this recording available for this collection.

Early Music Essential Recording
The Gramophone Classical Music Guide

Virgin’s David Munrow Edition was issued to commemorate the twentieth anniversary of the unfortunate passing of this amazing man who influenced the British early music scene at the beginning of the seventies like no other – as musicologist, music journalist, musical instrument collector and, of course, as performer. “The Art of the Netherlands” was originally a 3-LP collection, one of the last that Munrow made, having been recorded in London’s Abbey Road studios in February and April 1975. As might be expected from such a collection, it offers an overview of the creative efforts of the Dutch-Flemish school of composition between approx. 1450 and 1550. The first of the two CDs is devoted entirely to secular songs by Josquin Desprez, Heinrich Isaac, Hayne van Ghizeghem (with arrangements by Alexander Agricola), Antoine Brumel, Johannes Ghiselin, Jacob Obrecht, Johannes Ockeghem and Antoine Busnois – most of these names will be familiar to those who love the choral music of this age, but of the songs here presented, only a few are commonly performed. Munrow’s performance practice, using countertenors and a whole array of mediaeval and renaissance instruments as accompaniment, could raise an eyebrow today, a more puristic approach being generally preferred, but the result is definitely worth hearing, with some excellent singing by James Bowman and a team of up to fourteen singers. The sound quality is excellent, although the stereo panorama does not appear to be as broad as on some other Munrow discs.

The second of the two CDs is divided between a composite mass that Munrow has put together from movements by Johannes Tinctoris, Brumel, Josquin, Pierre de la Rue and Isaac, and a series of sacred and Marian motets by Obrecht, Compère, Josquin, Jean Mouton, Ockeghem, Obrecht and La Rue (with alternative ascriptions in some cases and complemented by the usual anonymi). This second disc is strictly vocal without instrumental accompaniment, something that is not only historically accurate but also makes for absolute clarity in listening. Munrow’s choir is made up of men only except on one single track where he uses two sopranos; the voices are superb and enable one to revel in this delightful music. The way bass Terry Edwards maintains the deep tessitura in some of the motets is, I find, particularly impressive. Of course, there are plenty of recordings around today (in the meantime 30 years have passed) with this kind of music sung by mixed choirs (Tallis Scholars, the Sixteen) in impeccable performances, but Munrow and his all-male team are still able to hold their own after all these years.

Leslie Richford, Amazon.com

Various: The Art of Courtly Love [Virgin 5 61284 2] David Munrow, The Early Music Consort London

2009-03-13T18:55:00.003+01:00

Various Composers
The Art of Courtly Love
David Munrow, The Early Music Consort London
Virgin 5 61284 2

2 CD - 720 MB (ape+cue+log+scans)

Thanks to the original uploader for making
this recording available for this collection.

Early Music Essential Recording
The Gramophone Classical Music Guide

One of the finest early music performances ever recorded and an intriguing work of scholarship besides. This was originally released back in the early 1970's by the late David Munrow as a three album box set.
The first part of this recording is basically dedicated to Machaut and his contemporaries. The chanson -Amours me fait desirer- remains striking to this day, with its unusual leap in its first measures. -Amis tout dous- is a lovely miniature, and so also is the monophonic -Quant je sui mis au retour-. But the high point of this part of the record is -Quant j'ay l'espart-, a duet between countertenor and bass cornetto (a serpent?), understated and heartbreaking.

The second part is weirdness from the Avignon court of the Popes, the time when rhythmic notation got more sophisticated, and composers grew more experimental. The unusual chromaticism of -Fumeux fume- is given a great performance here. The -Tre fontane- estampie is given a reading here that is truly frenzied. -Plasanche, ou tost- is a lovely song. You also get rhythmic oddities like -Le greygnour bien-.

The third album nears Renaissance music, and focuses on Dufay and Binchois. Loud instruments like sackbuts and shawms are featured on pieces like -Donnes l'assault-, which seems risky, but sometimes works. The usually quiet pieces on the -La Spagna- ground are here given a marching-band performance on loud winds. The real high points here, though, are the motet -O tres piteulx-, Binchois absolutely gorgeous -Amoureux suy-, and the setting of Petrarch's -Vergine bella-.

