Concerti Sacri 1-5

1. Concerti sacri, motets for 1-4 voices, Op 2 No 1 "Est dies" for Solo
Composed by Alessandro Scarlatti
with Il Ruggiero

2. Concerti sacri, motets for 1-4 voices, Op 2 No 2 "Jam sole clarior" for Solo
Composed by Alessandro Scarlatti
with Il Ruggiero

3. Concerti sacri, motets for 1-4 voices, Op 2 No 3 "Infirmata vulnerata" for Solo
Composed by Alessandro Scarlatti
with Il Ruggiero

4. Concerti sacri, motets for 1-4 voices, Op 2 No 4 "Totus amore" for Solo
Composed by Alessandro Scarlatti
with Il Ruggiero

5. Concerti sacri, motets for 1-4 voices, Op 2 No 5 "Mortales" for 2 voices
Composed by Alessandro Scarlatti
with Il Ruggiero

Tracks:

Concerto In A Minor For Recorder, Viola da gamba And Strings: Grave
Concerto In A Minor For Recorder, Viola da gamba And Strings: Allegro
Concerto In A Minor For Recorder, Viola da gamba And Strings: Dolce
Concerto In A Minor For Recorder, Viola da gamba And Strings: Allegro
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Ouverture
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: La Trompette
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Sarabande
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Rondeau
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Bourree
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Courante - Double
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Gigue (Presto)
Suite In A Minor (Ouverture) For Recorder And Strings, TWV 55:a 2: Ouverture
(Ouverture) For Recorder And Strings, TWV 55:a 2: Les Plaisirs I - II
(Ouverture) For Recorder And Strings, TWV 55:a 2: Air a l'Italien (Largo)
(Ouverture) For Recorder And Strings, TWV 55:a 2: Menuet I - II
(Ouverture) For Recorder And Strings, TWV 55:a 2: Rejouissance
(Ouverture) For Recorder And Strings, TWV 55:a 2: Passepied I - II
(Ouverture) For Recorder And Strings, TWV 55:a 2: Polonoise - Double
Sinfonia In F Major For Alto Recorder, Viola de gamba And Strings, TWV 50:3: Alla Breve
Sinfonia In F Major For Alto Recorder, Viola de gamba And Strings, TWV 50:3: Andante
Sinfonia In F Major For Alto Recorder, Viola de gamba And Strings, TWV 50:3: Vivace

Customer Reviews:

Every track is beautiful.......2005-11-03

I can't get over how beautiful this CD is, and I'm not using the word "beautiful" loosely. I love every track. My daughter-in-law was at my house recently for a day of bed rest. I left her with a stack of CDs, including this one. When I got home from work she said, without any prompting from me, "This CD is beautiful," and she said "beautiful" with feeling. I bought four more copies for Christmas presents.

It's hard to put in words why I find it so beautiful. The music is fresh, bright, delightful. It's not just beautiful, it's movingly beautiful. I like baroque music, but this sounds somewhat different from most of my baroque CDs, perhaps partly because one of the instruments is a viola da gamba.

This is a review of "Telemann: Les Plaisirs", with Marion Verbruggen, Sara Cunningham, and Monica Hugget. I have several CDs with pieces by Telemann, but this is the first one I've bought that is all Telemann. (I once had a set of phonograph records with only Telemann, but that was long, long ago.) I have several CDs with Marion Verbruggen, whom I have recently discoverd and whom I like very much. I also have several CDs with Hugget and Cunningham, and I like them too. I bought this CD mostly because I read somewhere that Verbruggen plays the recorder beautifully in track 13. I didn't know what to expect of the rest.

