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The symphony itself is amazing and Sting's narration superb. BUT the sound on the mp3 ver is TERRIBLE which is really disappointing. I remember listening to this symphony as a kid and I was looking forward to sharing it with my grandchildren.
5 stars for recording - it is unbelievable and as described (If Sting's voice annoys you, perhaps look into another narrator. I don't mind and wanted Abbado's faithful direction of the score.) The insert album notes are a disaster. The text starts on the latest page and if you follow the narrative, you can flip back through the pages to follow along - presumably not missing anything in between?? AMAZON BUYER WARNING: if you're purchasing CDs from Amazon, apparently someone has decided the change the return policies again. I received the CD today with a broken case and the center holding the CD is destroyed. Miraculously, the CD appears ok. Who ships CDs in an easy envelope?? I usually DECCA classical recordings, but heard unbelievable reviews about Caludio Abbado's loyalty to the score and wanted a real recording to use as an example for my son. Next time, I'll stick with DECCA, and do my best to locate a local source.
This is a unbelievable collaboration between pop culture and high culture! Sting is know for his awesome vocals, but its nice to just hear him perform the spoken word. Combine that with Prokofiev's classic Peter and the Wolf and now you have magic!
Yes, I know that it's virtually impossible to interpret Peter and the Wolf in a method that isn't fun. But there's something very unique about the method Abbado looks at the work. I've heard several interpretations of the work (including Bernstein and Ormandy) but never has this famous children's tale come to life in such a vivid method that is undeniably brilliant. And Abbado seems just as inspired in the other works on this disc as well, particularly the Classical symphony, where the jollity brought over from Peter and the Wolf doesn't damage at all.DG got Sting to do the narration on Peter and the Wolf. Perhaps this was done more for marketing reasons than anything else, but either way, he's done a fine job. Sting consistently sounds like he's having fun and his engagement his irresistible. Everything is a bit more dramatized than usual, resulting in plenty of hilarity throughout, particularly with the grandfather--you'll have to laugh. But I think the true goes to Abbado who accompanies Sting with a true intensity that makes the work much more dramatic than I've ever heard it before. Once again, you just can't go wrong with ing on to the Classical Symphony, Abbado seems every bit as interesting, perhaps more so. While Prokofiev attempted to imitate the Classical period composers in this work, it's with a true sense of humor. Abbado sees this and makes the work overflow with dashing excitement. The Chamber Orchestra of Europe picks up on every nuance, making the work seem entirely unburdened. I certainly don't think anything is e other works on this disc, the March and Overture on Hebrew Themes, come off with plenty of their own charm. Everything amazing I had to say about the preceding works can be said about this closing, this is a fine album full of dashing amazing spirits. If you like giving yourself treats, you should this album.
I teach piano at a liberal arts University in SC. The narrator for this recording of Peter and the Wolf is my favorite - and I have several recordings of the Prokofiev work. I wish my children to love classical melody - this helps!
Being familiar with all these pieces the motive for buying this 1990 CD was wanting to hear the Classical Symphony to check whether it really was as amazing as it sounded on our local FM radio station. I found the explanation for my enthusiasm was the really quick finale coming in at 3.48 instead of the usual 4 minutes. But as this is the latest track on a short (50 minute) disc the rest of its contents turned out to be lackluster watered-down versions of Prokofiev's original intentions - and are thus far less likely to make abiding interest for classical melody in kids than other reviewers have rstly, his Op. 99 March sounds fairly commonplace when orchestrated whereas when played by a Russian orchestra (minus strings?) on the "Echoes of Dark Years" CD it has to be one of the most joyful brass band numbers ever composed - making full use of huge brass instruments - which apparently a chamber orchestra doesn't possess..Secondly, this Peter and the Wolf is all about Sting, not the extraordinary sounds palette Prokofiev invented to illustrate this story. Having checked it versus Itzhak Perlman's 1984 recording with the Israel Philharmonic it's clear that this already little orchestra was pushed method in the background making this a Sting vanity project rather than a tribute to Prokofiev's genius. One also questions how a lot of adults wish to hear Sting's irritating voices more than twice when the only hero who actually needs a various one is the grandfather? If Sting rewrote it for kids why not use the words drums instead of tympani? I note even Disney's ver on "Make Mine Music" points out the clarinet is played in a very low register - explaining to bemused kids why it sounds so unclarinet-like. It also occurs to me it's a shame one always has to have a star's voice interrupting so a lot of amazing Prokofiev tunes. Wikipedia lists 40 versions - every one with a popular narrator. But for their "Simply Prokofiev" CD Decca did manage to search a 1962 Malcolm Sargent recording minus narrator. Instead of 26 strung-out mins we obtain 15 mins of pure Prokofiev - allowing one to have fun every nuance of his seminal creation in one's stly, I think it's generally agreed Prokofiev's orchestrated Overture on Hebrew Themes isn't a patch on his sextet original for clarinet, piano and string quartet. This Chamber Orchestra's ver truly does seem to plod along without any satisfied Hebrew pulse - leaving one permanently wondering what happened to the buoyant lead-clarinet?However this CD does have a really cute Erich Sokol watercolor painting on its cover which makes it well worth keeping for the Classical Symphony if nothing else.
Haskil is the excellent Mozart musical imagination with new approach and extraordinary touch. Fricsay takes tempi as it should be: breathing with music. His approach of taking slower tempi which are rare to hear these days are done with impulse , dynamic and consequently: life. The 19th concerto in the recording is superb and certainly the words: transcendence, creation or re-creation could apply. Both two interprets are using various colorations to underline cumulating musical points with deep understanding and in excellent "natural" harmony of inspiration. At the same time their deep thinking in their interpretation does not interfere with the flow of the notes but only enriched them. The aesthetic choice and the responses between the piano and the orchestra are certainly one of most convincing dialogue in Mozart oeuvre interpretation. Each musician breaths with melody and are inspired by each note and by each other like in a conversation but without imposing an absolute. The meeting of these two actors make the best context to serve melody with lyrical and emotional climate but without being sentimental. It is a rare moment when everything is artistically so just that between the composer, the orchestra and the pianist they form ONE. Haskil is astonishingly modern in her approach creating to the listener an aim of rarely surpassed musical clarity and inspiration.