This is a definitive early music performance that should never be allowed to go out of print. My only complaint with the CD edition is that it lacks some of the more extensive notes that came with the phonograph record booklet.

S. Gustafson, Amazon.com

Stravinsky: Stravinsky Edition Vol.02 Ballets Vol.II [Sony SM3K 46 292] Igor Stravinsky

2009-03-13T18:20:00.003+01:00

Igor Stravinsky
Stravinsky Edition Vol.02 Ballets Vol.II
Igor Stravinsky
Sony SM3K 46 292

3 CD - 883 MB (ape+cue+log+scans)

Into the Future Essential Recording
The Gramophone Classical Music Guide

Telemann: Musique de Table [Naxos 8.553732] Orchestra of the Golden Age

2009-03-13T06:00:00.006+01:00

Georg Philipp Telemann
Musique de Table
Orchestra of the Golden Age
Naxos 8.553732

1 CD - 313 MB (ape+cue+log+scans)

Allow me to express my huge gratitude towards Scoredaddy
for his help providing this recording. Thanks my friend!

Baroque Era Essential Recording
The Gramophone Classical Music Guide

As with other of the earlier Tafelmusik disks in this set , the fourth disk begins with a multi-movement overture in a style whose "Frenchness"(.g. "Flaterie", and "Badinage") is hardly matched even by real French Baroque composers. It's hard to grasp how Telemann could have done it all: be a master of music for every instrumental combination, occasion, and national style (e.g. Les Nations), be sought after by the royal courts of his time, yet have a heart to provide interesting music for the amateur performer, and initiate the first public concerts in Germany; write his own poetry, and engrave his own music. Combine all this with his incredible productivity and it's not hard to understand why he was rated at the head of German composers. The most unusual instrumental feature in this disk is the concerto for two horns and strings in E. Although less technically demanding than Mozart's concerto work for this instrument, it's strong melodic inspiration and, as usual, effective use of the instrument make the concerto a favorite in horn student recitals.

Again, with respect to performance style, I did wish especially in the Quartet for flute, violin, cello and continuo, as well as other pieces for a bit more meat and less delicacy. The performers got bolder in the very last "Conclusion", a short but pungently complex conclusion to the opening Overture, scored for oboes, strings and continuo. Some of the harmonic and rhythmic interplays seem to touch even a bit of early 20th Century at times. I'm going to have to listen a number more times to figure out what I really think of how they did this one. Readers should note that the disk numbers do not correspond with the original Tafelmusik series, which are 3 in number.

Frank T. Manheim, Amazon.com

Spohr: Octet Op.32 , Nonet Op.31 [Hyperion CDA66699] The Gaudier Ensemble

2009-03-12T16:31:00.005+01:00

Louis Spohr
Octet Op.32 , Nonet Op.31
The Gaudier Ensemble
Hyperion CDA66699

1 CD - 273 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

In his day, Spohr was one of the most highly regarded violinists and composers in the German-speaking world. Until eclipsed by Mendelssohn and Schumann, he was regarded as the greatest symphonist after Beethoven. And while his symphonies and even concertos are getting a new lease on life thanks to recordings, the two works on the present disc confirm for me that Spohr's finest and most memorable music is contained in his chamber works.

If you are looking for profundity on the order of late Beethoven or Schubert, you won't find it in Spohr. At least, if it exists in Spohr, I am still searching also. Spohr's muse is essentially lyrical, and gracious melody rather than deep drama is his forte. The dark little Adagio introduction of the Octet quickly evaporates into a sweet first melody that allows for gentle iterations by horn, clarinet, and violin one after another. In fact, one of the great strengths of both the Nonet and Octet is how fully Spohr exploits all of his instruments while at the same time creating highly compelling musical structures. This is quite a feat in the Nonet, a form that apparently only Boccherini had assayed before.

Both works were commissioned by a rich Viennese textile manufacturer named Tost, whom scholars think is also connected with Haydn's Opus 64 String Quartets (though there is some confusion on this issue). Since Tost wanted to introduce the Octet in England, it features a slow movement the English could embrace immediately, based on Handel's "Harmonious Blacksmith." Spohr broadens and "romanticizes" Handel's jaunty little tune and creates a series of wholly characteristic variations that are about as far removed from Handel's working of the theme as Brahms's in his "Handel Variations." Perhaps the most interesting movement, though, is the restless Minuet, which is really a scherzo cast in the minor key and "rich" in the dissonances that Beethoven objected to in his friend and colleague's music.

