The Decca Recitals

Track Listings
Disc: 1

1. Piangete Voi ... Al Dolce Guidami Castel Natio

2. Qui la Voce Sua Soave ... Vien, Diletto

3. Qui Radames Verral ... O Patria Mia

4. Altra Notte in Fondo Al Mare

5. Si. Mi Chiamano Mimi

6. Senza Mamma, O Bimbo, Tu Sei Morto!

7. Donde Lieta Usci

8. Ah! Il Suo Nome ... Flammen, Perdonami!

9. In Quell Trine Morbide

10. Signore, Ascolta!

See all 13 tracks on this disc
Disc: 2

1. Ritorna Vincitor!

2. Qui! Qui! ... Dove? ... O Fatidica Foresta

3. Come in Quest'ora Bruna

4. Son Giunta! Grazie, O Dio! ... Madre, Pietosa Vergine

5. Ecco, Respiro Appena ... lo Son l'Umile Ancella

6. Poveri Fiori

7. Mamma Morta

8. Son Pochi Fiori

9. Non Mi Resta

10. Qual Fiamma Avea Nel Guardo! ... Stridono Lassu

See all 15 tracks on this disc

Editorial Reviews
Album Details
Born Near Venice in 1942, Maria Chiara Completed her Studies at the Academy of Music "b. Marcello" in Venice in 1965 and it was in that Same City that She Made her Operatic Debut When She Sang Desdemona (Otello) in the Courtyard of the Doge’s Palace. Chiara Quickly Established an International Reputation with Performances in Numerous Cities, with her Verona Arena Debut as Liù in 1969. Her La Scala Debut Took Place in 1972 When She Sang Micaela, and in 1973 She Made her Covent Garden Debut. These Three Recitals, Made for Decca Between 1971 and 1977, Fully Captured the Voice in Its Prime and in a Wide Variety of Arias and Drew Lavish Praise from the Press at the Time.

Tracks:

Grande Valse brillante, op. 18
Fantaisie Imprpmptu, Op. 66
Nocturne In E flat Major, Op. 9 No. 2
Waltz In A Minor, Op 34 No. 2
Mazurka In D Major, Op. 33 No. 2
Scherzo In B Flat Minor.D Flat Major, Op. 31
Waltz In A flat Major, Op 69 No. 2
Nocturne In F Sharp Major, Op. 15 No. 2
Waltz In B Minor, Op. 69 No. 2
Ballade In G Minor, Op. 23
Mazurka In B Flat Major, Op. 7 No. 1
Waltz In G Flat Major, Op. 70 No. 1
Nocturne In B Major, Op 32 No. 1
Polonaise In A Flat Major, Op. 53

Tracks:

Ballade No3 In A Flat Major Op.47
Prelude In C Sharp Minor, Op. 45
Waltz In D Flat Major, Op. 64 No. 1 'Minute'
Waltz In C Sharp Minor, Op. 64 No.2
Etude In C Minor, Op. 10 No. 12 'Revolutionary'
Etude In G Flat Major, Op.10 No.5 'Black Key'
Nocturne In F Minor, Op. 55 No.1
Polonaise In A Major, Op. 40 No. 1 'Military'
Barcarolle In F Sharp Major, Op. 60
Prelude In D Flat Major, Op.28 No. 15 'Raindrop'
Etude In A Minor, Op. 25 No. 11 'Winter Wind'
Etude In E Major, Op. 10 No. 3 'Tristesse'
Scherzo No.3 In C Sharp Minor, Op.39

Customer Reviews:

Why are you waiting?.......2006-12-16

Ashkenazy is one of the titans of Chopin. Davidovich and Arrau are the other two. They're all you need. Get Davidovich for the concertos, (inlcuding the Krakowiak--Op 14), Arrau for the nocturnes and a few micscellaneous pieces. Ashkenazy handles everything else.

(Btw, Ashkenazy vs. Davidovich re. the impromptus is a toss up. But since the impromptus aren't on this disc, you can make that critical decision another time.)

Ashkenazy's scherzo #2 (op. 31) IS the best. Period. Other interpretations that your favorite classical music station may substitute are downright lame.

The rest are basically sublime. The first and 4th ballades will send shivers up your spine by Vlad's sheer technical ability. His artistry is second to none.

Chopin: Favorite Piano Works.......2006-07-25

An excellent complilation of Chopin works which includes 3 of the pieces I am currently learning. Definitely has encouraged me to improve my piano skills and allow me to better appreciate his style of music.

Chopin: Favorite Piano Works (London 2 CD).......2006-02-24

Beautifully done 2 CD of Chopin works. I've played it every weekend since I got it, loving every track. It's well performed and recorded, and is an excellent collection for anyone interested in Chopin or his adopted homeland of Poland. And, of course, you can't often go wrong with the London Label.

chopins Mazurkas.......2005-08-08

this is a wonderful collection of the mazurkas but Ashkenazy plays a lot of them too fast my music teacher played these with more pathos he seems like he cant get done fast enough with some of them some introductions should be slower with more feeling otherwise all the mazurkas i wanted are in this disc just wish i had got better artist like Claude Arrau

REST FOR THIS WEARY SOUL.......2005-03-09

On vinyl I owned Ashkenazy's complete recordings of Chopin's piano works. Prior to purchasing this CD of what I call "highlights from Vladimir's Chopin Recordings", I had not replaced them in this format. What a joy it is to hear Vladimir Ashkenazy play these works again. I'm reminded of how much I loved his playing of Chopin on vinyl looking forward to each "new release" with great anticipation. Being, what is referred to, as a "senior citizen" , Chopin's music means ever so much to me offering rest for this weary soul. Vladimir Ashkenazy's performances on these discs are first rate and ones I truly love. As a previous reviewer pointed out, this compellation is a bargain-great price, great music, great sound and great performances by a master of Chopin's music.

If you love Chopin, as I do, buy this recording it will sooth your soul as only great music can.

Essential Guitar: 33 Guitar Masterpieces

Average customer rating:

Two-and-a-half hours of bliss
not what i expected
excellent guitar performances
Essential Guitar...
Lives up to its Name!

Essential Guitar: 33 Guitar Masterpieces

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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300 Years of Guitar Masterpieces
Spanish Guitar Music
Classic Williams: Romance of the Guitar
Art of Segovia
Baroque Guitar

ASIN: B000069KIT
Release Date: 2002-08-13

Customer Reviews:

Two-and-a-half hours of bliss.......2007-04-04

This may be the best money I've ever spent. I got 2-1/2 hours of bliss for less than what I'd usually pay for one CD -- and you know how it is with music. You buy an album because of a song or two that you love, and you find that you like maybe half the songs on it. There's not a single selection in this one that I would've left out. It includes Joaquin Rodrigo's Concierto de Aranjuez, performed by Pepe Romero on the guitar with the Acadamy of St. Martin in the Fields. I needed to replace my old LP recording of that. But I also get 30 other classical compositions and traditional Spanish pieces, each special in its own way.