Clara Haskil was an extraordinary artist. She represents Mozart spirit per excellence. Her nuance, rapture and absolute domain of the Mozartian language is more than obvious when you listen very carefully every one of her various interpretations. In the case of the Concert No. 19 , a minor Concert in the universe of Mozart's Giants Piano Concertos, she extracts all the possible essence , giving to this Rhapsodic Concert the Operatic hero so well accented in the latest movement. But realize as she elevates this Andante to unimaginable spite the fact she played some Mozart piano Concertos with Markevitch, she established with Ferenc Fricsay an invisible and evident rapport you miss in Igor.Honesty, conviction and above all a profound devotion for Mozart is something you can not dissimulate , you have or not , but you never can mask behind the the case of this Concert 27, one of my eternal favorites Concerts by its wholeness , so well written, with such expressiveness, warmth and joy of living hero is a true tramp for most of the interpreters. Mozart looks beyond its own time and seems to be thinking in another universe, light years ahead your colleagues. The First Movement is true jewel . full of that apparent sweetness surrounded of majesty, serene eloquence and perpetual mystery. The bars fall with the precise intonation, she emphasizes with such dynamism every note , her pianissimos, mezzo fortes and fortes are never out of place. She seemed to know so well the Mozartian spirit as such a few number of pianists in the story. Listen her cadenza played with rapture, delicacy and energy.When you listen to the Andante you are immediately carried to another level , it looks like exaggerate but test with her. The slender arpeggios and the brightness of her phrasing is simply overwhelming and admirable. Fricsay accompanies her with excellent results. The melody breaths with such elegance and conviction without later effects. She drowns in these waters with that accuracy certainness, and purity that it results for you almost impossible not feeling it. When she makes the repeats of the first motive , she makes a slender rubato employing the pedal with velvet ly in the Third movement , Fricsay, Haskill and the whole orchestra display their best gifts. The invisible chemistry between all the members create of this so operatic introduction flows with discrete steps. They hold the austere atmosphere from the first bars, maintaining a slow tempo that progressively grows in intensity, never forced and the grace and humor never shades the hidden Ace of despair behind the apparent and radiant spirit of the principal theme announced by the piano. In the second theme the anguish empowers of the piano, the dialogue with the Orchestra keeps going and the piano gives the respond and the orchestra accompanies to this conclusion in which the short cadenza appears resuming both themes. Haskill attacks the music and revitalizes the joyful motive with minor intensity than before, and the surprise appears when the piano and the Orchestra join again making an Imperial e Sonata is magnificent played with that touch of class slenderness The adagio is simply outstanding. Her fingers make and recreate at the same time she plays. That is the true difference between Haskil and the rest of the is a legendary and supreme recording that it's almost an imperative for you to have it.
This is a unbelievable CD of Mozart's piano melody by Clara Haskil, with the Berlin Philharmonic under the direction of Ferenc Fricsay. Haskil tackles the 19th Concerto, one of Mozart's greatest, with glowing results, and Mozart's final 27th concerto is also captured beautifully, and in particular the mood of the finale. The recordings of the two piano concertos are both in mono, but they sound magnificent. The final piece, Piano Sonata K280, is a stereo recording from 1960, and it was Haskil's final session for DG. (She died six months later as a effect of a fall at the Brussels-Midi railway station.) As the editorial review states, Clara Haskil may have been a connoisseur's pianist, but allow me tell you, I'm no connoisseur (though I aspire to be) and I love this disc.
Clara Haskil's performances of Mozart are unequaled. Mozart's Piano Sonata No. 2 (K 280) Is very special. DG has the best sound quality of Clara Haskil, but her performances were so amazing that they are ethereal on recordings with sound quality that is not as good.
the first movement of this #19 is taken fairly slowly c.f. its marking- more lyrical than march-like Compare it with Peter Serkin/Schneider who take it more quickly and at the desigmated tempo. But I warm to it less than to this Haskil #19 and that of Rudolf Serkin/George Szell. In her #19, One hears Haskil's relatively relaxed but absolutely controlled reading. She suffered from scene fright (// Clifford Curzon), which I think caused occasional rushing for Haskil and memory lapses for Curzon) But she shared friendship with Fricsay and Igor Markevitch, and while it didn't prevent occasional rushing in her amazing DG #20 w/ Fricsay. it may have helped produce the two greatest concerto couplings of her truncated recording career: #s 20 and 24 w/ Markevitch and ths Fricsay 19 and 27.Her piano tone was full and gleaming, and she played with an apparent ease and total control probably derived from long mastery of the scores. Test #19/3 and 27/2 and 3. 19/3 is taken quickly and quite vigorously; the 27/2 cantilena is extremely attractive but ambiguity is rife in #27, especially in the sadness and regret (fully dramatized by Haskil) lurking in the childlike principle theme which reapperars ( or originates) in the song k 596: "longing for the spring". ( this concerto was on the turntable of the heroine of "Sophie's Choice" preceding her suicide). At any rate, Haskil's readings are the permananent hallmarks for these concerti, though others have left amazing ers: #19- Serkin/Szell/Sony, Larrocha/Segal/Decca, Brendel/Marriner/Philips, Pollini/Bohm/DG, Haebler/Rowicki/Philips #27-Serkin/Ormandy/Sony, Peter Serkin/Silverstein, Bogner/Ristenpart, Haebler/Galliera/Philips, Curzon/Kubelik/Orfeo + Szell/VPO
I am a amazing fan of Clara Haskil, when as a student I heard her on her habitual piano solo performances (Mozart) in Zurich, a longtime ago even if she was already quite old (white hair and frail), giving me shiverings down my r me she still is The Mozart Piano interpreter.
The popular performances here hardly need another review. Clara Haskil had a superb feel and conception for Mozart, and her recordings of the concertos are for me unsurpassed. Of unique note here is no. 19, which may not be one of the best known, but in her hands, it should be. Her combination of subtle lyricism and unforced rhythmic energy bring it to life. The CD transfer, alas, is a muddled disaster (at least with respect to the concertos -- the sonata fares better), and Ms. Haskil's attractive tone, so clear on the original LP, is lost. Fortunately, the eight or so other Haskil CDs I have are much better in this regard, and these particular recordings have been issued elsewhere. If I search a better version, I'll submit another review.
I don't know why a brilliant young Romanian pianist chose to rename herself Clara Haskil. There is, however, no confusion about her remarkable talent at the piano, talent she was already showing when very,very young. I confidently rate this as a five star performance. It is so sad that recording techniques in use at the time she was active are such a pale shadow of those available today for pianists such as Pletnev. His recordings capture the full beauty of the instrument he is playing.
This is a CD that finds its method into the my player in the depths of despair. In the darkest of hours, coldest of winters, it illuminates the room and warms the soul. I search it exceedingly hard to add anymore to the previous reviewers' words except the version have I encountered a more perfectly created recording.
In the Quartet, movement 1 is exciting. In movement 2 the slow introduction is a beautiful music repeated several times with slight alterations. A second music enters, then the first music returns, completing the ternary form. Movement 3 has nothing to say. Movement 4 tries hard to whip up enthusiasm but fails. The Octet is much better than the Quartet. Movement 1, both strong and beautiful, is worthy of Brahms. In movement 2, once again simple, beautiful melodies are built into something grand. In movement 3 the performers propel this scherzo so that it really MOVES. Movement 4 is almost a strong extension of the rapid scherzo. Counterpoint adds excitement. This performance of the Octet is magnificent. I love movements 1 & 2 of the Quartet and all of the Octet.