The Scherzo of the Nonet, with its two trios, is more conventional but no less attractive. The first trio, with its leading part for the violin, sounds like Schubert at his most lyrical. But it's the bubbly rondo finale that is the irresistible movement in this work. It's the kind of music you come away from whistling to yourself.

The Gaudier Ensemble plays all of this music wonderfully, with tenderness in the slow movements, verve in the fast ones, and beauty of tone throughout. Hyperion's sound, as usual, is rich and truthful, having a real sense of presence. No great profundities, maybe, but this is entertainment of the highest order, ideally presented.

M.C. Passarella, Amazon.com

Mendelssohn: A Midsummer Night's Dream [EMI CD-EMX 9518] Litton, London Philharmonic Orchestra

2009-03-12T16:21:00.004+01:00

Felix Mendelssohn
A Midsummer Night's Dream
Litton, London Philharmonic Orchestra
EMI CD-EMX 9518

1 CD - 174 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Litolff: Concerto Symphonique No 4 Op 102 [Hyperion CDA66889] Donohoe, Litton, Bournemouth Symphony Orchestra

2009-03-12T05:28:00.005+01:00

Henry Charles Litolff
Concerto Symphonique No 4 Op 102
Donohoe, Litton, Bournemouth Symphony Orchestra
Hyperion CDA66889

1 CD - 261 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

The Scherzo from Litolff's Fourth Concerto has long been a Classical lollipop; now find out what the rest sounds like … Litolff was one of the great virtuosi of the nineteenth century. His five Concertos Symphoniques (the first of which is now unfortunately lost) were of major influence in the transition from the Classically-derived concertos of Hummel, Moscheles and Chopin to the more symphonic late-Romantic concertos. He pioneered the use of a four-movement structure which included a Scherzo (as in Brahms's Second Concerto) and gave the orchestra much more of the thematic material. Indeed, although the piano writing is very brilliant, much of it is accompanimental.The Second Concerto is a real rarity, the orchestral parts proving very hard to locate. This is probably its first performance in over 130 years.

Hyperion Records

Shostakovich: Symphony No. 10 [EMI 555 232-2] Mariss Jansons, The Philadelphia Orchestra

2009-03-10T18:16:00.006+01:00

Dmitri Shostakovich
Symphony No. 10
Mariss Jansons, The Philadelphia Orchestra
EMI 555 232-2

1 CD - 282 MB (ape+cue+log+scans)

Into the Future Essential Recording
The Gramophone Classical Music Guide

For all the attention concert halls pay to the classically oriented, easily accessible, popular Symphony No. 10 of Dmitri Shostakovich there are not as many viable choices for recorded performances of this work as there are of, say, the also popular 5th Symphony. This fine recording with Mariss Jansons conducting the Philadelphia Orchestra dates back to 1995 and oddly there are few subsequent recordings to equal it.

Part of the power of this long symphony in which Shostakovich released his frustrations and fears of the Stalin regime and celebrated the death of the tyrant is in the construction of the score: the opening movement marked Moderato uses the entire orchestra in conversations between massed strings, massed brass, solo winds, and various percussion to open seething wounds of a people (and artist) downtrodden by the dictatorship of Stalin; the second movement Allegro is a musical portrait of Stalin in all of its cynicism and military march motifs; the third movement Allegretto is a waltz based on Shostakovich's personal reaction to Stalin and the USSR and its leitmotif is based on the notes D, E-flat, C, and B which correspond to the D-S-C-H, the first initial and the first three letters of his last name; the final movement Andante-Allegro brings all the repression and agony to a close with a finale 'resolute assertion of the individual's triumph over a souless, dehumanizing regime'.

But the real power of this epic work is by far better experienced in the concert hall where there is a direct communion between the orchestra and the audience. A recent performance in the Los Angeles Disney Concert Hall with Esa-Pekka Salonen is full control of this mighty work reveals just how powerful is this symphony. The acoustics of the hall allowed the phenomenal range of color of this splendid symphony to triumph. One only hopes a recording is forthcoming.