Average customer rating:

Handel: The Masterworks (Box Set)

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Vivaldi: The Masterworks (Box Set)
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Dvorák: The Masterworks [Box Set]
Schubert: The Masterworks [Box Set]

ASIN: B00062FLI8
Release Date: 2004-11-30

Average customer rating:

Fantastic Album
Easy listening Chang
total disappointment
some ways to go in knowing sorrow...
emotionally riveting vitali

Sweet Sorrow
Tommaso Antonio Vitali , Fryderyk Chopin , Niccolo Paganini , Edouard Lalo , Henri Vieuxtemps , Nicolo Paganini , Christoph Willibald Gluck , Johannes Brahms , Franz Liszt , Pyotr Il'yich Tchaikovsky , Camille Saint-Saens , Sir Colin Davis , Sarah Chang , English Chamber Orchestra , Charles Abramovic , Anthony Caronia , Jonathan Feldman , Concertgebouw Orchestra Amsterdam , Charles Dutoit , London Philharmonia Orchestra , Sandra Rivers , Leopold Chalier , and London Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

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Sarah Chang - Paganini: Violin Concerto No. 1 ~ Saint-Saëns: Havanaise / Sawallisch
Debut
Shostakovich: Violin Concerto No. 1; Prokofiev: Violin Concerto No. 1

ASIN: B00000K4F0
Release Date: 1999-09-14

Tracks:

Chaconne
Me'lodie
Hungarian Dance No.1 In G minor
Symphonie espagnole, Op.21: IV Andante
Violin Concerto No. 5, Op.37 In A minor: II. Adagio
Violin Concerto No. 5, Op.37 In A minor: III. Allegro con fuoco
Sonata No.12, Op.3 In E Minor: I. Canzonetta - Andante innocentemente
Cantabile In D
Belshazzar's Feast: Nocturne, Op.51 No.3
Nocturne No.20, Op.posth. in C sharp minor
Consolation No.3 In D Flat
Violin Concerto, Op.35 In D - II. Canzonetta - Andante
Introuduction And Rondo capriccioso For Violin and Orchestra, Op.28

Customer Reviews:

Fantastic Album.......2007-03-16

This is a great album that I listen to over and over again. It really makes me feel... Sarah Chang is one of the greatest violin players and she has done a fabulous job on this album.

Easy listening Chang.......2006-03-09

This collection, consisting mostly of reissues, showcases Chang's expressive qualities, with the emphasis being mostly on the slow and dreamy side of her art. One has the feeling that the producers envisioned this disc as background music for a romantic candlelight dinner or some such, and for that purpose it is perfectly sufficient. Chang, of course, is a major violinist and none of the playing here is less than topnotch. As a musical experience for connoisseurs, however, "Sweet Sorrow" has its drawbacks, chief among them being the sameness of mood and tempo. Also, the inclusion of fragments of works such the Vieuxtemps Fifth Concerto and the Tchaikovsky Concerto is musically unsatisfying; the latter is particularly irritating as it leaves the end of the slow movement simply hanging. It may be of some significance that some of the most engaging playing from Chang is heard on the earliest tracks, the Chopin Nocturne and Liszt Consolation, recorded in her child prodigy days; here a genuine love for the music comes through that is somewhat muffled in most of the other selections.

total disappointment.......2005-08-14

In Chang's performance of the Vitali Chaconne, the feeling and passion initially apparent in her playing was wiped out by her
almost total lack of energy, expressed in a thin sound that often
made it difficult to distinguish the solo violin from the orchestra strings. By the second quarter of the piece, I was shocked to find the sound of her violin fading out in mid melody. It was so terrible, so embarrassing, I had to stop listening.

I think a much better interpretation of the Vitali is the one by Oistrakh, but sadly it is with piano accompaniment while Chang's is with orchestra - one that performs superbly... So that the aesthetic crime that is Chang's anemic, thin playing is doubly terrible.

some ways to go in knowing sorrow..........2004-09-04

Sarah Chang is no doubt technically brilliant on her instrument, however, her playing lacks depth and consistency of style. In the piano piece by Lizt re-arranged for violin for example, she has great difficulties in transitions and is therefore subdued in her musicality. The orchestral interpretation/edition of Saint Saens piece on this album is awful. Similar recordings by Anne Sophie Mutter or Midori Goto show greater maturity and are much more pleasing to the ear.

emotionally riveting vitali.......2004-01-13

The Vitali is worth the price of the cd. The rest is also very good - although obviously all very similar pieces. HOWEVER, this rendition of the Vitali with full orchestra (which is hard to find) is emotionally riveting. I usually stop the cd at that point because it's hard to listen to anything else immediately after that. Kind of like Jacqueline DuPre's Elgar - you need quiet after it to return yourself to everyday life.