Have you ever heard music that you wanted to last forever, maybe even to dive inside and live there for a while, immersing yourself in sound? That's how I feel about this collection. The only problem I have with it is that I bought it thinking it might be nice to listen to while I write. Not so. It's terrible for that. I'll sit with my hands poised above the laptop keyboard, assuring myself I'll get some work done while I listen. The music takes hold and carries me away.

I'm not expert at describing this or any type of music. I just know what I love. You might too, if you enjoy classical or Spanish guitar -- unless you have absurd expectations about combining listening with work.

not what i expected.......2007-03-26

This CD for me was a waste of money. Its just not what i thought it would be. Others may enjoy it but for me..it wasnt what i was hoping to hear.

excellent guitar performances.......2006-07-27

Outstanding guitar performances. I gave it only 4 stars because I do not personally like some of the compositions.

Essential Guitar..........2005-07-26

Up until this collection, I'd never heard the "Cavatina" played in the Deer Hunter movie. After hearing it, I could play it all day and not tire of it! It moves me that much, considering that it's almost "not" a classical guitar selection. The rest of the music is first rate! Excellent playing, but the "Cavatina..."
Buy it and enjoy!!!!

Lives up to its Name!.......2005-06-10

If you only bought this double CD set, you'd have a good starter collection of classical guitar music. It includes most of the standards, as well as rarer pieces. In addition to the many solo pieces, there are several excerpts from orchestral works, with Rodrigo's indispensible Adagio from "Concierto de Aranjuez" topping the list. There are also several flamenco numbers included, complete with heel taps and castanets.

The recording quality is uniformly good, even on the tracks by Segovia. I don't know if they were remastered or recorded late in his career, but they're free of the surface noise present in so many of his recordings. The set clocks in at a generous 2 1/2 hours - one of the greatest deals in instrumental music; this is not a "bargain" quality set. Listen to the samples online - great stuff.

My only mild criticism is in the marketing. The advertising features John Williams and Julian Bream. Each contributes exactly one track. I would have enjoyed more pieces by them for stylistic comparison. But the less well-known (at least to guitar music neophytes like me) artists are every bit as good, and I intend to obtain more of their work.

An Introduction to Der Ring des Nibelungen

Average customer rating:

Ring introduction critique
FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE
Welcome back to a classic analysis
Essential for Understanding Wagner's Ring Cycle
Very Functional

An Introduction to Der Ring des Nibelungen
Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Wagner's Ring: Turning the Sky Round
Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Decoding Wagner: An Invitation to His World of Music Drama (includes 2 CDs)
Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle)
Ring of the Nibelung

ASIN: B00000424H
Release Date: 2005-09-13

Tracks:

Of All Great Musical Compositions... (Examples 1-4)
The Fundamental Symbol... (Examples 5-11)
Returning Now To The Nature Motive... (Examples 6, 12-16)
A Number Of Further Motives... (Examples 5, 17-21)
A Second, Much Smaller Family... (Examples 22-25)
So Much For Nature. (Examples 26-38)
The Cause Of The Deterioration... (Examples 39-44)
The Other Transformation... (Examples 45-48)
Several Other Motives... (Examples 49-52)
Two Further Motives... (Examples 41, 53-61)
The Basic Motive Associated With The Spear... (Examples 62-68)
Along Another, More Complex Line... (Examples 69-72)
In Act Two Of Walkure... (Examples 69, 73-75)
Returning Now To Act Two Of Walkure... (Examples 76-79)
Love Is Another Of The Central Symbols... (Examples 80-83)
Later In The Same Scene... (Examples 84-87)
Freia's Motive Has Two Independent Segments... (Examples 88-91)
The Label 'Flight'... (Example 92)
When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
A Little Later In The Interlude... (Examples 99-103)

Tracks:

The Other New Motive... (Examples 104-109)
There Are Several Independent Love-Motives... (Examples 110-114)
The Characters In Whose Lives... (Examples 115-120)
One Further Motive Belongs... (Example 121)
The Sword Motive Recurs... (Examples 122-130)
Ironically, This Phrase... (Examples 131-135)
Closely Associated With Gutrune's Motive... (Examples 136-140)
Here We Come To The End... (Examples 141-146)
Complemtary To This Symbol... (Examples 147-149)
One Last Central Symbol... (Examples 150-157)
One Further Motive Connected... (Examples 158-161)
There Are One Or Two Motives... (Examples 162-168)
These Motives Of Alberich And Mime... (Examples 169-171)
Quite A Number Of The Subsidiary Motives... (Examples 172-176)
Besides This Family Of Motives... (Examples 177-180)
Our Final Example... (Examples 10, 181, 182)
In The Final Scene Of Gotterdammerung... (Examples 181-183)
Even More Masterly... (Examples 184-188)
Now If We Return... (Examples 189-191)
This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Average customer rating:

So I'm just learning violin...
Joshua Bell...

The Essential Joshua Bell

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Violin Favourites & Virtuoso Showpieces

ASIN: B000A8AXUY
Release Date: 2005-09-13

Tracks:

Allegro Molto Appassionato
II. Sicilienne
II. Adagio
IV. Allegro Quasi Presto
III. Allegro Giocoso, Ma Non Troppo Vivace
Caprice Viennois
Toy-Soldiers March
Waves At Play - Samuel Sanders
II. Andante Assai
Spanish Dance - Samuel Sanders
Nigun (Improvisation)
Zigeunerweisen, Op.20

Customer Reviews:

So I'm just learning violin..........2006-09-21

and I can not play like Joshua Bell. For this, he better consider himself damn lucky as the world could not handle two of us Joshua Bells.

This was my first exposure to this phenom. Sorry, I had never heard of him until I got my first issue of STRINGS magazine and he was on the cover. My wife liked the cover and wanted to know if I got better would I not only sound like him but would I also look like him? I guess we'll never know how that will actually turn out. Safe to say, I'll end up not looking like him as I can never be quite as good as him. Again, damn lucky for Josh as I don't think the world could handle two of us.