The idea of adding Shostakovich's orchestration for the Mussorgsky 'Songs and Dances of Death' as beautifully sung by Robert Lloyd is a fine bonus for this CD. The performance is radiant. (The LA Phil performance included Peter Lieberman's 'Neruda Songs' premiere with Lorraine Hunt Lieberson in an otherworldly, breathtakingly beautiful performance - a striking love-drenched polar opposite to the following stridency of the Shostakovich 10th).

There are other recordings of the 10th that have fine performances but for the overall conception and brilliance of reading the Jansons is for this listener the finest for the time being.

Grady Harp, Amazon.com

Britten: The Turn of the Screw [Decca 425 672-2] Peter Pears, Benjamin Britten, English Opera Group Orchestra

2009-03-08T15:40:00.004+01:00

Benjamin Britten
The Turn of the Screw
Peter Pears, Benjamin Britten, English Opera Group Orchestra
Decca 425 672-2

2 CD - 417 MB (ape+cue+log+scans)

Into the Future Essential Recording
The Gramophone Classical Music Guide

The original version of Turn of the Screw, featuring the fluid tenor of the composer's lover Peter Pears, is still the stand-out. Based on a Henry James novella, this ghost story probes a very current theme (one found in the film L.I.E. or the Catholic priest sex scandals): man-boy seduction. Pears' character Quint (a musical pun on its use of fifths), the libretto implies with typical British indirection, had sex with the boy Miles.

Even from beyond the grave, he continues his seduction with the honeyed words of librettist Piper and some haunting mellifluous melody by Britten. Miles' sister Flora is suffering a parallel seduction by salacious nanny Miss Jessel, which is less compelling, perhaps because it's less dear to James' or Britten's "haunted hearts."

The children's governess, a prudish Pollyanna, is horrified as Miles and Flora begin to seem autistic, listening to other voices only they can hear. Miles utters blasphemies as church bells ring, a sign of his influence under a pagan and pederastic seducer. The showdown comes at the end when Miles dies inexplicably. Morgan of James' short story "The Pupil" dies in this way too; for Henry James, then, the tension of oncoming pedophiliac consummation is mysteriously fatal.

Tension and mystery pervade Britten's score, but so does the detached melancholy of the inevitable. Britten whisks us through a kaleidoscope of emotions in this atmospheric chamber opera--The governess' nervous anticipation before meeting the children, her excitement upon meeting them, her numbing fear that all is not right at the manor house Bly. The boisterous group recitation of Miles' Latin lessons transforms into the boy's solo lament "Malo."

Britten's melodies all over this opera are as catchy as pop song hooks. It is the best contribution England has made to a largely Italian art form. Its tension, horror, and otherworldliness are strangely addictive. The way Britten uses strings to mimic a horse-drawn carriage or piano to darken Mozart under Miles' fingers is brilliant. This is a brooding masterpiece that rewards muliple listening.

Christopher Schmitz, Amazon.com

Vanhal: Symphonies [Teldec 0630 13141-2] Concerto Köln

2009-03-08T11:06:00.006+01:00

Johann Baptist Vanhal
Symphonies
Concerto Köln
Teldec 0630 13141-2

1 CD - 354 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

These are works of vivid and lively invention which also embrace a wide diversity of approach… The Concerto Köln play with spirit, enthusiasm and style.

The Penguin Guide

Mozart: Don Giovanni [EMI 556 232-2] Wächter, Sutherland, Schwarzkopf, Giulini, Philharmonia Orchestra

2009-03-04T17:09:00.005+01:00

Wolfgang Amadeus Mozart
Don Giovanni
Wächter, Sutherland, Schwarzkopf, Giulini, Philharmonia Orchestra
EMI 556 232-2

3 CD - 716 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

This is, in the opinion of many critics, the best recording of the greatest of all operas. The cast is a who's who of great singers from the early stereo era (1959) when the recording was made. At the top of the cast, the young Joan Sutherland, whose fresh, agile voice, opulent in tone even at the top of its range, had recently hit the international operatic scene like an earthquake. In the title role, Eberhard Waechter portrays a man obsessed with sex as a game that he must win at any cost--and keeps on losing. Giuiseppe Taddei brings depth and ingenuity to the comic role of the valet Leporello; Luigi Alva treats two of the greatest tenor arias ever written in limpid bel canto style; Carlo Maria Giulini leads a great orchestra with a superb, synergistic balance of musical and dramatic values.