I must say the Guarneri Quartet continues to blow me away I hear them. For that reason this recording of Mendelssohn's 3rd Quartet sizzles. Maybe part of it is due to the fabled power of the Guarneri's instruments, but the string attacks and blend they obtain as a group are amazing! The disappointment for me comes from the Octet- (started by the precocious Mendelssohn at age 15). If i had not heard the Cleveland Quartet Recording first, I probably would rate this one higher, but there is a lack of nuance and tempi in certain locations which the Guarneri roll over. I realize these are subjective and private interpretations, but when you hear a recording of the Octet which brings you to a certain emotional height, other recordings seem to disappoint. The Guarneri recording gets a thumbs up for programming it w/ the 3rd Quartet, but if you wish to hear BOTH of Mendelssohn's Octets obtain the Cleveland Quartet recording!
This CD with the Guarneri Quartet is simply incredible! Their playing in the D Major Quartet is stunningly attractive and heartfelt especially in the middle movements, full of joy in the first movement, devil-may-care fast in the latest movement, and refreshingly honest throughout. The Octet with the Orion Quartet is related in its approach to details, attractive tone colors and turns of phrases, and overall unbelievable and solid playing. This is a unbelievable CD and I have often given this as a bonus to mates and family. Highly recommended!!!
I have heard this record 3 times, twice on the same e octet is a amazing work and shows the genius of Mendelssohn. Performance is excellentI heard on tuesday the Orion Strin Quartet in NYC performing the Beethoven string quartets. The recording makes justice to their abilityHighly recomended
I don't know if this is the best Eroica (or "Erotica" as PDQ Bach calls it). I haven't heard anywhere near most of them and it isn't my favorite Wiggy anyway. But it's the one that comes closest to recapturing the method the innocents of the early years of the 19th C must've felt on hearing this creature for the first time. Enormous. Interminable but hypnotic. Well nigh unbearably passionate. Solti and the Vienna herren recorded this at the same time they did Wiggy's 5th (and the early Ring operas), and it's given the same full-on totally commited performance and sparkling in-your-face recording; the VPO never sounded so good. It isn't the Grand Prix that their 5th was, in fact it's rather stately and thoughtful in its own way. But it's a 3rd I can listen to when most of the rest--well--what am I listening to again? Hang on, got distracted here. That won't happen with this one. The only negative note (like the 5th) is the mp3 download, the XP ver of WMP chops off part of the opening chord so instead of 2 you obtain 1.5. The 5th did the same thing, instead of "da-da-da-dum" WMP gives you "da-da-dum." The I-tunes player plays both perfectly, one of the few reasons I hold the clumsy thing around. Otherwise--blecchhh. UPDATE: just upgraded from Windows XP to 7, and one of the few improvements (as opposed to random changes-for-changes-sake) is in the WMP, which now plays the opening bars of this and Solti's 5th perfectly. Almost makes W7 worthwhile. Almost.
Of the three recordings Solti created with the Wiener Philharmonic, (Symp 3,5 & &) I enjoyed this one the most, but gave all three four stars...for effort...mostly because it feels as though Solti is trying to come up with some nuanced interpretations of these classic works. Not recommended for first timers. These work as a slightly various and, perhaps, somewhat unfinished readings as a change from the acknowledged masters. Solti was young, probably anxious to impress, and therefore, perhaps less inhibited and polished in his conceptions. The Philharmoniker was also not yet at its peak. The horns are off from time to time and the powerful no where near as polished as they later became.But for this worth getting just to listen to a musician and orchestra trying....
This is amazing counterpoint to the popular Karajan/Richter/Rostropovich/Oistrakh - popular also from the wrong reasons after the inside stories written by Richter versus his own recording - The melody is flowing expertly, and Harnoncourt "historically informed" formation brings a nice clarity to the ensemble. The soloists are well balanced, only sometimes Pierre-Laurent Aimard's piano seems a small bit far away. Does not replace the Karajan, but it's amazing to listen to both and compare.
A number of distinguishing features tag out this ver of the Triple Concerto and create it one that stands out.Harnoncourt's freedom of phrasing. Just test the opening theme, played by cellos and double @#$%!&. Everybody else takes it "in time", keeping a steady beat during the bars of silence that separate the elements of that opening theme; Not Harnoncourt. He slightly delays his beats, giving the impression that the opening phrases are freely sung - or rather, hummed, or even whispered - by the orchestra, in a quasi-improvisatory e clarity of the orchestra's inner voicing. Test the viola and cello triplets at 1:14; the different instrumental strands are always clearly heard, woodwinds usually not covered (there are spots though in the first movement where you won't hear them if you don't have the score to tell you that they are playing). The balance between the orchestra and the soloists is ere is nothing radical in Harnoncourt's choices of tempos, on the contrary: they are all middle-of-the-road and well within tradition. He takes an easy-going view (his first movement is more expansive than Karajan's for instance, Triple Concerto / Double Concerto), feeling very natural, genial, if not laid-back. He doesn't quite attain the sublime beauty of Karajan's time-suspended Largo, but this is something you hear only on comparative listening.Another one of Harnoncourt's distinguishing marks, he can be robust in the tutti, with forceful horns and trumpets, which lends the melody an added dynamism and muscularity. He a shrine in which the soloists' lyricism and playful interplay can freely id soloists are excellent. That's the norm in the recordings of this work, which has been honored by no less than Oistrakh-Knushevitzky-Oborin (Triple Violin Concerto), Oistrakh-Rostropovich-Richter, Stern-Rose-Istomin (Beethoven Piano Concerto No. 5 Triple Concertos - Essential Classics), Schneiderhan-Fournier-Anda (Beethoven: Triple Concerto; Brahms: Double Concerto), Laredo-Parnas-Serkin (Beethoven Triple Concerto/Brahms Double Concero: Serkin, Stern), Szeryng-Starker-Arrau (Beethoven: Triple Concerto; Choral Fantasy [Australia]), the Beaux Arts trio (Beethoven: Triple Concerto / Choral Fantasy). So it is nothing to particularly distinguish this version, but suffice to say that Aimard, Zehetmair and Hagen are second to none of the above mentioned, and can take pride of put in that stellar roster. Only in the the "magyar" passage starting at 5:08 in the finale do I search their phrasings to be on the verge of fusiness. But you can call it interpretive personality just as st people seem puzzled with Beethoven's Choral Fantasy, with its original ver of a theme that will later become the main theme of the finale of the 9th Symphony, because it is so bizarrely constructed, a piano concerto of sorts but starting with a large cadenza, and with a chorus (and six soloists) just standing there waiting for nearly fifteen mins and singing three mins (that's still shorter than in the 9th Symphony), with those tunes that seem to verge at times on the jauntily corny but are sometimes Beethoven at his most grandiose, martial and dramatic. I love the Choral Fantasy. Just consider that it is the missing link between the finale of Mozart's Magic Flute and the Choral movement of the 9th Symphony, Beethoven's hymn of faith in