This disc is an absolute gem not only for the Joshua Bell and violin fan, but the arrangements and the sound quality is superb. What this disc made me realize is that there are truly only a few out there that have complete and total control of their craft. It also made me decide that I would like to perhaps pick up a few more Joshua Bell recordings. For my wife, I guess I'll just duplicate them and give the copies to her in a blank cd case. I can tell her it's me playing. That ought to heat things up!

Joshua Bell..........2005-12-05

This CD is a wonderful CD to see how Joshua Bell interprets some of the standard repertory of violinists of this century. The only thing I was dissapointed in slightly was that it included music from other CD's already produced by Bell, but otherwise, a wonderful gift for someone who has never heard Bell before.

Average customer rating:

beautiful ,beautiful
Great Recording

Violin Favourites & Virtuoso Showpieces

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Romance of the Violin
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Tchaikovsky: Violin Concerto [Hybrid SACD]

ASIN: B0007WQHVW
Release Date: 2005-04-12

Tracks:

Variations on an original theme, Op.15
Romance, Op.78, No.2
Mazurka, Op.81, No.1
Hungarian Dance No.1 in G minor-Transcr. Joseph Joachim
Cantabile, Op.17
Scherzo-Tarantelle, Op.16
Nigun (Improvisation)
Perpetuum mobile
The Prophet Bird
Spanish Dance No.1
Waves at play (Wellenspiel)
Carmen Fantasy, Op.25 - Arr. Waxman

Tracks:

Praeludium and Allegro
Schosmarin
Tambourin chinois
Caprice viennois op.2
La Preuse (in the style of Louis Couperin)
Liebesfreud
Liebesleid
La Gitana
Berceuse Romantique (Caprice)
Polichinelle (Snade)
Rondino on a Theme by Beethoven
Tempo di menuetto (in the style of Pugnani)
Toy Soldiers' March
Allegretto (in the style of Boccherini)
Marche miniature viennoise
Aucassin and Nicolette (canzonetta medievale)
Menuet (in the style of Porpora)
Sicilienne and Rigaudon (in the style of Francois Francoeur)
Syncopation

Customer Reviews:

beautiful ,beautiful.......2007-05-27

I am not a music critic nor do I "know" much about music but if you love lovely violin music you will love this.

Great Recording.......2007-01-04

The Kreisler pieces are played exceptionally well. The one disc alone is worth the price of the double disc collection. Great playing.

Average customer rating:

Takacs...what amazing musicians
Sublime Playing
MORE APPRECIATION
Takacs Complete Beethoven Quartets (part 3)
Defective Decca set of Takacs Late Quartets

Beethoven: The Late String Quartets
Ludwig van Beethoven , and Takacs Quartet
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Richard Goode Performs Mozart

ASIN: B00067R3BG
Release Date: 2005-01-11

Tracks:

Maestoso - Allegro
Adagio ma non troppo e molto cantabile
Scherzando vivace
Finale
Adagio ma non troppo e molto espressivo
Allegro molto vivace
Allegro moderato
Andante ma non troppo e molto cantabile - Piso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto
Presto
Adagio quasi un poco andante
Allegro

Tracks:

Assai sostenuto - Allegro
Allegro ma non tanto
Heiliger Dankgesang e.Genesenden an die Gottheit, in der lydischen Tonart.Molto adagio -. Andante - Molto adagio - Andante - Molto adagio.
Alla marcia, assai vivace - Piegro - Presto
Allegro appassionato
Allegretto
Vivace
Lento assai, cantante e tranquillo
Der schwer gefae Entschlu(Grave - Allegro - Grave ma non troppo tratto - Allegro)

Tracks:

Allegro con brio
Allegretto ma non troppo
Allegro assai vivace ma serioso
Larghetto espressivo - Allegretto agitato
Adagio ma non troppo - Allegro
Presto
Andante con moto ma non troppo. Poco scherzando
Alla danza tedesca (Allegro assai)
Cavatina ( Adagio molto espressivo)
Overtura (Allegro) - Meno mosso e moderato - Allegro - Fuga
Finale (Allegro)

Amazon.com

Some Quartets, like the Busch, Italiano, and Talich, have come close to the inner core of these supreme masterpieces. The Takács Quartet now joins those select few. From the opening chords of the Op. 127--firmly stated, perfectly blended, just gruff enough while still sounding beautiful--you know you're in safe hands during this journey into the deepest, most timeless works in the repertory. Slow movements are always a major test here, and if the Takács doesn't surpass some of the above-mentioned groups, they are superior to their present-day peers in conveying Beethoven's deepest thinking while also attending to surface beauties. The Takács surpass the Emersons and Alban Berg Quartet(admirable as those performances are)in their interpretive insights and ensemble sound. But these masterpieces are so rich and dense that admirers need more than one version. The Takács are masters of Beethoven's quick-changing contrasts, making them sound logical, even inevitable. While their playing is full of drive and forward motion, it's never excessively energetic or overly lean. Of course, the Grosse Fugue is included, along with Beethoven's substitute finale Opus 130 and the Opus 95 Quartet, making for three well-filled discs recorded in excellent sound. --Dan Davis

Customer Reviews:

Takacs...what amazing musicians.......2007-07-23

Perhaps the best chamnber music group of our time, I was eager to purchase the CD after hearing them perform live a few months ago with the newest member of their group, Geraldine Walther (the best violist the San Francisco Symphony has ever had and lost). Listening to them in person, I thought I'd died and gone to heaven. Unfortunately with this piece the energy did not reach me in the same way. It is still an amazing performance, but I need to know my Beethoven better so I can be more selective in my purchases. I am committed to purchasing all future recordings from them, however, and if you have a chance to hear them live, do so!

Sublime Playing.......2007-03-02

I have come to enjoy and appreciate string quartets much more in recent years, and my collection of recordings embraces Mendelssohn, Schubert, Haydn, Shostakovich, Borodin and Britten; but not Beethoven. I had some old LP recordings of the quartets several years ago (long disappeared) and I felt it was time to hear them again. So I was approaching this set of quartets as something new.

I bought these recordings having read several reviews of the Takacs Quartet's recordings of the Beethoven Quartets; indeed they have been so glowing that I could not help but be curious. These are not easy works to understand and I have heard the music a few times and feel that I am just beginning to learn about them. I would have to say that my favorites are the Quartet in F minor, Op. 95 "Quartetto Serioso" the Quartet in B flat, op. 130, the Grosse Fuge, op. 133 and the Quartet in F major, Op. 135. These works had an immediate appeal and the playing of the Takacs is luminous. The Quartet in E flat, Op. 127, Quartet in C sharp minor, Op. 131 and Quartet in A minor, Op. 132 have extended slow movements that are intimate and somber, and can become somewhat tiresome. When I was playing disc one with the Op. 127 and Op. 131 quartets my wife said it was the most boring music she had heard. Well, this is music that requires multiple hearings to understand and I do not plan to get rid of this set.