Joe McLellan, Amazon.com

Mozart: Complete Mozart Edition - String Quintets [Philips 422 511-2] Grumiaux-Trio, Arpad Gérecz, Max Lesueur

2009-03-02T19:49:00.004+01:00

Wolfgang Amadeus Mozart
Complete Mozart Edition - String Quintets
Grumiaux-Trio, Arpad Gérecz, Max Lesueur
Philips 422 511-2

3 CD - 785 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

Arthur Grumiaux's performances of Mozart, whether of the violin concertos, the sonatas, or various chamber pieces with violin, were marked by patrician elegance and an unfailing sense of style. For this 1973 recording of the string quintets, arguably the summit of Mozart's chamber output, Grumiaux surrounded himself with musicians of a similar stripe, and the result remains among the treasures of the catalog. By today's standards, the performances may sound just a bit laid-back and relaxed, but the ensemble is marvelous, and the beauty of tone Grumiaux and company achieved in these readings has rarely been approached on disc since. The analog recording is splendid.

Ted Libbey, Amazon.com

Haydn: The Creation [Archiv 449 217-2] John Eliot Gardiner, Monteverdi Choir

2009-03-02T08:33:00.003+01:00

Joseph Haydn
The Creation
John Eliot Gardiner, Monteverdi Choir
Archiv 449 217-2

1 CD - 373 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

Gardiner's "Schoepfung" is marvellously performed! It is a delight from start to finish and a real "authentic" rival to the classical Karajan set. All the artists (Sylvia McNair/Gabriel, Michael Schade/Uriel, Gerald Finley/Raphael, Rodney Gilfry/Adam, Donna Brown/Eva - for those who searched in vain for the list of performers on the product information page) are perfectly cast and sing with real zest. Sylvia McNair, whose silvery voice can often go off pitch and whose short breath sometimes cuts musical phrases too early (not obtrusively here), works wonders with the dove trill in the famous avian aria "Auf starkem Fittiche" (CD 1, track 16) - her GIRRT in "Und Liebe girrt das zarte Taubenpaar" (track 16, 2'16'') is a pure delight (try now Janowitz on DG). It is just a small detail, but the whole performance is full of these delightful vocal and orchestral little touches and full of "creative" sparkles. I recommend it wholeheartedly to everybody, even those who believe that they found the perfect "Creation" in the Karajan's set. I only wonder about that "technical glitch" a reviewer from Oakland mentions below. Is it the volume of the choral explosion "Und es ward Licht!"? If so, I believe that this very loud cry works very effectively here (I heard it done much louder). Everybody who knows Haydn's masterpiece waits for this particular moment with hands close to the ears. But the newcomers should be warned (STOP READING HERE IF YOU DON'T WANT TO BE DEPRIVED OF A SURPRISE) - don't turn the volume up when the chorus is hardly audible in the 2 track of the first CD (around the 2nd minute). It is as if Haydn anticipated the Big Bang!

Izolda, Amazon.com

CPE Bach: Symphonies Nos. 1-4, Cello Concerto in A [HMU807403] Alison McGillivray, Andrew Manze, The English Concert

2009-03-01T07:42:00.005+01:00

Carl Philipp Emanuel Bach
Symphonies Nos. 1-4, Cello Concerto in A
Alison McGillivray, Andrew Manze, The English Concert
HMU807403

1 CD - 316 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

C.P.E. Bach, gifted son and pupil of the great Johann Sebastian, composed dramatic and powerful Symphonies which form a musical bridge between the Baroque and Classical fashions, and which influenced both Mozart and Beethoven. Joined for the Cello Concerto by Alison McGillivray, The English Concert led by Andrew Manze give con brio performances.