Sarah Chang ~ Lalo - Symphonie Espagnole · Vieuxtemps - Concerto No. 5 in A minor

Average customer rating:

14 years old? Get out.
Good concertos, great performances.
One of the best, another superb piece by the virtuoso.
14-year-old girl outshines Heifetz in Vieuxtemps!

Sarah Chang ~ Lalo - Symphonie Espagnole · Vieuxtemps - Concerto No. 5 in A minor
Edouard Lalo , Henri Vieuxtemps , Charles Dutoit , Sarah Chang , Royal Concertgebouw Orchestra , and Philharmonia Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Debut

ASIN: B000002RUQ
Release Date: 1995-10-17

Tracks:

Concerto No. 5 In A Minor, Op. 37: I. Allegro non troppo
Concerto No. 5 In A Minor, Op. 37: II. Cadenza
Concerto No. 5 In A Minor, Op. 37: III. Adagio
Concerto No. 5 In A Minor, Op. 37: IV. Allegro con fuoco
Symphonie espagnole For Violin And Orchestra, Op. 21: I. Allegro non troppo
Symphonie espagnole For Violin And Orchestra, Op. 21: II. Scherzando-Allegro molto
Symphonie espagnole For Violin And Orchestra, Op. 21: III. Intermezzo-Allegretto non troppo
Symphonie espagnole For Violin And Orchestra, Op. 21: IV. Andante
Symphonie espagnole For Violin And Orchestra, Op. 21: V. Rondo-Allegro

Customer Reviews:

14 years old? Get out........2003-07-15

As much as I hate to admit it, the talent on this CD by Sarah Chang (born 1980) who was 14 years old when she recorded this, is freaky. It is really unfair to rate violinists, but Chang's talent and ability slaps you up side the head with so much of that freaky sound. Is she real? As much as others have said she may be the greatest violinist to ever walk the earth and as much as I hate to admit it, I think she just may be. Listen to the sample clips of both II. Cadenza and IV. Allegro con fuoco.
I have to do a paradigm shift when I tell myself it is not Menuhin, Milstein, Heifetz, Shaham, or Perlman playing this but a 14 year girl. How? Why? Freaky. Strange. Madness. Madness I say.

Good concertos, great performances........2000-09-07

We are currently in a Golden Age of violin playing with an abundance of outstanding young artists. However, even in this halycon time, Sarah Chang stands out. Her technical virtuosity is staggering, but her artistry is, perhaps, even more impressive. I would give this CD five stars for the Vieutemps concerto, but the Lalo is not quite on the same level. An impresive CD, nevertheless.

One of the best, another superb piece by the virtuoso........1999-01-01

Fell in love with her skill and emotion. As good as any by anyone..

14-year-old girl outshines Heifetz in Vieuxtemps!.......1998-09-10

Sarah Chang is indisputably the most precocious violinist the world has ever seen. She played Paganini's First Violin Concerto under Zubin Mehta at eight, recorded her first CD at nine (Heifetz and Menuhin started at 10 and 12, respectively) which included such dazzlers as Sarasate's Carmen Fantasy and Paganini's Caprices Nos.1 and 15, and recorded Tchaikovsky's Violin Concerto at eleven. I once listened to this 15-year-old girl's recording of Bazzini's Ronde des Lutin, one of the most formidable bravura thrillers, and was totally awestruck by her bull's eye intonation throughout the piece, which was played with more precision than the recordings of Heifetz, Menuhin, and Perlman; and even when her fingers are stranded miles up the G string, the tone was never rough. Certainly she already has astonishing instrumental command (only her left-hand pizzicato needs improvement), but is this "infant" fully fledged artistically?

Heifetz's recording of Vieuxtemps's fifth concerto has been deemed by many to be peerless. I myself acknowledge his supreme interpretation, but was always annoyed to hear several notes played out of tune (especially in the third movement) and many rough and undesirable noise. Can the 14-year-old Sarah Chang beat him?

As usual, these are all note-perfect performances, and no unbearable gruff sound ever assails the ears (at least not from my CD player). The first three ascending arpeggios are played tenderly with affectionate warmth and charm, the overall impression being infinitely feminine and absolutely enthralling. Yet the sensuous sound is often altered with moments of authoritative command, played with robust and sturdy-but not rough-notes, and she sure pays attention to the dynamics and accents, making the rendition of the first movement superb.