As has been pointed out by several reviewers, the late Beethoven quartets are not works for light listening. However, even the most challenging of the quartets contains music that I found appealing. For example, the Scherzo and Allegro from the Op. 127 quartet are brilliant and even the C sharp minor quartet with its beginning dark and somber adagio eventually brightens as the music unfolds. I usually listen to CDs with a headset and I found that the sound and balance of these recordings are second to none. The playing of the Takacs is fabulous and I highly recommend this set, even if some of the music may require some patience.

MORE APPRECIATION.......2006-12-01

To be honest, I have never really understood or appreciated Beethoven's Late String
Quartets finding them very difficult to decipher and really not too enjoyable to listen to. (In reality, I honestly feel that they are very "private" compositions of Beethoven that are reflective of the inner turmoil of his life at the time of their composition) Although I don't feel that I really understand them now (nor do I ever expect to), I have enjoyed them more in this recording that is played by the exquisite Takács Quartet than I ever have enjoyed them. To me, the Takács Quartet has some semblance of understanding of these monumental works; they indeed seem to understand them or in the very least they indeed play them most beautifully neither being too gruff or too sentimental. Their sound is simply gorgeous making for a most enjoyable listening experience. Coupled with Decca's exquisite recorded balance and sound, (the recording also includes the Grosse Fugue in this 3 disc set) I now almost like and appreciate the works.

In conclusion, I don't still even pretend to consider Beethoven's Late String Quartets as some of my favorite compositions, however, I indeed do intend to return to this recording often hopefully garnering more of an understanding of these most important compositions by Beethoven.

Takacs Complete Beethoven Quartets (part 3) .......2006-08-28

This is the 3rd part of my full review of the Takacs Beethoven string quartets. Part 1 is for the Opus18 Quartets and Part 2 for the middle quartets.

I am a Busch Quartet Lover (as are the Takacs players themselves) so those quartets loom in the back of my mind as the standard against which other performances are measured. Since the Busch performances were loved against years of listening to many other quartets as well, it is high praise for the Takacs that I consider the Takacs often their equal, and on some occasions (op59 no3) even superiour.

With the late quartets the Takacs come into competition with a well recorded (for 1930s) Busch performance on every quartet (except the full No13). Fortunately, the Takacs took these on at the last, and their style and insight has certainly matured. The "crescendo effect" I complained about in my other reviews is mostly gone here, and they generally seem more in touch with the emotional centre of the music. Furthermore, Duisinberre has for the most part laid off the heavy vibrato he sometimes brought to slow movements on the earlier discs.

The Takacs popularity is in large part to the variety of qualities they bring to the music. Many quartets have strengths in certain areas, such as great fire, sublime sensitivity, immaculate technique, superb dynamics...but very rarely does a quartet come along that is strong in so many of these areas at once, as the Takacs are. In my previous reviews I complained that their only "lack" was that they sometimes seemed distant to the essence of the music in a way my favourite quartet, the Busch, never seems to be.

In this final set of their cycle, they mostly correct this, and their performances for the most part take on the great authority of classics. Still, they are not (most of the time) in the same league as the Busch yet, either in emotional depth or, in particular, their ability to play in unison when called for. The uncanny way the Busch can blend into one sound at certain moments really gives them an extra edge when they need it. At those moments I often found myself slightly dissapointed with the Takacs when, remembering a moment where the Busch pulled out an extraordinary sonority for great effect, the Takacs, though playing with all their heart, still sounded like 4 individual instruments scraping away in not an entirely sure fashion.

Op95 starts off chock full of Takacs strengths: lively phrasing, varied textures, rippling fire, immaculate technique and dynamics. The first movement does not quite have the ripping tragedy that the Busch do, but still is very gripping.

No12 manages to outdo the Busch at times in sheer power and masterful melodic articulation. The long slow movement is very beautifully done and the scherzo amazes with its ferocity. The last movement slightly dissapoints near the end. The Busch make great use of their unified textural sonority to sustain the wild arpeggios, such that the piece ends leaving one exhilarated. The Takacs leave dynamic gaps here and the music sort of lurches to the finish in a dissapointing way.

No13 is only available in a poor Sony recording from 1943 by the Busch, one that omits the Grosse Fugue as well. Poor recording and all, noone has ever come close to understanding the first part of this quartet in the way the Busch do. The natural tempos and phrasing of the lonely 'horn calls' in the first movement makes the development section like falling into a well of amazing emotional depth. The Takacs are altogether more pensive, almost sweet. They try to turn this movement inward, rather self conscious and psychological, and it really pales compared to the Busch.

Great firey 2nd movement from Takacs as expected.

3rd movement gets it typical laid back Schumannian whimsy from the Takacs. O how infinitely better is the natural Busch rendering, with Adolf catching that wild central gypsy melody on the wing such that you won't get it out of your head for days. Takacs are snoozers here.

The Takacs catch up on the slow movement. Perhaps taking the warning that Beethoven called this short piece "my greatest work of chambermusic" they give it great gravitas and concentration, shaping the alternating passages with loving intensity. That sweeps forward into a nearly hysterical, and amazingly played Grosse Fugue, after which the monster quartet is finished off with Beethovens alternate ending. The Takacs really fly through this piece and its brilliant, much more becoming than the Busch laid back tempo.

So, if for quartet No 13 I could have the Busch upto the slow movement, then Takacs the rest of the way including the fugue, I would be in bliss, but life is not so simple!

I'd like to continue but am running out of space. Basically quartets 14 and 15, while not quite in the same league as the Busch for some of the aforesaid reasons, are still very great performances, ones that complement the Busch very well and are occassionally better. For slow movement lovers, the variations from no14, while very fine, misses alot of the profound emotional transformation that the Busch capture in the silences and amazing pure tonal sonorities. The Heilegen Danksang from No15 is just wonderfully done by the Takacs, perhaps even as good as the Busch, which is saying alot. No16 is as good or even better than the Busch. I think the Takacs make even more sense out of it. Rather like the 8th symphony it is full of Beethoven at his most wierdly personal and subtle and overall the Takacs catch the spirit of the melody better than the Busch.

All in all, a mostly triumphant finish for the Takacs. For a complete set with a modern recording the Takacs would certainly be my first choice, though as I have often stated the old Busch recordings (of half the quartets) for the most part still scale this music the highest.