Harmonia Mundi.com

Beethoven: Fidelio [Naxos 8.660070-71] Michael Halasz, Budapest Nicolaus Esterhazy Sinfonia

2009-02-28T20:39:00.003+01:00

Ludwig Van Beethoven
Fidelio
Michael Halasz, Budapest Nicolaus Esterhazy Sinfonia
Naxos 8.660070-71

2 CD - 493 MB (ape+cue+log+scans)

Classical Era Essential Recording
The Gramophone Classical Music Guide

This is a really well sung, nicely conceived, Classical reading of Beethoven's great Fidelio. Lying somewhere between all of Furtwängler's recordings and Klemperer's monumental, darkly hued, dramatic-voiced (the dusky-toned Vickers and Ludwig) reading and Harnoncourt's chamberish interpretation (with the lighter-voiced Peter Seiffert and Charlotte Margiono), Michael Halász leads a brisk performance with what seems to be a not-quite full-sized orchestra and emphasizes the humanity of our hero and heroine - a pair of regular types who rise heroically to the occasion. Both Nielsen and Winbergh are Scandinavian, and the typically bright northern sounds they make are most welcome, particularly since they sing every note, pay attention to the words and seem geniunely involved. Their sounds qua sound may not be heroic, but their singing of their individual arias and the notoriously thorny "O namenlose Freude" certainly is. Alan Titus's big voice almost solves the problems in Pizarro's clumsily composed music (does anyone sound comfortable in this role?) and Kurt Moll's luxurious bass is almost too golden for Rocco, though he plays the bumpkin well. Pecoraro and Lienbacher are a nice Jaquino and Marzelline, but the singer who tries to get his frayed voice around Don Fernando's music is so bad that it could be seen as a political statement. The chorus is concerned and intense when needed, and the same might be said for the orchestra. Perhaps not a Fidelio to stun one's senses, but I'll be happy to return to it again and again, particularly for our leading man and lady.

Robert Levine, Classics Today.com

Monteverdi: Ottavo Libro dei Madrigali [Opus111 OPS30-187] Rinaldo Alessandrini, Concerto Italiano

2009-02-28T07:56:00.004+01:00

Claudio Monteverdi
Ottavo Libro dei Madrigali
Rinaldo Alessandrini, Concerto Italiano
Opus111 OPS30-187

1 CD - 319 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

The madrigals in this book, aptly titled by Monteverdi "Madrigals of War and Love," range from solo voice or duo with continuo to works for eight singers and strings. Concerto Italiano gives a magnificent performance: the opening of "Hor che'l ciel" is daringly slow and still, only to give way suddenly to the narrator's cries of torment; "Ardo, avvampo" proceeds from the thrilling chaos of fire alarms to an extraordinary hush as two tenors end the piece in unison. In the famous "Lamento della ninfa," the musicians have found a way to follow Monteverdi's instructions that the three men should sing in strict tempo ("following the hand"), while the solo soprano nymph sings her lament in freer time, "following the heart." The result is astonishing.

Matthew Westphal, Amazon.com

Händel: Messiah [Archiv 453 464-2] Paul McCreesh, Gabrieli Consort & Players

2009-02-27T19:26:00.002+01:00

Georg Frideric Händel
Messiah
Paul McCreesh, Gabrieli Consort & Players
Archiv 453 464-2

2 CD - 576 MB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

You would think that everyone in the world owned a copy of Messiah by now, and that there would certainly be no need to record new ones very year. Wrong! Here's DG's 1997 entry, and it's a fine one too. The only reservation is the recorded sound, which seems to be somewhat congested at the climaxes, as though the chorus and orchestra were recorded in differing acoustic spaces. Otherwise, this is as fine an "authentic" performance as we're likely to get.

David Hurwitz, Amazon.com

2009-02-27T05:58:00.002+01:00

Georg Frideric Händel
Giulio Cesare
Larmore, Schlick, Fink, René Jacobs, Concerto Köln
HMC901385.87

4 CD - 1.04 GB (ape+cue+log+scans)

Baroque Era Essential Recording
The Gramophone Classical Music Guide

This is one of Handel's most powerful scores--in which history, wonder of wonders, is hardly mangled at all--and Jennifer Larmore's singing in the title role, heading a strong cast, makes this version a must-own for anyone with an interest in this music. Conductor René Jacobs has produced what amounts to a critical edition of Handel's score and has found the singers to do it justice. Barbara Schlick is a strong, believable Cleopatra, and Derek Lee Ragin's slightly whiny timbre is well-suited to the character of Ptolemy. Jacobs leads this dramatically engaging performance with thoughfulness and energy.