The cadenza, though played scrupulously clean, cannot match the speed and thrill of Heifetz's and Mullova's in some arpeggios. And in the cadenza and slow movement, one perceives that Chang is not yet a master of rubato and portamento, especially in comparison with Heifetz. This does not imply that her interpretation is dull; her lush, ardent, expressive tone and heartwarming approach to the music alone render the performance compelling, and she does employ nuances, though not to a copious extent.

The last movement is basically played with muscular bow strokes and felicitous accents in a most forceful and admirable way; yet there was a tinge of slowing down on or before two high-pitched notes, and the volume of the high harmonic drastically decreased, thus interrupting the ongoing pulse of the music. But in the Heifetz recording, though the fiery flow of the music never halted, the overall rendition was devastated by too many inaccurate notes (in this brief finale) and coarse sound, making Chang's recording still preferable.

To my previous question: did Chang surpass Heifetz in this work? In terms of technique and tone, definitely; interpretation is a matter of opinion, and I would say her first movement before the cadenza is positively my favourite, and her overall interpretation is excellent by any standard.

Lalo's Symphonie espagnole was recorded in a live concert, making the precision of intonation even more astounding. She almost seems like a hermaphrodite, for she can easily switch her playing from feminine to masculine (and vice versa) from phrase to phrase. She may sing most winsomely, tenderly and movingly in lyrical passages, and instantly appear like Hercules playing with a virility one cannot always find in a male player. Her tone can be soft, pliable and warm, then solid, brawny and powerful.

But though her tone is colorful, it's not kaleidoscopic, for her major means of varying tone colors lies in altering the bow pressure from one extreme to the other. And while her tone is ductile, it's not as elastic as Midori's, therefore her playing, though sensuous, may not be seductive and provocative enough in some places.

Her rendition on the whole is sterling, perhaps outstanding, and the first four movements are rendered truly entrancing; but I would not say her artistry is fully mature. First of all, as in the Vieuxtemps concerto, there's a dearth of rubato and portamento that would have given the piece ultimate charm, allure, sensuality, and Iberian flavour. Second, she hasn't yet a vibrato of diverse speed, width, and intensity. Sometimes her vibrato does her more harm than good, for example in the fifth movement-the lyrical passage turns cloying because of excessive vibrato. Third, in the last movement, the frequent trills sound monotonous--always played at rapid velocity throughout, without sometimes having a slower start or end, or adding some ornaments--thus lost much of their expressivity.

Tracks:

Lyric Fantasy, Op.54
Preludium
Gavott
Saraband
Siciliano
Final
Adagio
Allegro
Adagio Cantabile
Allegro Vivace
Allegro
Prelude
Pantomim
Vision
Adagio For String Orchestra, Op.48
Allegro
Adagio Cantabile
Allegro Vivace
Allegro

Customer Reviews:

Another Naxos treasure trove of rare gems.......2001-04-18

If you're looking for a collection similar in feel to Naxos' 1995 excellent "Swedish Orchestral Favorites" (8.553115), you won't get that here. That first disc is also a pleasure but it features works for larger orchestral forces.

For this second volume the works are presented in more intimate settings - usually for string orchestra or for several solo instruments backed by a string section. The results are delightful performances of rarely heard "lighter" works.

Larsson's "Lyric Fantasy", which opens the disc, immediately calls to mind Grieg as does Larsson's delightful "Little Serenade for String Orchestra" which reminds me of Grieg's "Holberg Suite" for similar forces. On the other side of the spectrum the Larsson's "Adagio for String Orchestra" is very powerful: dark and brooding.

The works by Atterberg, Blomdhal, and Rangstrom are also very pleasant finds. The work really stands out for me however is Frumerie's "Pastoral Suite for flute, string orchestra, and harp". The flute, beautifully played by Sarah Lindloff, is the star here and it is given some truly beautiful material. Some of the harmonies are very modern and I can't help but wonder if the composer was influenced by Bartok's "Romanian Dances" - the influence is especially evident in the Gavott and Siciliano.

Naxos once again provides an opportunity to explore neglected treasures in outstanding performances and at a bargain price at that.