mankind and enlightenment, and it makes entire sense. And it is precisely its bizarre construction that I search so appealing, its absence of rules or rather, the fact that Beethoven has invented an ad-hoc set of rules, besides filling it with wonderfully imaginative touches of orchestration and echt-Beethovenian piano writing.Harnoncourt pulls all those strands together quite convincingly with, again, choices of tempo that, at the beginning, seem to create this one a very traditional view, highlighting the reflexive and lyrical side of the composition rather than its jubilant atmosphere, and likewise with Aimard, who takes the customary, expansive and grandiose approach of the introductory cadenza (but why does he there legatoize Beethoven's staccato writing? Not only does it go versus the letter of the score, but it isn't nearly as effective).But in fact,it turns out that Harnoncourt hightights the contrasts rather than just one aspect of the piece: there is a rage to his Allegro molto (track 6 at 5:15) that makes it irresistibly "turkish"- Mozart's Entführung came to mind - and the Marcia (track 6 at 9:31) has amazing drive and military robustness. Harnoncourt has a amazing sextet of soloists and amazing chorus, although I search that, at his slightly held-back tempo, they lack the ultimate sense of jubilation.On the surface there is nothing radical in these readings (although Harnoncourt's special twists of conducting bring them distinctly out of the lot). For more daring views, you may wish to go Zinman (Beethoven: Triple Concerto; Septet,Beethoven: Piano Concerto No 5), but these have the real feel of classics. Although the booklet doesn't explicitly say so, these sound like live performance (or patched from), there are a few unobtrusive scene noises, especially at the beginning of the Triple Concerto. TT 64:22.
After you listen to this recording, you will understand why Harnoncourt is one of the few Maestros alive. Do not loose the opportunity to re-discover and have fun the Choral Fantasy. Listen to the Piano (Mr. Aimard) and the "conversation" among Piano, Orchestra (COE), Soloist, Singers and Choir (Arnold Schoenberg). This is Beethoven and Harnoncourt in a amazing performance.
This recording is fabulous. It's rich, deep and colorful. The piano itself sounds absolutely wonderful. Its clarity and voice are exceptional. Unlike some recordings that sound as if the performers are very happy with themselves, the performers in this recording sound as though they are playing for the sheer joy of playing and for the sake of the melody and not for themselves. It's very refreshing. I first heard this broadcast on our Public Radio Classical station. It was so distinct and special that I came right to Amazon and bought it. It resonates in your chest, it's so rich. Really outstanding!
I immensely enjoyed this Warner Classics recording of the Beethoven Triple Concerto for a combination of reasons. First and foremost, you'll hardly search a better played account. Aimard, Zehetmair, Hagen, Harnoncourt, and the Chamber Orchestra of Europe take it more gently than I've heard it most often before (also surprising from Harnoncourt), yet it benefits from the tender, loving care. If I found any snag at all in it, it's that I thought the piano sometimes sounded too big, too close, while the other two soloists seemed more realistically positioned. Well, we might expect that, I suppose, as the piano in this particular piece of melody generally takes pride of put amongst all the cond, I enjoyed the harmonious interplay among the three soloists, Aimard on piano, Zehetmair on violin, and Hagen on cello, as well as their non-obtrusive accompaniment by Harnoncourt and the Chamber Orchestra of Europe. True, no one is going to mistake this group's work for the more grand and opulent performance by Richter, Oistrakh, and Rostropovich with Karajan and the Berlin Philharmonic (EMI or Hi-Q), but look at what giants we had working ird, I liked the two companion pieces on the disc, the Rondo in B flat, which may have been the original closing movement of the B-flat Piano Concerto, Aimard giving it a lively reading; and the Choral Fantasy, which is a sort of miniature, scaled-down Ninth Symphony, complete with a rousing choral ly, I liked the sound: Very subtle, very refined, very natural. Perhaps not always so transparent as it might be, it always appeared wonderfully realistic and was a definite pleasure to listen to. In all, a most felicitous hn J. PuccioClassical Candor
Excellente qualité sonore. Deux excellents musiciens. Exceptionnellement bonne duo. Ai-je dit que l'ingénieur d'enregistement a fait de bon travail-ci, ...ce qui reflète la qualité du son luxorious organique entendu sur tous les enregistrements Aimard.
The first thing to note about the performance of the Triple Concerto is the sonic perspective. Harnoncourt divides the violins to left and right, with cellos slightly left of center, while the sound engineering locations the piano trio in among the orchestra, rather than spotlighting the soloists. This technique is unusual among recordings of this piece. I have an LP of it with the Beaux Arts Trio and Bernard Haitink in which the trio someimes drowns out the orchestra. As for the performance, Harnoncourt's work is thrilling. This is probably the best conducted performance of the piece I've ever heard. The soloists don't match the Oistrakh-Richter-Rostropovich performance, but they are certainly very good. The Choral Fantasy is given an perfect performance overall. Once again, Harnoncourt's direction is vigorous and incisive, while Aimard shows that his earlier recording of Beethoven's Appasionata Sonata was no fluke. Aimard plays with vigor and imagination, and a huge tone. There are certain bars in the piece where I prefer the interpretation of Rudolf Serkin with Leonard Bernstein, but this newer ver loses very small in comparison with that classic reading. There have been perfect digital recordings of the Triple Concerto by the Eroica Trio and the Moscow Trio, but anyone wanting the current coupling need not hesitate.
I love the Triple Concerto. One of my favorite pieces, and this is my favorite recording of it. The Chorale Fantasy is also excellent. Another plus here is the presence of the Rondo in B Flat. It is a nice piece that is rarely recorded and hard to find.
In his cycle of Beethoven symphonies Harnonourt's conducting was aggressive, often aburpt, unnerving, and challenging to absorb. For some reason he drops all that in his recording of the Triple Concerto and Choral Fantasy. There have been perfect virtouoso readings of the Triple recently with Barenboim and Argerich as pianist. They present more intensity than this quiet-voiced, almost classical version. There's no doubt that the soloists, particularly Aimard, are wonderufl players, but it takes a while for the first movement to catch fire. Every time Aimard is given room to expand, he's brought back down to earth by the more restained Hagen on cello. (To the reviewers below who unanimously proclaim 'best ever,' I can only point to the unsurpassed ver under Karajan with Richter, Oistrakh, and Rostropovich, a towering recording.)In the Choral Fantasy there is an impassioned performance from Bernstein and Rudolf Serkin from the Sixties (Sony), as well as a fine one from Barenboim as both conductor and soloist, in concert with the Berlin Phil. on EMI. By comparison, Aimard is unusually cautious--he prefers restraint over the free-wheeling and totally thrilling spontaneity of Serkin. Harnoncourt remains just as restrained, so despite the all-around excellence of the performers, I can't see this one being anywhere near a first sum, both readings fall somewhere in the middle of the package but are enjoyable and more than competent in all espects. Fine recorded sound, by the way.