Sarah Bryan Miller, Amazon.com

Wagner: Tristan und Isolde [DG 449 772-2] Nilsson, Windgassen, Ludwig, Talvela, Waechter, Böhm, Bayreuth Festspiele 1966

2009-02-26T06:01:00.003+01:00

Richard Wagner
Tristan und Isolde
Nilsson, Windgassen, Ludwig, Talvela,
Waechter, Böhm, Bayreuth Festspiele 1966
DG 449 772-2

3 CD - 1.05 GB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Recorded in performance, but one act at a time so that the principals could sing full-out, this is one of the most electrifying opera recordings of the stereo era. Birgit Nilsson blazes as Isolde, and Wolfgang Windgassen's Act-III evocation of the delusional Tristan is heart-wrenching. Karl Böhm inspires transcendent playing from the Bayreuth forces, and the sound is stunning.

Ted Libbey, Amazon.com

Verdi: La Traviata [EMI 556 330-2] Callas, Krauss, Serini, Ghione, Lisbon San Carlos National Theatre Orchestra

2009-02-24T08:56:00.008+01:00

Giuseppe Verdi
La Traviata
Callas, Krauss, Serini, Ghione, Lisbon San Carlos National Theatre Orchestra
EMI 556 330-2

2 CD - 408 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

When people mention the opera La Traviata, this recording usually comes up first in the opera conoisseur's list of Traviatas for sound, quality, and cast. Violetta, being Maria Callas' favorite role after Norma, allows her to explore the intricacies of her voice along with her dramatic prowess on stage. Although you can listen to the great La Scala Traviata of 1955 (inarguably the year of her prime), this Traviata has a lot to offer which that Traviata won't. First of all, this recording boasts excellent sound, something which you can't get from the recordings of that period. Second, the cast here is stronger than that of the first recording. While Giuseppe di Stefano and Ettore Bastianini were great partners, and Giulini was a great Verdian conductor, Ghione was great it in his own respect. Plus, the sound is infinitely better. You can hear every detail of Maria's Violetta in this recording. Alfredo Kraus is a more graceful Alfredo, and I believe Mario Sereni as Giorgio Germont is amazing as well. Alfredo's voice is more ideal for the role of...Alfredo! Callas' feel for the role has also developed, and I think she gives a much better performance here than she did in La Scala, the lighter quality of her voice favored for Violetta's condition as a moribundo. And, Maria follows everything in the score while giving this a lot of dramatic truth. Maria can do a triple piano, something only VERY VERY FEW sopranos can do. She truly is the Violetta of this century. Listen to the letter scene and Addio del Passato, which I believe are the most heart-breaking versions of the aria and recitativo I've ever heard. There's no arguing here that Callas is Violetta. Lovely coloratura, amazing pianissimo, great interpretation, beautiful woman, great looks, great stage presence rolled in one amazing package. As for the music, Ghione conducts the performance wonderfully, although I still like Giulini's handling of Verdi's score. This is THE Traviata to own.

Alessandro Visconti, Amazon.com

Brüll: Piano Concertos Nos. 1&2 [Hyperion CDA67069] Roscoe, Brabbins, BBC Scottish Symphony Orchestra

2009-02-23T08:48:00.005+01:00

Ignaz Brüll
Piano Concertos Nos. 1&2
Roscoe, Brabbins, BBC Scottish Symphony Orchestra
Hyperion CDA67069

1 CD - 268 MB (ape+cue+log+scans)

Thanks to the original uploader for making
this recording available for this collection.

Romantic Era Essential Recording
The Gramophone Classical Music Guide

Ingratiating Throwbacks. The most remarkable fact about the three works on this CD is how little advance of compositional technique they represent, though written over the course of 41 years. The truth is that Brull was a conservative composer, never leaving the Schumann-Mendelssohn Club that he entered with his earliest compositions. Though written when Brull was only 15, the First Concerto bears the opus number ten, and by the time he wrote it, Brull was a remarkably mature composer. It is a little too much indebted to his models and rather wanting in the memorable-melodies department, but it is a pleasant, precocious work nonetheless.