But we are spoilt for choice. We can own all sorts of recordings of this wonderful music, wandering all the interesting and unique ways to the one musical core.

Defective Decca set of Takacs Late Quartets.......2006-05-01

I purchased this set yesterday, and it has the same defect noted by others: Disc 3 is correctly labeled but is an exact copy of the music on Disc 1. Obviously Decca has a quality control problem and seems to lack the integrity to do a recall.

Average customer rating:

A good recording, but lacks a little presence
Accessible and enjoyable Vivaldi

Vivaldi: Four Seasons [Hybrid SACD]

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Mozart: Flute Concertos; Rondo; Andante [Includes the Bis 2005 Catalog] [Hybrid SACD]
Bach: The Four Great Toccatas and Fugues [SACD]
Mozart: Piano & Violin Sonatas [Hybrid SACD]
Dark Side of the Moon 30th Anniversary Edition
Telarc SACD Sampler: Sound and Vision

ASIN: B0007PL7WI
Release Date: 2005-11-08

Tracks:

Allegro
Largo
Allegro
Allegro Non Molto
Adagio/Presto
Presto
Allegro
Adagio Molto
Allegro
Allegro Non Molto
Largo
Allegro

Customer Reviews:

A good recording, but lacks a little presence.......2007-07-16

Almost anything sounds great in SACD and this performance is no exception, but if you're used to a 100 piece orchestra strumming violins to this score, you might be slighly disappointed. If you are looking for a different take on the four seasons and would appreciate the distinctive sound of a just a few instruments, this is for you

Accessible and enjoyable Vivaldi.......2006-03-19

Vivaldi is practically as synonymous with virtuosic violin arrangements as McDonalds is with fat. Practically. Janine Jansen's arrangements for Vivaldi's Four Seasons is stark, graceful, and engaging- she assigns only one musician per part. The sometimes overwhleming grandeur of fully orchestrated arrangements is appreciatively mellowed, allowing the ear to really hear each musician and their expected "virtuosic" and precise talent. Though mellowed to nearly Starbucks ambiance, the arrangements manage to retain the energy and excitement of Vivaldi in a fresh and accessible new form.

Average customer rating:

I disagree with the consensus here
Don't hesitate to get this set
Superb interpretations by Katchen
A little rushed sometimes, but beautiful
Radiant and inspired recordings

Brahms: Works for Solo Piano

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

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Similar Items:

Schubert: The Piano Sonatas
Liszt: Piano Works
Chopin: The Piano Works
Works for Solo Piano
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116

ASIN: B0000042GM
Release Date: 1997-11-11

Tracks:

Variations On A Theme By Paganini, Op.35: Book 1 - Heft 1
Variations On A Theme By Paganini, Op.35: Book 2 - Heft 2
Variations And Fugue On A Theme By G.F. Handel, Op.24: B Flat Major
4 Ballades, Op.10: Andante
4 Ballades, Op.10: Andante
4 Ballades, Op.10: Intermezzo. Allegro
4 Ballades, Op.10: Andante con moto

Tracks:

Works For Solo Piano: Ziemlich langsam
Works For Solo Piano: Poco larghetto
Works For Solo Piano: Allegro
Works For Solo Piano: Walzer Nr. 1 - 8
Works For Solo Piano: Walzer Nr. 9 - 16
Works For Solo Piano: Scherzo es-moll

Tracks:

Works For Piano Solo: Allegro
Works For Piano Solo: Andante
Works For Piano Solo: Scherzo. Allegro molto e con fuoco
Works For Piano Solo: Finale. Allegro con fuoco
Works For Piano Solo: Allegro non troppo ma energico
Works For Piano Solo: Andante con espressione
Works For Piano Solo: Scherzo. Allegro
Works For Piano Solo: Finale. Introduzione (sostenuto) - Allegro non troppo e rubato
Works For Piano Solo: Agitato
Works For Piano Solo: Molto passionato, ma non troppo allegro

Tracks:

Works For Piano Solo: Allegro maestoso
Works For Piano Solo: Andante espressivo - Andante molto
Works For Piano Solo: Scherzo. Allegro energico
Works For Piano Solo: Intermezzo. Andante molto
Works For Piano Solo: Finale. Allegro moderato ma rubato
Works For Piano Solo: Presto energico
Works For Piano Solo: Andante
Works For Piano Solo: Allegro passionato
Works For Piano Solo: Adagio
Works For Piano Solo: Andante con grazia ed intimissimo sentimento
Works For Piano Solo: Andante teneramente
Works For Piano Solo: Allegro agitato

Tracks:

Works For Solo Piano: 8 Pieces, Op.76 - I Capriccio in F sharp minor
Works For Solo Piano: 8 Pieces, Op. 76 - II Capriccio in B minor
Works For Solo Piano: 8 Pieces, Op. 76 - III Intermezzo in A flat major
Works For Solo Piano: 8 Pieces, Op. 76 - IV Intermezzo in B flat major
Works For Solo Piano: 8 Pieces, Op. 76 - V Capriccio in C sharp minor
Works For Solo Piano: 8 Pieces, Op. 76 - VI Intermezzo in A major
Works For Solo Piano: 8 Pieces, Op. 76 - VII Intermezzo in A minor
Works For Solo Piano: 8 Pieces, Op. 76 - VIII Capriccio in C major
Works For Solo Piano: 6 Pieces, Op. 118 - I Intermezzo in A minor
Works For Solo Piano: 6 Pieces, Op. 118 - II Intermezzo in A major
Works For Solo Piano: 6 Pieces, Op. 118 - III Ballade in G minor
Works For Solo Piano: 6 Pieces, Op. 118 - IV Intermezzo in F minor
Works For Solo Piano: 6 Pieces, Op. 118 - V Romanze in F major
Works For Solo Piano: 6 Pieces, Op. 118 - VI Intermezzo in E flat minor
Works For Solo Piano: 4 Pieces, Op. 119 - I Intermezzo in B minorn B
Works For Solo Piano: 4 Pieces, Op. 119 - II Intermezzo in E minor
Works For Solo Piano: 4 Pieces, Op. 119 - III Intermezzo in C major
Works For Solo Piano: 4 Pieces, Op. 119 - IV Rhapsody in E flat major

Tracks:

Works For Solo Piano: Andante moderato
Works For Solo Piano: Andante non troppo e con molto espressione
Works For Solo Piano: Andante con moto
Works For Solo Piano: g-moll
Works For Solo Piano: d-moll
Works For Solo Piano: F-dur
Works For Solo Piano: fis-moll
Works For Solo Piano: fis-moll
Works For Solo Piano: Des-dur
Works For Solo Piano: F-dur
Works For Solo Piano: a-moll
Works For Solo Piano: e-moll
Works For Solo Piano: E-dur
Works For Solo Piano: d-moll
Works For Solo Piano: d-moll
Works For Solo Piano: D-dur
Works For Solo Piano: d-moll
Works For Solo Piano: B-dur
Works For Solo Piano: f-moll
Works For Solo Piano: fis-moll
Works For Solo Piano: D-dur
Works For Solo Piano: h-moll
Works For Solo Piano: e-moll
Works For Solo Piano: e-moll

Customer Reviews:

I disagree with the consensus here.......2007-07-11

I was disappointed by this set and would not recommend it. It's great that all of Brahms' piano works are included here and the boxed set includes some difficult to find works (like those Op. 21 variation sets) as well as the better known and wonderful later piano pieces and the Op. 39 Waltzes.