The cool air of the north..........2000-07-21

This veritable gem of a CD arrived last week and has not been off my turntable since. It reveals the depth of quality serious music that has come out of Sweden over the past 100 years, notwithstanding its neglect in the UK at least. When my mind has formerly thought of the music of Scandinavia, I have had comparitively little to think about outside of Grieg, Nielsen ands Sibelius. This CD and its sister Swedish Music volume 1 show how the Swedes have their own national heroes that use those two sources of inspiration with as much aplomb as our English composers over the same period: folksong and landscape. This CD is for much more delicate forces than its sister but that does not mean we are short changed in emotion or substantial developmental writing. The Lyric Fantasy of Larsson is a summer tone poem after the manner of Delius (but without the chromaticism of 'the curate proselytising')and is nevertheless totally original in its mood and flavours. Its water colored hues takes us through a landscape filled with good things, like a child's garden bathed in sunlight as in T S Eliot's 'Four Quartets': 'Burnt Norton' where Eliot depicts our early years with devastating effect yet without cloying nostalgia. The flute comes into its own in de Frumerie's 'Pastoral Suite' which may be thought of as a 'Pastoral Flute Concerto': again we are in those summer days of long ago but now we have a little pathos and nostalgia added to the phrasing and harmonies with looking back in regret and a sense of loss. The influence of Ravel can be seen here but again it is nothing more than a cross reference, for the work here is totally original in scope, the nordic warmth being pastel in its intensity under the golden sun. The finely divided strings of Blomdahl's 'Adagio' are hushed and sad in a truly heart felt piece that is comparable to Grieg's own, with oboe and woodwind intoning birdsong against the sadness contained in the strings. Kurt Attenberg's Suite No 3 is redolent of Moeran's smaller pieces, packed with imaginatinative writing and clean authentic phrasing. Larsson's 'Adagio for string orchestra is only 5 minutes long but has that deep breathed atmosphere of a Shostakovich symphony, say the Largos of his 5th and 10th symphonies, where the Russian master can summon up the depths of a November night in the north and lead to a mood of introversion and deep melancholia. Despite its short duration, this is the 'biggest' work for me on the disc. It is truly awesome! In similar vein, the Rangstrom 'Divertimento elegiaco' is longer but perhaps its 15 minute length means it dissipates its pathos over too long a period. Perhaps that is just me, perhaps other listeners will form another view. Nevertheless, Naxos show once again that bargain price can walk hand in hand with superlative novel pieces for most of us, splendidly played and excellently recorded.

The cool air of the north..........2000-07-21

A wonderful introduction to Swedish classical music.......2000-05-18

It is good to be introduced to hitherto unknown composers and their music when it is all on such a high level. Having missed the first collection, I am delighted to report that on the friendly Naxos label (8.553715) is well worth the hearing. [The Amazon.com designation of Vol. V is incorrect.] As the liner notes put it, "Five composers who represent the rich tapestry of Swedish music composed in the twentieth century" are presented on this CD: Lars-Erik Larsson, Gunnar de Frumerie, Karl-Birger Blomdahl, Kurt Atterberg, and Ture Rangstrom.

Tracks:

Piano Concerto No.7 In C: I. Allegro moderato
Piano Concerto No.7 In C: II. Rondo: Allegro moderato
Divertissement No.1 In E Major: Allegro moderato
Rondeau In A Flat Major: Andantino - Allegro vivace
Nocturne No.16 In F Major: Molto moderato
Quintetto In A Flat Major: Andante con espressione
Divertissement No.2 In A Major: I. Pastorale: Andante
Divertissement No.2 In A Major: II. Rondo: Allegro moderato

Sarah Chang ~ Strauss - Violin Concerto, Sonata in E flat / Sawallisch

Average customer rating:

Wonderful Collaboration
Missing the Magic
fluffy
beautiful tone
Beautiful

Sarah Chang ~ Strauss - Violin Concerto, Sonata in E flat / Sawallisch
Richard Strauss , Bavarian Radio Symphony Orchestra , Wolfgang Sawallisch , and Sarah Chang
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Dvorák: Violin Concerto / Piano Quintet / Sarah Chang
Goldmark - Violin Concerto · Prometheus-Overture / Sarah Chang · Conlon

ASIN: B00003W81N
Release Date: 2000-03-28

Tracks:

Concerto For Violin And Orchestra In D Minor, Op.8: I. Allegro
Concerto For Violin And Orchestra In D Minor, Op.8: II. Lento ma non troppo
Concerto For Violin And Orchestra In D Minor, Op.8: III. Finale: Rondo (presto)
Sonata For Violin And Piano In E Flat, Op.18: I. Allegro, ma non troppo
Sonata For Violin And Piano In E Flat, Op.18: II. Improvisation: Andante cantabile
Sonata For Violin And Piano In E Flat, Op.18: III. Finale: Andante; Allegro

Amazon.com

These early works of Strauss are both in the romantic tradition, with none of the composer's later innovations. The Violin Concerto is immature, fit for listening only in your less demanding moods when you don't insist on much content or interesting structure. The Sonata, written when Strauss was 23, is much more successful and deserves to be a mainstay of the violin literature. Chang and Sawallisch don't do anything with the Concerto to disturb its equilibrium, so you can enjoy it for what little it has to offer. They have a highly unusual approach to the Sonata, very mellow and unaggressive. Some listeners may love this style, but others will want more outgoing quality in the music; they will enjoy Steinhardt/Mayorga much more. Still, it's fascinating to hear such a successful collaboration as this one between performers almost half a century apart in age! --Leslie Gerber

Customer Reviews:

Wonderful Collaboration.......2006-07-05

The Strauss VC might be considered immature and lacking in substance, but it is still very enjoyable to listen to. It is full of exciting moments, with beautiful melodies in between, very much like the Tchaikovsky concerto, although not as great a peice. Sarah Chang and Wolfgang Sawallisch give a very staightforward and lyrical reading of the work. Sarah's phrasing sounds sweet and mature, as in all of her recordings. The accompaniment is well balanced and very accurate, always letting the soloist shine through. The outer movements, paticularly the last, are played with incredible speed and skill. The slow movement serves as a calm zone between the more robust parts of the concerto.

In the sonata, Chang and Sawallisch play in a very relaxed and laid back manner, not to say there aren't any moments of suspense and drama. It is a worthwhile listen, although may not be the definitve recording of this work. It will nonetheless be an interesting edition to any music lover's library. Stongly recomended.

*And just a side note on all these comparisons between Hilary Hahn and Sarah Chang. I am a huge fan of both, and have most of their recordings. They both play so well, yet so differently that it is pointless to compare the two. They have completly differently sounds, both beautiful, but not at all the same. Chang's vibrato is much wider, Hahn's style is much lighter. Hahn tends to be more restrained, while Chang lends her playing to a more spontaneous style. They each bring out very different qualities in the music they play. I suggest you listen to both, rather than turn the two against eachother. They are two of the greatest violinists of our generation, and possibly any generation.

Missing the Magic.......2005-01-03

I recently listened to the collaboration in question since I'd been placed in the position of learning the piano part to the Strauss violin Sonata within a 3 week period. Hoping to get at the spirit of the piece by delving directly into the recording, I was disappointed. The duo of Chang/Sawallisch takes a middle of the road, conservative and risk free approach. There is nothing to criticize about the ensemble playing, generally, and Chang's intonation is wonderful. It's rather a shame that the recording itself is rather muted in tone color (engineering wise) and I found this disappointing given the high price of this issue. Mr. Sawallisch plays competently but mostly unimaginatively- in order for Strauss to come over the footlights, especially on a recording, greater abandon and risk must be the order of the day.
There is not enough dynamic range on the part of both performers, but this may be a function of the sub-par recording production itself. Those who cannot play the music for themselves might do better with another collaboration.

fluffy.......2003-10-02

I bought this CD a long time ago and haven't listened to it for a long time after being disappointed by it. However, I hope my impresions would still be useful to some readers. Both of the works recorded here were written by Richard Strauss when he was very young. The music itself, therefore, may sound rather superficial to some ears. The concerto had a great modern recording by Xue-Wei quite a few years ago, which earned a Penguin Guide rosette. I was hoping that Sarah Chang would be even better. Unfortunately, I found very little musical ideas in her performance. All I could hear is her big, standard Julliard/Delay trained tone and phrasing (which may be appealing to some listeners who don't listen to the violin very often and have not been tired by it). In the sonatas, this problem just becomes worse.