Brull was an old hand by the time he crafted his Second Concerto, and this one has more character and should be revived occasionally in the concert hall. (Once in a while, I'd rather hear it than the two-thousandth Tchaikovsky First of the season!) It begins with an arresting martial or perhaps hunting theme that reminds one of early Richard Strauss, who was also a member of the Club. The slow movement is somewhat more heartfelt than the First Concerto's, and the last movement offers as wild and virtuosic a ride as a musical reactionary is likely to provide.

Though written in 1902, when there were certainly few adherents of the Club, the Andante and Allegro still display Brull's long-established credientials. To be fair, the Andante has something of the Brahmsian elegiac about it and is more ripely scored than the earlier, more classically minded pieces. And the Allegro is a folkish affair that Brull's friend Carl Goldmark might have penned. Still, if Schoenberg could call Brahms a musical radical, one would never think of Brull as one.

I have nothing but praise for Martin Roscoe's performance. If he is steely fingered in the virtuoso passages of the Second Concerto and the Allegro, these pieces call for such treatment. And he does just as well by the elegiac, turning in poetic performances of the slow movements. The Scottish orchestra is fine, too, under Brabbins' direction. It sounds smallish, and that is just right: This classical-academic music should sound lean, with no late-Romantic bloat. I'm happy I got to know this music and these performances.

Amazon.com

Alkan: Grande Sonata 'Les Quatre Ages', Sonatine, Le Festin d'Esope [Hyperion CDA66794] Marc-André Hamelin

2009-02-22T08:29:00.004+01:00

Charles-Valentin Alkan
Grande Sonata 'Les Quatre Ages', Sonatine, Le Festin d'Esope
Marc-André Hamelin
Hyperion CDA66794

1 CD - 241 MB (ape+cue+log+scans)

Romantic Era Essential Recording
The Gramophone Classical Music Guide

An Inimitable Masterpiece. There are special moments in life when you remember exactly what you were doing when it happened. I remember exactly what I was doing when I first heard Bruckner's Eight (Guilini), Mahler's Second (Bernstein), Liszt Sonata (Horowitz), Gaspard de la Nuit (Michelangeli), and I can still hear to this day Richter's Schuman Symphonic Etudes, just to name a few. They were all life-changing events. My friend and I were having dinner when Hamelin's Grande Sonata appeared from the radio. Wow! I remember asking, "What crazy person had the nerve to compose this?", and more importantly, "Who on earth had the gall to record it?" Up to this faithful day in 1995, I had never heard of Hamelin or Alkan.

On this disc, Hamelin plays with so much elan, control, and technical ease that it leaves you breathless. Although the legendary Raymond Lewenthal and the late Ronald Smith have to be commended for their efforts in popularizing Alkan's much-neglected music, I believe Hamelin and this disc has been even more influential. I don't know if Alkan playing on this disc will ever be matched. This is certainly one of the greatest albums in history and should be part of the collection of all true classical music fans.

Amazon.com

Varèse: The Complete Works [Decca 460 208-2] Riccardo Chailly, Royal Concertgebouw Orchestra

2009-02-21T14:17:00.002+01:00

Edgard Varèse
The Complete Works
Riccardo Chailly, Royal Concertgebouw Orchestra
Decca 460 208-2

2 CD - 582 MB (ape+cue+log+scans)

Into the Future Essential Recording
The Gramophone Classical Music Guide

For a composer who is (now) recognizably part of the 20th-century classical canon, the French émigré Edgard Varèse's output was astoundingly meager. Just 15 compositions from his entire life (he destroyed the compositions from his early years, and was a merciless editor of his own material in general) made it out to the listening world. Varèse was caught in the chasm between the music of yesterday and the music of tomorrow: scoring music for modified theremin, steamboat whistles, or air sirens, all balanced with the force of a large orchestra; writing pieces based on the flows of water and wind because that's what shapes the earth; using the concepts of chemical reactions and specific gravity as a basis for his music. Using extremes of contrast, dissonance, and variety in sound, Varèse's pieces had power in the way he attacked and shaped the sound he imagined. From Ionisation (1929), scored almost entirely for unpitched percussion, to the electronic-only, three-dimensionally produced Poeme Electronique (1958), he's provided a foundation that many genres, musicians, and composers were to build from not only for the next 40 years, but inevitably beyond.

Robin Edgerton