The problem is that Katchen's performances are flawed and often unpleasant. The worst problem is that he bangs the keys a lot. Fortissimo passages are ideally not supposed to be noisy; they are intended to be loud and forceful without being unpleasant. It's a key distinction that Katchen fails to realize. I also think that Katchen's technique is a bit patchy. He blurs the passagework and there is a lack of both accuracy and delicacy in the fast passages. To take an example, the Op. 76 set is marred by both of these problems: a lack of accuracy and a tendency to bang on the keyboard. I also found many of the passages that didn't suffer from these problems to be interpretationally uninteresting (the slow parts of the Paganini Variations, Bk II are undistinguished, to take an example). Big thumbs down.

I did some direct comparison of sets to the Katchen performances and in every case Katchen was far inferior.

Take the Op. 39 Waltzes: Leon Fleisher's old recording is wonderful and much more sensitive and interesting than Katchen.

I also listened to Radu Lupu's recording of the Opp. 117-119 pieces (THAT is a wonderful recording - if you are looking for a superb recording of Brahms piano music, get that one and save yourself the aggravation of the Katchen set) and it's simply no contest.

I also sampled the terrific Op. 79 Rhapsodies and the Paganini Variations as played by a favorite pianist of mine, the lesser-known French pianist Nicholas Angelich, and Katchen's sloppy and undirected interpretations pales before the versions by a "non-superstar" pianist.

So while I admit I haven't listened to every portion of the Katchen set, I found every reason to avoid it when compared to some alternatives available.

Don't hesitate to get this set.......2007-07-04

It's a good thing I waited to write this until I'd heard these CDs a few times. I would have been guilty of understatement. Katchen's work grows on me in much the same way Brahms' music itself does. It is rich in nuance and insight, and never fails to please.

I'll confess, I bought this set to fill the gaps in my piecemeal collection. What a delightful surprise to find my "stopgap" set more than holds its own against recordings by the likes of Richter, Rubinstein and Gilels. To help the reader overcome any reluctance I offer a few comments on the few "downsides" mentioned by others:

Yes, Katchen does play fast, but not always, and certainly not out of inability to hold the listener's attention through more artful means. Katchen's track times are often slower than Rubinstein's or even Gilels'; but where the spirit moves him, he can go like a rocket. He's generally fastest in the earlier works, where a case can be made for playing them with youthful ardor; Katchen does this to a T. This applies to the first 2 sonatas, the Paganini variations (why would anything associated with Paganini lack splash and dazzle?) and to a much lesser extent, parts of the Handel variations. The main thing is, it works. The very few places where I felt Katchen was rushing the music are heavily outnumbered by places where the added energy seems to "fit" like a glove.

Yes, in an exhaustive set you inevitably endure the "bottom of the barrel." I'm surprised how little of this 6-CD set strikes me as anything less than indispensible. Every track is worth hearing. Katchen has been surpassed here and there, but he doesn't put in a bad performance in the whole batch.

Yes, the recordings are more than 40 years old. They will not satisfy the most jaded audiophile (there's not quite the "presence" of a good recording today). But they are amazingly clean and lifelike for their age (even the 3 tracks that are mono). They sound noticeably better than the popular Rubinstein recordings of equal vintage. At first I thought I heard a touch of bass-heaviness, but now I just think Katchen gives us a strong, clear bass line. Once again, it works. The sound is simply not a problem for a normal listener.

Finally, there's the small stuff. Getting the CDs out of their tight-fitting sleeves without putting your fingerprints on the playing surface is well-nigh impossible, unless you give in and apply a letter opener to solve the problem once and for all. Is that any reason not to get this much wonderful music at such a low price? London has even revived the old practice of offering different program notes in different languages, so that multilingual readers can benefit from more than one set of comments. All around it's a winner!

Superb interpretations by Katchen.......2006-11-16

Katchen's performace throughout this collection are excellent.Brahms integrates many of Schumann's,Bach's and Beethovens compositional ideas into his own works.He is a master of the appoggiatura(suspension of the dominant chord).And the ghosts of Bach,Schumann,and Beethoven appear at intervals throughout this collection of his piano works.The VARIATIONS ON AN ORIGINAL THEME is an ethereal experience,and the Op.09 VARIATIONS ON A THEME BY SCHUMANN, composed after his death,Brahms's pathos,especialy in the slower variations, make you aware of his sadness of Schumann passing, as there is vivid sense of despair and remorse you can hear throughout.It is well documented the profound influence Shumann had on Brahms's compositional process.OP.76 is a passionate performance by Katchen.You also have short piano works culminated in Op116,Op 117,Op.118,which includes the great masterpiece in Ebminor,and Op.119.The Pagganini Variations,Variations on a theme by Haydn,the Ballads Op. 10.And both volumes of the HUNGARIAN DANCES,the 2 Rhapsody's,and VARATIONS ON A THEME BY HANDEL.It quite remarkable that such music could be created by such a young man in the astonishing Sonatas,OP.1,OP.2,and OP.5.The slow movements in all three sonates are very inspiring,and heart fealt.It makes you glad to be alive in order to hear such remarkable music.A well balanced performance throughout.If your a Brahms lover,this is a must for your collection.Enjoy

A little rushed sometimes, but beautiful.......2005-02-03

To be honest, I can't really figure out how much I like Katchen's performance. It's hard to gauge because Brahms's piano music is inherently exceptional played by just about any performer.

I feel that the ballades, op. 10 are played way too fast (although I'm not exactly sure how close Katchen is to Brahms's tempi indications). I've heard them by several other performers and, being a Gould fan, would have to say that his slower interpretation really captures how beautiful the pieces are more than anyone else. I also enjoy Kempff's performances of many later works. Katchen really seems so rushed for some reason. To me, that really takes attention away from the fine details, which I think are so essential to Brahms's piano music. He's not quite delicate enough with some of the pieces.