This is part of the Harnoncourt Beethoven Box Set (14 CDs The Beethoven Box Set), which is how I came to own it (great set at a amazing btw). I have two actual semi-audiophile-grade CD carousel players with solid external DACs. This came around, literally, and I sat up, literally, and took notice. I'm not sure I've ever heard the Triple Concerto before. I rarely listen to classical radio, so for all I know this magnificent and perhaps idiosyncratic composition is a staple of the classical airwaves. But certainly it's remarkable, and yes it does verge on the peculiar. Truly neat-o. Beautifully played and conducted.
I bought this CD used (first time I have done this) but I am singing 2 pieces on this recording and wanted to capture all the subtle flavors that can be captured in a professional recording. The Mass in G Major is sung in Latin and so a recording picks up the inflections of the language. Wrong notes, wrong pronunciation just is not a method to show a formal church piece. This will be sung in a church with male and female voices. The record co., from my experience, is very reliable.
Overall a amazing introduction to evolution and a lot of of its interdisciplinary subfields. I particularly enjoyed seeing the perspective of a geologist/paleontologist to begin things off and then the tag-team to cover human evolution from primates.I especially loved the philosophical conceptualization of "deep time" (in analogy with "deep space") particularly as one considers the even broader idea of "Big History". Though the professors here don't delve into Huge History directly, they're covering a huge portion of the cross-disciplinary and inter-disciplinary studies which underpin a huge portion of the field. More specifically taking the general viewpoint of "transitions" in evolution underlines this ough the transitional viewpoint seems to be a very natural and highly illustrative one to take, I would be curious in seeing alternate presentations of evolution from a pedagogical standpoint. It was nice to hear a bit of alternate discussion in the final lecture as well as discussion of where things might "go from here."I do want that there were extra follow-on lectures that covered extra material in more depth. It would also have been nice to have included a handful of lectures from a microbiologist's viewpoint and background to give some extra rounding out of the material and this could have been done either in the early parts of the material or certainly around the discussions of primate evolution. Overall all though, these are wonderfully self-contained and don't require a large prior background in material to understand 's always amazing to see lecturers who truly love their fields and have the ability to relate that through their lectures and infect their om a purely technical standpoint, I'm glad to see that The Teaching Company only a video ver of (as opposed to their usual extra offering of audio-only) as having pictures of the fossils and organisms under discussion and their relative physiological structures was very helpful. Additionally having the recurring timecharts of the portions of geological time under discussion was very useful and generally reinforcing of the chronology. Somewhat monotonous from a visual perspective was the almost programmatic back and forth pacing between two cameras during the lectures which at times became distracting in and of itself. Certainly including a third camera would have added some dozens as would having had camera operators to zoom in or move the camera around while the lecturers stand relatively stationary. (Though the production value here is exceptionally high, little info like this over the span of several hours of watching become important. As an example of better execution, I prefer Glenn S. Holland's Religion in the Ancient Mediterranean World as a model - though there wasn't as much extra visual material there, the lectures were simply more "watchable" because of the camera work.)
Schubert’s popular early Mass in G from 1815 is a dainty composition that eschews protracted instrumental interludes and rehearsal-focused contrapuntal writing, spotlighting the chorus and soloists over Romantic symphonic attributes, and requires only a string orchestra and organ, although Abbado uses Schubert’s later edition with trumpets and timpani, giving the work a small more heft. This is set in stark contrast to the rest of the offerings on the disc which are a bit more colorful of orchestration in comparison to Mass No. 2 in G: Schubert’s later, 6-minute Tantum Ergo from 1828 comes with a full woodwind section and soloists and choir in call and response, the orchestrated ver of the heavenly 5-minute Psalm 23 from 1820 has soloists, orchestra, and harp as opposed to only piano accompaniment, and Schumann’s 1849 Requiem for Mignon with full orchestral brass and woodwind scorings, not to mention massive emotional swings in composition and topic matter, stand in stark contrast to Schubert’s early Mass setting and later devotional miniatures featured on this audio Abbado had two high profile outings of Schubert’s masses, both with the same chorus; a late 80’s performance, also on DG, of Schubert’s Mass No. 6 in E-flat with the Vienna Philharmonic, and this one of Schubert’s shorter works and the addition of Schumann’s Requiem for Mignon. Here we have the grown-up ver of Abbado’s European Union Youth Orchestra, which had an perfect outing of Berlioz’s Te Deum also on DG, now in the form of The Chamber Orchestra of Europe which Abbado led in his complete cycle of Schubert Symphonies. The orchestra here seems to have plenty more Romantic weight than its name suggests, this is no period performance, and while the ensemble plays professionally and colourfully with a solid bass line, it would have been nice to have the virtuosic Vienna Philharmonic from Abbado’s previous outing. Thankfully, however, Abbado moves this melody ever forward, rarely dwelling unnecessarily, but ably bringing out the sweet, melodic lines that Schubert was so gifted in, and while Abbado gives the most torque to the Schumann, the rest of the repertoire doesn’t require too a lot of revving e highlight of the disc are the six soloists, in particular, the brightly clear-toned, fizzy-sounding Barbara Bonney and the solidly secure Cuban lyric tenor Jorge Pita. The rest of the soloist squad fill in nicely with terrific ensemble work, particularly the 4-part women in Psalm 23, the trio in the Benedictus, and the soloists are given a small more emotive range in Schumann’s darkly Gothic Requiem for Mignon. Altogether, this is a terrific line-up of solo work. The superb singing is highlighted by the perfect multi-miking captured by DG; the voices and chorus are all well heard (not flung back as in some recordings) and the orchestra is balanced well, with winds heard well versus the strings, the organ is given a voice in the mass as well, giving an overall terrifically balanced e Vienna State Opera Chorus comes off the scene for these concert hall works and they sing in the grand symphonic choir style which might place off some listeners looking for the clear, vibrato-free English cathedral-style vocalizing or historically-informed period performances; you would be better served with Bruno Weil’s well-respected survey of Schubert masses on Sony,and here, which features the Vienna Boy’s Choir and a period orchestra as opposed to this adult chorus and a modern-instrument orchestra. Here the adult chorus focuses on power and the huge moments in real Schubert-ian symphonic style (as opposed to pious ecclesiastical devotional-ity) and exhibits quite a bit of Romantic thrust in the Schumann. While the chorus is plenty full, giving attention to dynamic changes and expressions, and tunes well throughout, Vienna excels particularly in the big, grand moments. If I were picky, I did not care for the mannered approach to the Kyrie of the Mass in G in which the chorus does not seem to sustain its a lot of decrescendos well, but this particular affect does not seem to beset any of the rest of the recording. It should also be noted that the chorus uses the Germanic pronunciation of the Latin, perfectly appropriate for Schubert, but a lot of may search the differences from Romance Latin discomfiting, especially the reviews that intimate using this recording as practice tracks (I would suggest using the Robert Shaw recording on Telarc for practice which spotlights the choral aspect over the symphonic nature, an aspect I don’t care for in Shaw’s Mass No. 6 in E-flat, nor do Shaw’s soloists, aside from Dawn Upshaw and Marietta Simpson, measure Abbado’s solid team).This live recording in Vienna’s Musikverein has an extremely well-behaved audience with no standout audience noise of any message to this listener. On the flip side, despite the finely full-throated performance and perfect array of soloists, the disc only includes 45-minutes of music, fairly short shrift for physical media, but the performances are simple to recommend. If you are looking for related grand symphonic presentations of the Mass in G, Sawallisch has been the reference recording for a lot of years on EMI and comes with further pairings on a single disc or as a set of masses and Herbert Kegel gets the rock-solid Leipzig Radio Chorus on Berlin Classics, but with less starry soloists than Abbado or Sawallisch, and of course the previously mentioned Bruno Weil with the Vienna Boys and the choral-focused Robert Shaw which succeeds more with the Mass in G than the Mass in E-flat. All said and done, Abbado is an simple recommendation of fine performing, perfect soloists, and the up close, colorful DG sound is exemplary, although the short runtime presentation may be off-putting depending how much the marketplace is for. Otherwise, this recording comes recommended.