I should note that this CD was also the turning point in my Sarah Chang "fan-ship". I felt that she wasn't improving any more, like many over-celebrated prodigies. Her development is in sharp contrast with Hilary Hahn, who totally amazes me. But to be fair, I have not heard Chang recently. I could only hope that she hasn't reached her musical peak yet.

beautiful tone.......2002-04-30

Sarah is highly talented and hearing her beautiful tone
on the Strauss Sonata is heaven...Worth a listen..

(Sarah, loved your concert in Los Angeles 04-27-02)

Michael

Beautiful.......2001-12-07

Yes, she is one of the most talented violinists of the century,
Yes, She has a gorgeous sound,
Yes, She looks like a fashion model on the cover,
Yes, She sound brilliant on this CD,
and Yes, Struass violin concerto is beautiful.
No, Her Strauss sonata is immature.

Average customer rating:

A great set

Fauré: Chamber Music (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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ASIN: B000667FW4
Release Date: 2004-10-26

Customer Reviews:

A great set.......2007-06-18

Outstanding sound and performances. One of the best sets from Brilliant.

Average customer rating:

Good Mendelssohn, Great Sibelius!
Sarah Chang
Buy it only for the Mendelssohn
Gosh, you guys are so ignorant!
Horrible!

Mendelssohn, Sibelius: Violin Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Fire & Ice
Sarah Chang - Tchaikovsky: Violin Concerto in D, Op. 35; Brahms: Hungarian Dances
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Sarah Chang - Paganini: Violin Concerto No. 1 ~ Saint-Saëns: Havanaise / Sawallisch

ASIN: B000006309
Release Date: 1998-02-24

Tracks:

Violin Concerto In E Minor, Op. 64: I : Allegro molto appassionato -
Violin Concerto In E Minor, Op. 64: II : Andante - Allegretto non troppo -
Violin Concerto In E Minor, Op. 64: III : Allegro molto vivace
Violin Concerto In D Minor, Op. 47: I : Allegro moderato
Violin Concerto In D Minor, Op. 47: II : Adagio di molto
Violin Concerto In D Minor, Op. 47: III : Allegro, ma non tanto

Customer Reviews:

Good Mendelssohn, Great Sibelius!.......2005-12-28

This is a very good recording of these two warhorses. The first movement of the Mendelssohn is very dramatic and reaches the emotional depths unlike many recordings such as Hahn, Heifetz, or Bell. The rest of the Mendelssohn is nicely played. The Sibelius, however, is the best I have ever heard. It is so intense! Like all of Chang's live performances, the intonation is dead center, and she plays with so much so much power that you are constantly on the edge of your seat. I have listened to other recordings of the sibelius such as Josefowicz, Chung, and Mutter. They are very good, but there are some inconsistencies and they are less fluid and natural sounding than Chang's. This is a must have if you like these pieces, or even if you have never heard these pieces, but you would like to become familiar with them.

Sarah Chang.......2005-12-03

I can't believe you guys don't like her Sibelous! I just saw her perform that concerto live, and it, like the Cd was amazing! Her Mend. might not have been the greatest, but I love her Sibelous.

Buy it only for the Mendelssohn.......2005-01-16

There have been many great recordings of the Sibelius violin concerto; unfortunately the Sarah Chang recording is not one of them. I think Sarah Chang is an extremely talented violinist but she has neither the affinity nor the passion for the Finnish violin concerto. If you want a recording that is more in the vein of Nordic beauty, try the Josefowicz or the Mullova recordings. Of course the Chang recording does have its merits, especially in the slow second movement. Mariss Jansons does his part and so listening to the Berlin Philharmonic is enough to make the recording worth listening to. Sarah's violin overall is a bit tiring and makes this exciting concerto rather dull.

I think all in all, Sarah Chang is more comfortable with the Mendelssohn concerto as her tempo is more natural. If you like Mendelssohn buy her CD, but if you like Sibelius avoid it (as well as the Mutter recording). Try instead the Heifetz, the Mullova, or (the underrated) Josefowicz recording.

Many have defended Sarah Chang's recording by stating that since it was a live performance, it was only natural that it would sound unpolished. Nonetheless a live recording is no excuse for a poor interpretation. I have heard and attended other better recordings (I saw Midori play this live and it was way better than Chang's performance on this CD).