This faster speed is only very slight for the rest of the set, but pretty consistently. I think he does a better job with more intense pieces like many of his larger-scale variations and the sonatas. Those I would give 5 stars, but only 4 stars for the op. 116-119, for they're a little too fast.

My only other qualm is the arrangement of the set. It would be nice to have all the sonatas together on a disc, 116-119 on a disc, etc., going along with the whole chronological thing..

However, all these things are personal preference. I would definitely recommend this set. It's made up about 1/2 of my music listening for the past couple months. It's not expensive at all for what you're getting, and if you get just one Brahms piano cd, you're going to want to get more, so you should just get it over with and have this whole set, it's fabulous music. Just keep in mind that this is not the only interpretation that should be considered.

Radiant and inspired recordings.......2004-09-19

If there is a more effervescent , idiomatic , innovative and resplendently performance of the Handel Variations , I have not heard it . Katchen emphasizes with colossal scrupulosity the wide doe and the diversity spectre of the orchestral instruments . You must marvel at the technical equipment of Katchen playing .
The other outstanding version of these Variations is of Michael Ponti (live preformance)
gifted with a major emphasis in the striking and color tone ; but the point to remark is that in both performings the approach is similar ; every one of the Variations must be played as a microcosmos in itself ; with nuance , grace , majesty, powerful imagination, sense of the span and above al ; savoir vivre . If you intend to play with authoritative precision without Mediterranean dewy and radiant mood ; you are destined to fail with these Variations and becoming unbearable for the audience and the listener . Lamentably , there are many of them in the actual market but I think you can guess them .
The two Rhapsodies are performed with the highest commitment . Melodic flight and arresting lyricism .
The Sonatas are superbly performed . The Sonata No. 3 may find serious matchers with Clifford Curzon and Paul Badura Skoda .
The intermezzos are depicted with the adequate illuminating . These intimate pages must be played with the perfect balance of light and shadows ; think in Chopin Nocturnes for instance . Only Glenn Gould gets close to him in the Intermezzo Op. 117 No. 2 .
The Ballades may be the weakest works of this fundamental set . Benedetti Michelangeli and Emil Gilels recorded brilliant and eloquent versions.
Finally The Paganini Variations find in Benedetti Michelangeli a serious and unbeatable adversary .
To be honest , this set is widely recommendable for you , to know the whole and intimate world of Johannes Brahms , the beloved son of Hamburg.
Katchen also recorded a powerful Islamey and an unforgettable Rachmaninoff No. 2 .

Dvorak: Piano Quintet, Op. 81/ String Quartet, Op. 51

Average customer rating:

An exceptional recording
Impeccable!
DEEPENING DVORAK
Beutiful

Dvorak: Piano Quintet, Op. 81/ String Quartet, Op. 51

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

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Similar Items:

Schubert: String Quartets Nos. 13 & 14
Beethoven: String Quartets
Beethoven: String Quartets Op. 18
Schumann, Brahms: Piano Quintets
Schumann: Op. Nos. 44 & 47

ASIN: B00001IVQR
Release Date: 1999-09-14

Tracks:

PIano Quintet In A Minor, Op. 81: I. Allegro ma non troppo
PIano Quintet In A Minor, Op. 81: II. Dumka: Andante con moto - Un pochettino piu mosso
PIano Quintet In A Minor, Op. 81: III. Sherzo (Furiant): Molto vivace - Trio: poco tranquillo
PIano Quintet In A Minor, Op. 81: IV: Finale: Allegro
String Quartet In E Flat Major, Op. 51: I. Allegro ma non Troppo
String Quartet In E Flat Major, Op. 51: II. Dumka: Andante con moto - Vivace
String Quartet In E Flat Major, Op. 51: III. Romanza: Andane con moto
String Quartet In E Flat Major, Op. 51: IV. Finale: Allegro Assai

Customer Reviews:

An exceptional recording.......2006-01-20

There are three piano quintets recognized as masterpieces of the form: Brahms' Op. 34, Schumann's Op. 44 and Dvorak's Op. 81 here. Dvorak composed this work as part of his devotion to the Bohemian folk idiom and, along with the "Dumky" Trio and E-flat Piano Quartet, epitomize the national Czech music tradition. Similarly, the String Quartet Op. 51 was composed purposely with to showcase Slavic flavors and is rich in beauty and charm.

Everything seems to have come together in this reading to produce a great recording for the ages. Andreas Haefliger's joins the quartet with some sparking pianism that propells the fast movements with inspired verve and dazzling running semiquavers - all captured in brilliant clarity. Equally attractive is the poinant and serene second movement which is performed with a beautiful depth of passion and breathtaking emotive tonalities from the legendary Takacs Quartet. Overall, their temperament and approach here are ideal for Dvorak - appealing to his brilliant lyricism and love of the music of his homeland. The recording ambiance is bright, bold and perfectly balanced between instruments with just the right amount of spaciousness. In short, the Dvorak compositions on this CD are truly monumental, the playing of the highest caliber and the end result very attractive. Hopefully, we will see more recordings of Dvorak's chamber works from the Takacs Quartet (whose award-winning Beethoven Quartet cycle is also superb).

Living in Boulder (where the Takacs Quartet is in residence at Colorado University), I have had the priviledge to hear this superb quartet play in person. I thought they sounded great on disc, but to hear this ensemble in person is extraordinary. Among their many fine, award-winning recordings of Bartok, Beethoven and Haydn is this one of Dvorak recorded in 1998 with the brilliant first-violinist, Edward Dusinberre. Another change with this quartet came in 2005 with the departing of Violist Roger Tapping and the arrival of Geraldine Walther from the San Francisco Symphony (a wonderful addition). Also in 2005, The Takacs Quartet celebrated their 30th YEAR with original members Mr. Schranz and Fejer still going strong from the college days in Budapest.

This coupling scored very high with the music press who healded it as one of the great modern recordings of the Quintet. ClassicsToday gave it a perfect 10/10 for Artisty and Sound Quality with these accolades which I concur: "This is one of the most beautiful chamber music discs in the catalog. Throughout, the Decca engineers have managed to combine clarity with tonal richness, achieving perfect balances between the piano and strings in the quintet. Both works are similar in form and content, especially notable for their folk-inspired melodies and infectious dance rhythms." Another impressive recording of the piano quintet (but coupled with an early string quintet) comes from Susan Tomes and the Gaudier Quintet (Hyperion). Both are satisfying choices but my lean would be towards the Takacs/Haefliger recording for the quintet and especially their lush reading of the string quartet companion piece.