Both of these professors are intelligent and knowledgable, but they test to cover too much vocabulary lists of extinct animals that no one cares about per subject rather than emphasizing key professors over emphasize long lists of info that everybody ree months later and the student has forgotten almost logy is the most common major for premeds. Talk to any doctor and you will be amazed at how small they remember of college st college biology lectures would be better if the prof just covered a few concepts with ncepts like:Continental drift, endosymbiosis, horizontal gene transfer, skimming hypothesis of flight aquisition for insects, Red Queen hypothesis, convergence, divergence, consilience, explain theories for markedly various juvenile forms (tadpole, caterpillar) c/w adult forms (frog, butterfly), compare & contrast Darwin, Wallace, Nowak, EO Wilson part of this course was evolution of human brain. Prof Hawk says human brains are shrinking for past 10,000 years, but he doesn't create much of an effort to explain parison of chimps to humans was amazing as far as it went = Chimps got bigger canines, quadruped knuckle walkers, various shape of pelvis bones, no significant speech, no significant language, much smaller brains than humans, totally hairy, various shape face, much stronger than humans, chimp foot with more grasping ability, human hand more coordinated for fine motor movement, chimps more imps are a lot more various from humans than is widely appreciated. Those 1.5-5% DNA difference claims obscure the fact of over a hundred million base pair differences.
Dvorak's 3rd Symphony may not be a masterpiece, but Pesek and his Liverpoolians certainly play the it as if it were one! The early 80s digitial recording stands up well, and the "Scherzo Capriccioso" and "Carnival Overture" create enjoyable make-weights. But perhaps this recording is slightly over-shadowed by Serebrier's latest 3rd and very successful 6th (Dvorak Symphonies, No. 3 & 6).However, unlike the previous reviewer, I prefer Pesek over Rowicki in this repertorie. Highly recommended.
Hickox's work is almost always a model of amazing conducting, musicianship, and balanced interpretation--his recording of the Mass in B minor is no e whole ensemble, voices and orchestra, render the piece with verve and liveliness. Hickox's tempi are usually swift, but not at the expense of the music's often complicated melodic lines (such as those fiendishly difficult melismas in the "Osanna"). The orchestra's playing in particular is breathtaking in moments, such as the horn player's stentorian "Quoniam" and the joyous exclamation at the beginning of the "Gloria."The vocal and orchestral forces are mid-sized, giving the melody power where needed, but also that degree of intimacy a lot of of the arias and more pathos-imbued movements demand (the "Et incarnatus est," for example). All four soloists rise to the occasion; the soprano (Nancy Argenta) sings the "Laudamus Te" with an audibly various accent--not a detriment, but a und quality is wonderful: par for Hickox. This is a fine method to begin and a amazing all-around performance for people looking for the balance between traditional and modern Bach interpretations.
The B minor mass of Bach is, in my mind, the greatest choral work ever composed. Granted, maybe a couple of the arias are a bit dull, but overall, the piece is brilliant, filled with rich fugal textures, unbelievable musical devices (listen to how Bach resolves the question of division/unison between God the Father and God the Son with a delightful tenor/soprano duet), and strong emotion. In short, you MUST have a recording of the B Minor Mass. Now, with regard to recordings. DON'T create the mistake of buying a recording with a large orchestra and chorus. Bach is not Handel, and the B Minor Mass is not the Messiah or Beethoven's 9th. It was designed to be played and sung by little ensembles. Otherwise, the intricacies of the piece obtain washed out. The second huge decision is period instruments vs. modern instruments. I personally think the period instruments provide a nice color, as long as the musicians can play them properly. But modern instruments are OK, too. It's more of a private preference than anything. This recording uses a little orchestra playing period instruments and a little vocal ensemble. The orchestra is quite competant, the conducting is clean, and the soloists are all superb. It is a fresh recording too, so it doesn't have the hiss that plagues older recordings. The chorus sometimes doesn't quite muster up enough bite, which is my only complaint. There are tons of recordings of Bach's B Minor Mass out there, and while I can't say that this one is the best, it still is a amazing choice.
This was assigned for my US Foreign Policy course. The book has secondary sources and interpretive essays. The issue with the essays is that they feign to represent a diverse set of opinions but they are overwhelmingly of a leftist bent. There are two John Lewis Gaddis essays and maybe one or two more pro-American essays; the rest are all beautiful critical. I think the editors could have done a better job of providing a more varied set of opinions so that students could create up their own minds.i.e. Nothing atypical for a college textbook.
This book uses a combination of basic and secondary sources to evaluate the history of American foreign policy issues since 1914. Basic sources let the reader to see the words that were used in the context of the time and the meaning behinds the words are also condary essays by preeminent historians are also included in the book. These essays are included at the end of the chapters to give various points of view on the documents, people, and happenings discussed in the chapter. The essays are especially helpful because two are often included at the end of the chapter with contrasting views. The essays are a amazing tool in evaluating the history included in the chapter and allows the reader to see both sides of the story and draw their own is book is amazing for those interested in American foreign policy. A amazing aid when taking classes on American foreign policy.