Gosh, you guys are so ignorant!.......2004-12-18

Hello, do you guys even know that this is a live recording?

That means she didn't edit it, and it is being played straight through. I've heard Mutter, I've heard a lot of violinists play sibelius live and I am pretty sure this by comparison is better.

She is doing the old school style recording, where you tape it and don't do anything with it but release it.

How dumb do music-wannabes want to get? Get a grip on some real musical insight.

I think this recording is quite remarkable already for Sibelius being THAT in tune on a live recording. = )

Horrible!.......2003-09-01

I consider myself a Sibelius Violin Concerto connoisseur, and this has to be one of the worst recordings out there of the piece. Chang's tacky bow and vibrato "attacks" on the opening line of the 3rd mvt., for example, are inexcusable for any artist. And where did she think she was going with the speed she opened the movement with? Obviously nowhere! This is a raucous recording that plunges Sarah Chang to another level below "respectable violinist." Her Mendelssohn is so-so, but the echo in this bad acoustic recording destroys the piece, giving it a falsified dreamy quality. This concerto is classical period at it's peak! I do not recommend this disc at all! For a better version, try Kavakos', Mutter's, Lin's, and even one of Heifetz's numerous recordings for a little spice. Believe me, you won't be disappointed like I was with this album.

Pergolesi · Scarlatti - Stabat Mater / Bertagnolli · Mingardo · Concerto Italiano · Alessandrini

Average customer rating:

One of the best Stabat Mater
Fabulous performance!

Pergolesi · Scarlatti - Stabat Mater / Bertagnolli · Mingardo · Concerto Italiano · Alessandrini
Giovanni Pergolesi , Alessandro Scarlatti , Rinaldo Alessandrini , Gemma Bertagnolli , Sara Mingardo , and Concerto Italiano
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Pergolesi: Stabat Mater

ASIN: B00000DLYG
Release Date: 1998-11-10

Amazon.com

Pergolesi's legendary Stabat Mater for solo soprano and alto acquired its mystique early on: not only does it boast striking melodies and harmonies, but the composer finished it just days before dying of tuberculosis at age 26. That irresistibly mythic circumstance, combined with the sacred nature of the text, led to an air of reverence that has surrounded the work for two centuries. It's this reverence that Rinaldo Alessandrini means to strip away, showing us the very theatrical style in which Pergolesi actually wrote. Using only six period string instruments rather than the customary small orchestra, Alessandrini directs a remarkable performance: the very quick or very slow tempos, sudden accents, and dynamic extremes are often surprising but always credible. Alessandro Scarlatti's Stabat Mater, written for the same forces (for the same institution in Naples, in fact) as Pergolesi's setting, is a more temperate piece, with less theatrical intensity but more counterpoint and florid vocal writing. Both soloists have attractive voices (though soprano Bertagnolli shows occasional strain on high notes), with just enough narrow vibrato to appeal to traditional voice fans without alienating early-music lovers. Most importantly, they have the courage and the skill to bring Alessandrini's daring conception off. If you want a conventionally reverent reading, you should try Gillian Fisher and Michael Chance, but this performance really is thrilling. --Matthew Westphal

Customer Reviews:

One of the best Stabat Mater.......2006-07-25

Pergolesi's Stabat Mater is often played too grossly, with the usual over-vibrato from the singers and the impassiveness of the orchestra.

This interpretation is not like the others, it is soft and calm. From the first movement (taken very slowly) you are driven into a peaceful atmosphere that will awake all sorts of emotions.

Listen to it, even if it's only for the last movement (Quando corpus morietur) that will make you cry. To dry your tears, the last Amen will bring you serenity.

Fabulous performance!.......2000-10-23

It is impossible to expect an unimaginative or uninvolved performance from Concerto Italiano. Alessandrini and his 2 marvelous divas perform both Stabat Maters with white-hot passion and fervour. Gemma Bertagnolli and Sara Mingardo nead not fear comparisons with anyone, both of them have great voices and know very well what they are singing. Even the recent Bonney/Scholl recording on DECCA comes in second place to this OPUS111 offering.

Track Listings:

Track Listings

track listings

Track Listings

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