Impeccable!.......2004-07-11

This is a masterful performance that is polished and proportionate in every way. The music bursts with life in the hands of these musicians! Having seen the Takacs Quartet in live performance twice within the last 5 years I will say that these guys are definately on top of their "game". This becomes at least partly apparent by way of listening to this recording...one of the finest of these works!

DEEPENING DVORAK.......2003-01-30

No mixed feelings at all about this warmly autumnal performance; there is a genuine glow to the Haefliger/Takacs presence, an introspective ambience that separates it from the crowd. There is sweetness, too, and an affecting lyricism, particularly appealing in the tender treatment of the often-hectic opening movement, but even more so in the heartfelt second. Unlike any other recording I've heard, the Slavic melancholy imbued in this work is unashamedly brought to the fore by this ensemble, and I applaud them for their insight. Even the sparkling third movement earns kudos with its magical trio section (so beautiful!); and, too, the finale is brought off with just the right amount of panache and grace, sans the usual barnstorming.

The coupling of the magnificent String Quartet No. 10, Op. 51 couldn't be more perfect. Again, the same intimacy of playing prevails, the same glow. The sense of gentle give and take between the members of the Takacs Quartet is a joy. What a breathtaking and deeply devoted view they take of this quartet, with its exceptionally wonderful slow movement. I can't imagine a more revealing rendition of this work, frankly. Nor have I heard one.

The sound, although a bit ambient, suits and does not cloud clarity or expression of this most moving and impressive CD of these two Dvorak masterpieces.

[Running time: 71:27]

Beutiful.......2002-04-09

Dont miss this one!

Its one of the best played piano and string quartet from Dvorak out there.

About this string quartet... well those of you familliar with Deccas Bartok 6 string quartets understand the extremly high quality of these guys and if you dont... trust me on this or read all reviwes about Bartoks 6 string quartets on Decca with Takacs string quartet.

Haefliger is marvelous on piano here and do justice to Dvoraks lovely pieces.

Tracks:

Cello Sonata No. 1 In F Major, Op. 5 No. 1: I. Adagio sostenuto-
Cello Sonata No. 1 In F Major, Op. 5 No. 1: Allegro
Cello Sonata No. 1 In F Major, Op. 5 No. 1: II. Rondo: Allegro vivace
Cello Sonata No. 2 In G Minor, Op. 5 No. 2: I. Adagio sostenuto ed espressivo-
Cello Sonata No. 2 In G Minor, Op. 5 No. 2: Allegro molto, piu tosto presto
Cello Sonata No. 2 In G Minor, Op. 5 No. 2: II. Rondo: Allegro

Tracks:

Cello Sonata No. 3 In A Major, Op. 69: I. Allegro ma non tanto
Cello Sonata No. 3 In A Major, Op. 69: II. Scherzo: Allegro molto
Cello Sonata No. 3 In A Major, Op. 69: III. Adagio cantabile-
Cello Sonata No. 3 In A Major, Op. 69: Allegro vivace
Cello Sonata No. 4 In C Major, Op. 102 No. 1: I. Andante-
Cello Sonata No. 4 In C Major, Op. 102 No. 1: Allegro vivace
Cello Sonata No. 4 In C Major, Op. 102 No. 1: II. Adagio-
Cello Sonata No. 4 In C Major, Op. 102 No. 1: Tempo d'andante-
Cello Sonata No. 4 In C Major, Op. 102 No. 1: Allegro vivace
Cello Sonata No. 5 In D Major, Op. 102 No. 2: I. Allegro con brio
Cello Sonata No. 5 In D Major, Op. 102 No. 2: II. Adagio con molto sentimento d'affetto
Cello Sonata No. 5 In D Major, Op. 102 No. 2: III. Allegro - Allegro fugato
Horn Sonata In F Major, Op. 17: I. Allegro moderato - Barry Tuckwell
II. Poco adagio, quasi andante- - Barry Tuckwell
Rondo: Allegro moderato - Barry Tuckwell

Customer Reviews:

Consistently and superbly musical.......2004-05-17

There is little more one could ask for in these buoyant, dramatic, glowing and felicitous performances by cellist Lynn Harrell and pianist Vladimir Ashkenazy. They simply take off because of their marvelously unforced style of play, which at various moments can be commanding, poetic and even aristocratic. Both soloists also manifest an extremely satisfying instrumental tone, especially Harrell, whose cello sounds absolutely golden, and who frequently demonstrates the ability to truly sing and soar. And with Ashkenazy's wonderfully fluid approach, the two offer readings that, for me, outdo Rostropovich/Richter and Tortelier/Heidsieck, who both present fine offerings. Though Rostropovich possesses that wonderful, big sounding tone, in these sonatas he tends to pass over phrases too quickly for me. I prefer a bit of lingering here. At times, Richter also plays too fast. With regard to the Tortelier/Heidsieck duo, they tend to render marginally more extended pauses, deliberate accents and a slower, more deliberate pace. Also, while an excellent cellist, Tortelier lacks Harrell's opulent tone that I so revel in. There are so many satisfying moments in this Harrell/Ashkenazy set that it would take me longer than I would like to point them out, but listen, in particular, to the splendid opus 69 Third Sonata. Perhaps, this represents the two players at their finest in terms of both quality of expressiveness and instrumental interplay. Some real magic unfolds here. Overall, you will find it difficult to do better than these uplifting and extremely pleasurable accounts of these musical gems from Beethoven. Incidentally, the recorded sound on these discs is very fine, and exceeds that which is afforded the others in their presentations.

Lovely Cello Sonatas with a Wonderful Surprise at the end.........2004-02-19

This was the first time I met these Sonatas.
Actually, when I bought this disc, Because of the Title:
Cello Sonatas
I thought I was going to hear Sonatas for Cello Solo,
Like the Suites By Bach...
I Quickly fell in love with the Cello Sonatas, esspecially
the last three...
And what a Beautiful surprise it was to hear the Magnificent
and Charming Horn Sonata Op. 17 !
The Three Musicians Play extremly well!
esspecially Ashkenazy with his light touch
and Tuckwell with his inthusiastic (I hope I spelled it right)
Playing!

Absolutely superb!!!.......2003-12-19

A truly wonderful recording,with the right combination of technical perfection coupled with emotion. And the addition of the Opus 17 Horn sonata was a good choice. Ashkenazy and Harrell are in top form (as is Tuckwell). This collection is an absolute must.

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