I absolutely love this scope, it looks amazing and works great. I mounted it on my ar15 and took it out with me on the farm and had a blast. The fact I can change the battery without unmounting from the firearm is the best feature to have and I will more for more builds.
3rd times the charm, Lets see if Amazon takes my review down again because of my photosSo I read the reviews for this product before buying and it has a lot of mixed reviews. It's a hit or a miss apparently, i think I'm one of the lucky ones, scope held zero for 300 rounds of 223, but useing mill spec 556 it did fall out of zero and I figured out how to create it keep with more strong rounds, beautiful much I had to take the scope off the attachment thing and flipped it the other direction and re attached it to the mount and then re attached it to the rifles rail and I used some lock tight for additional measures, and it held zero solid for 400 or so rounds of the amazing stuff, I do not know how long this will latest but you cant beat 100$ for a amazing looking and somewhat durable prism scope. If you do happen to obtain a poor one, blame Amazon's shipping cause I watched them throw this pack at my door with my ring doorbell, Also I own the other variant of this scope from this seller and although it's not as cool looking, it is 100x better then this scope with better relief and more durable. It's a amazing scope if you happen to obtain a amazing one that's not thrown around by Amazon's shipping service's
I love it! Its built well, solid, no flaws. It was heavier than I imagined, but its very sturdy and that's what I was looking for. The scope is crystal clear with a decent eye relief. The reticle is clear and the lights work perfectly, amd are plenty bright/dim enough for any occasion.On a Milspec AR the scope "co-witnesses" the A2 front post (which doesn't work like a red dot because of the magnification) so I purchased the 7 slot monstrum fast Detatch adjustable riser for about 18$ and that is excellent for this scope and puts it at a comfortable eye level on its lowest setting but still keeps the sight clear of the front post.I haven't had the possibility to go to the range but I'm sure it will have no issues as the construction is solid and its not a "cheep/crappy" sight, this thing feels like quality, on par with the major (expensive) only complain is that you can't obtain a cover for the lenses, but you don't really need also comes with batteries installed plus replacements, along with a lense cleaning cloth.Hope this information helps some potential buyers, I recommend this sight without a doubt! Top quality at a fair price, no corners cut.
On a nice sunny day, colors (red & green) are not visible. No matter what you do. I had place new batteries but the reticle would not light up. Thankfully the battery isnt required since you still have the dark etched dot and circle. The reticle is a slightly bigger in the sense its hard to see the center of a target at 100 yards because the dot covers it. It does look attractive though and has a amazing tag. Its created powerful and there is not wiggle or play when everything is tighten. I used lok @#$% to ensure nothing loosened up after 400 rounds everything was still snug.
Love this scope. Wanted something not too expensive for my AR15 and this fits the bill. Solid construction and the best part is the reticle is laser etched into the lens so if you battery goes dead you can still use the scope. I'm a small older now and getting to where I can't see iron sights well so I just went straight optic. Has red and green reticle colors with brightness control but in daylight you don't even need to turn it on.
Amazing quality product as always from Monstrum Tactical at a reasonable working mans price. Well built, created to last, simple to zero in and holds zero. I repeat, YES IT HOLDS ZERO and that's what's most necessary when choosing a scope. Clean, clear glass with brightness adjustment settings for Red and Green dots and just incase the reticle is etched into the glass making it still useable if your batteries should fail. Has a amazing focus adjustment knob to support you obtain a clean, clear, crisp view of your target. Looks amazing on my rifle and was shipped quick too. No worries buying from Monstrum Tactical as the have the best customer service around. I plan on buying another one soon when the wife isn't looking.
This is a amazing sight for smaller caliber rifles. 3x magnification is amazing and the view is crystal clear. The sight stayed zeroed at 100 yards for 200+ rounds of 5.56. In addition the reticle does not require battery to operate which is a nice touch. Overall amazing value.
If you're looking for something no-frills, clean and easy yet robust it fits the bill. Machining is excellent, and I will say, it just looks cool. Glass is clean and clear and so far zero has held up to .308. Use your head, apply blue loctite to the mounting bolts and a torque driver for consistent weight in each bolt. If you throw it on, handtighten, then begin blasting, don't cry about it sucking. 4 stars only because the battery life is a bit low, but, they do provide an additional battery at least. Amazing optic, especially at this price.
I like the design, weight and size of this scope. The magnification is exactly what I wanted and expected. However, I greatly question Monstrum's quality control. This scope seems to have particles (dust?) trapped between the lenses. They appear whenever the scope is illuminated, on any brightness setting. The darker the environment the more they are noticed.I have a various Monstrum scope, a 2x32 Prism, and it has no such problem as this. I've used that one for 6 months with no is unit was a fail right out of the box. I know it is a budget scope but something like this should have been caught before shipping from the factory.
This novelette (~58 pages) is one of the most technically excellent pieces of fiction I have ever encountered. The "plot" is fairly conventional (but in a lot of ways is inconsequential to the textual developments). The amount of detail hidden away in the narrative structure is wonderful and the construction and crafting are about as excellent as could be desired. The story is interesting on so a lot of levels that repetitive readings continue to illuminate and expand nsider how Duras plays with objectivity in the first central theme of the novel. After the first reading you'll conclude that a man murdered a woman in a cafe--presumably by shooting her through the heart upon her own request. And yet a closer reading reveals the issues with this assumption: a shout is heard, but no gunshot; blood comes from the victim's mouth, but not her heart; nobody (notably including the basic characters) actually witnessed anything; the man's behavior is unindicative of definitive guilt--perhaps he's simply distraught; the woman was the man's wife (we are told as one of the only "omniscient" acts of the unknown narrator)--but later an acquaintance notes that the woman "was married". In short, even the objective "murder" presented is anything but stead of reading a story you will end up inventing a plausible reality--just as Anne and Chauvin (the basic characters) invent a plausible reality to explain their unsatisfied (and unsatisfiable) desire.Ever wonder why Anne ignores the closest end-of-work-day siren but pays attention to the farthest-away end-of-work-day siren? Remember that her husband manages a factory. Remember that her husband's factory is the furthest away from the cafe, on the opposite side of city of her house. Remember that she has to beat her husband home from work. Info like this abound, but of course are left to a careful reader to pick them out and assemble them into a larger ch a attractive novelette--so well crafted, so enjoyable to read and re-read. Thoroughly recommended. Fiction as it was meant to be.
At first, you may search yourself a tad confused when you begin reading this book. I have to say the blurb does not do the book justice at all, so I started reading it with a completely various idea in mind only to be faced with a much more complex and profound read. As you go on, you will begin to message and understand the symbolism and depth and irony evident in the book, and appreciate the brilliance of its execution.I did not know this when I read the book, but when I did a bit of research afterwards, I came to the understanding that this is considered a "musical novel". Now, I had no idea what that meant, but technically - and as one reviewer had explained - it is a technique that explores the duality of human experience. Therefore, the book starts out by following the form of the first movement of a sonata. The first movement moves in a specific count or meter, which the story follows, this one being "moderato" (in control) and following the four-four meter. As such, Duras begins by introducing us to the character, Anne, whose life is very structured and proper. Almost boring. As she takes her son to piano lessons every Friday, forcing him to learn how to play the instrument even though he has no interest. She soon meets Chauvin, in the same bar that a man had publicly murdered his lover, and their bizarre liaison begins. At meeting Chauvin, Anne is slowly leaving behind her boring existence and replacing it with a more scandalous life. She goes back to see this man every day, at the same time, and same place. Ending with a final note of climax, mimicking the end of a is book is massive with symbolism and detail that one almost needs several readings for you to understand the story as a whole. I was personally very confused at first, and kept coming up with various conclusions for it, for instance as you begin with the murder, and then Anne meets Chauvin, the method the book was ending I almost started to think that they are the couple that were involved in the crime at the beginning of the book and Chauvin was going to publicly murder begin to learn more about the characters through their strange, and at times inappropriate, conversations. You start to message small details, such as when the sirens go off and the men start to file into the bar and why Anne gets fidgety, or why she has to go home at a certain hour. The finale is so intense, that you end up reading every line twice just to create sure you're not missing anything. I absolutely loved the final lines of the novel, and Anne's decision at the finitely worth a read. Brilliant in every way, albeit a bit confusing.
Considered a "musical novel" and better than Virgina Wolf's "The Waves" (though "The Waves" is quite wonderful in its own right and should not be over looked). If you are not famillar with the genuis of a musical novel the idea is incredible. It brings upon an interesting form for exploring the duality of human experience. "Moderato Cantabile", follows the form of the first movement of a sonata, presenting and developing in two contrasting themes in various keys. "Moderato" the word it self indicating a measure of control taken with the time signaure of a sonata being a square four-four outlines the meter the book follows. Anne's (the main character) life in the first theme starts out structured and boring. In the second chapter she begins her strange affair with Chauvin. Chauvin, or the the second theme is Ann's quest for the "cantabile" (the lyrical impulse, or exit from the first theme of boredom). They meet again and again, at the same bar and always at the same time of day, unitl the eighth chapter. Then, just as the eighth note of a musical scale is the same as the first (but an octave higher) the final resolution comes in the form of a symbolic reenactment of the murder that occurs at the end of the first chapter: Chauvin: "I want you were dead." Anne: "I already am." --And Anne returns permanently to her boring illantly written and a must have in any book collection.
John O'Conor has everything technically that a Mozart pianist requires. His technique is deft without ever being overemphatic. His sense of style is fluid, with an ability to see where the melody is going structurally without ever sacrificing nuance or detail. My first experience of these two concertos on one album were on a Sine Qua Non LP featuring Christoph Eschenbach and the Hamburg Philharmonic. That was a stunning achievement and deserves to be on CD. I heard Eschenbach play these two concertos at Mostly Mozart in the 1970's. Geza Anda also created a fine ver of No. 19, as did Rudolf Serkin. O'Conor's playing is easily in the same league. Mackerras is an astute and vigorous accompanist. The winds and horns of the Scottish Chamber Orchestra are especially delectable. Perhaps the most controversial moment occurs near the end of No. 23's slow movement, where O'Conor adds a lot of ornamentation. I search it very stylish and a welcome addition to the performance. The CD's sound engineering is superb, with an exemplary balance between piano and orchestra. This deserves to be a reference recording of these pieces. As for the Rondo, its score has been pieced together from fragments collected in latest years. It is enjoyable, but not at the same level of invention as the concertos.
Yes, the Pianist is John O'Connor. He sounds light, lively and flowing to me! Amazing stuff. And the Orchestra sounds LIT. Enthusiastic, precise, and in love with the sound.***In the fifth track, John O. feels his method lovingly into the runs. He really arrivied in the sweet spot.
He may not have invented the piano concerto, but he certainly perfected it. In his short lifetime, Mozart explored the piano concerto realm twenty-seven times, and thus set the pattern for every one of his successors who were to ever compose in this field, notably Beethoven. And no pianist worth his or her salt can say they've had a concert career unless they have tackled Mozart's efforts in this field at least ch can be shown on this recording created in 1990 by the Irish pianist John O'Conor. On this recording, he performs the 19th and 23rd concertos, along with the Concert Rondo In A Major (which is believed to be the original finale of the composer's earlier Piano Concerto No. 12). The depth of feeling that Mozart place into the two concertos, both of which start with slightly martial characteristics but which omit trumpets and timpani, sticking to a more intimate chamber orchestra component, is bought out quite well by Mr. O'Conor, as is the delight that is the A Major Rondo at the end of this recording. Helping out in this matter is a conductor who was no stranger to W.A. Mozart, the late Sir Charles Mackerras, who ably leads the Scottish Chamber Orchestra, another ensemble that known a thing or two about the young man from Salzburg. The 19th concerto is not often as heard on records or in concert halls as its companion piece here, so it is gratifying to see O'Conor, Mackerras, and the Scottish Chamber Orchestra give it some more prominence with a first-rate performance. That depth extends to the better-known 23rd, and the Rondo, as zart's genius shines through thanks to O'Conor, Mackerras, and the S.C.O., and kudos are in to all concerned.
The product WOULD be great, except that it was folded in half inside the packaging. I mean, what the heck? So my sheet melody has a huge fold right down the middle, and it will be spending a day or so inside a dictionary to hopefully flatten out.
Track 4 (1st movement of Mozart's 23rd piano concerto) never gets old for me (so lyrical and full of emotion), and this is the best recording I've heard. This is a "desert island" CD for me; it's such a treasure that I actually picked up a second copy at a used record shop a while back. The liner notes are very interesting too, explaining what else Mozart was writing at the time, etc. Amazon is currently this disc for $6, which is an absolute steal for such a well played and recorded ver of these two amazing concertos.
I ordered a copy of Bach's Prelude in C Major, BWV 846. Imagine my surprise when i opened the envelope to search a rumpled copy of sheet melody FOLDED IN HALF!. Ridiculous - this is not how to treat melody which needs to stand upright n the melody rest. And was all crumpled up as if someone had walked on it. You wouldn't have even shipped a comic book this way. There is no option for zero stars - if there was, I would have used it. I love (not even a small bit) purchasing something that is completely worthless.