Composer | Title | Key | Opus # | Performers | Rating* | Label | Date Recorded | Location of Recording | Comments* |
Tchaikovsky | 1812 Overture | E-flat Major | 49 | New SO of London, Sir Alexander Gibson | --- | Chesky | Jul 19-21, 1960 | --- | --- |
Dohnanyi | Variations on a Nursery Song | --- | 25 | Earl Wild, New Philharmonia O, Christoph von Dohnanyi | *** | Chesky | Mar 1967 | London | Scintillating, matched by a witty accompaniment. NPO plays superbly and obviously relishes the humor: the pompous intro is not overdone, and the chimerical and eclectic changes of style in the variations are beautifully managed. Splendid vintage analog. Fresh, natural, very well balanced and immaculately transferred. |
Dohnanyi | 6 Concert Etudes: Capriccio | f minor | 28 | Wild | *** | Chesky | Mar 1967 | London | Brilliant. |
Tchaikovsky | Piano Concerto #1 | b-flat minor | 23 | Earl Wild, RPO, Anatole Fistoulari | *** | Chesky | 8 Oct 1962 | London | Spectacular reissue; stands as one of the finest accounts ever of this much-recorded work. Lay in RCA vaults for many years. Certainly a premium performance. Vintage quality sound for that period. Compares favorably with many modern recordings and the piano tone is bold and natural. From the first sweep of the opening the readings is distinguished by its feeling of directness and power, yet the lyrical side of the music brings comparable sensitivity. In the first movement there are some wholly spontaneous bursts of bravura from the soloist which are quite electrifying; and in the big cadenza Wild, by impetuous tempo changes in the imitative passages, makes himself sound almost like a piano duo. The finale, too, taken with crackling bravura. Fistoulari, splendidly assured throughout, produces a vivid orchestral response (the flute and piccolo interjections in the finale are as dashing as the solo playing) and makes a superb final climax. |
Tchaikovsky | Eugene Onegin : ---------------- --I : "Titiana's letter scene" ---------------- --II : Waltz ---------------- --II : "Faint echo of my youth" ---------------- --III : Polonaise --------------- --III : Ecossaise | --- | 24 | ---------------- Valeria Hebalova, Belgrade Nat'l Opera O, Oscar Danon ---------------- ---------------- Placido Domingo, Philharmonia O, Randall Behr ---------------- unknown / Leningrad PO, Yuri Temirkanov --------------- ROHCGO, Sir Colin Davis | *** | ---------------- Decca ---------------- Reader's Digest ---------------- EMI ---------------- RCA ------------------ Philips | ---------------- 1984 ---------------- ---------------- 1993 ---------------- 1990 --------------- 1978 | Leningrad (Polonaise) | --- |
Tchaikovsky | Serenade Melancolique | b-flat minor | 26 | Itzhak Perlman, Leningrad PO,Temirkanov | --- | RCA | 1990 | Leningrad | --- |
Tchaikovsky | Valse Scherzo | C Major | 34 | Perlman, Leningrad PO,Temirkanov | --- | RCA | 1990 | Leningrad | --- |
Tchaikovsky | 6 Songs : ---------------- --#1 : "Serenade" ---------------- --#6 : "Rondel" | --- | 65 | ---------------- Jessye Norman, Evgeni Shenderovich ---------------- As above | --- | RCA | 1990 | Leningrad | --- |
Tchaikovsky | Maid of Orleans (Joan of Arc) : ---------------- --"Adieu, forests" | --- | --- | Norman, Leningrad PO, Temirkanov | --- | RCA | 1990 | Leningrad | --- |
Tchaikovsky | 6 Songs : ---------------- --#6 : "None but the lonely heart" | --- | 6 | --- | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | Romance | f minor | 5 | --- | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | Souvenir de Hapsal : ---------------- -- #3 : "Song without words" | F Major | 2 | --- | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | 6 Morceaux : ---------------- --#6 : "Valse sentimentale" | f minor | 51 | --- | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | Capriccio Italien | --- | 45 | New SO of London, Sir Alexander Gibson | --- | Chesky | Jul 1960 | --- | --- |
Tchaikovsky | Violin Concerto | D Major | 35 | Perlman, LSO, Alfred Wallenstein | --- | Chesky | Apr 1967 | --- | --- |
Tchaikovsky | Marche Slave | b-flat minor | 31 | LPO, Massimo Freccia | --- | Chesky | 1964 | --- | --- |
Tchaikovksy | 2 Morceaux | --- | 10 | Richter; ?O (#2: Humoresque) (arr) | --- | ---; Chesky | Apr 1983 (1) | --- | --- |
Tchaikovsky | Francesca da Rimini | e minor | 32 | RPO, Charles Munch | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | The Seasons | cf Da Capo Catalog | 37bis | Wild | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | 2 Pieces : ---------------- --#1 : "Scherzo a la russe" | B-flat Major | 1 | Wild | --- | Reader's Digest | --- | --- | --- |
Tchaikovsky | Symphony #5 | e minor | 64 | Bamberg SO, Horst Stein | --- | SQN | 1978 | --- | --- |
Mozart | Serenade #7 "Haffner":I-IX | D Major | 249;250 | Los Angeles CO, Iona Brown; Salzburg Mozarteum O, Hans Graf(I) | --- | --- | --- | --- | --- |
Schubert | Piano Trio #1 | B flat Major | 898 | Grumiaux Trio | *** | Philips | late 1960s | --- | Impeccable ensemble |
Mozart | Symphony #17 | G Major | 129 | Prague Chamber O, Sir Charles Mackerras | --- | --- | --- | --- | --- |
Elgar | Enigma Variations | --- | 36 | BBC SO, Bernstein | --- | DG | 1982 | --- | --- |
Tchaikovsky | Symphony #4 | f minor | 36 | Rome PO, Massimo Freccia | --- | Reader's Digest | --- | --- | --- |
Schumann | Julius Caesar Overture | f minor | 128 | VPO, Sir Georg Solti | --- | Decca | 1970 | --- | --- |
Haydn | Cello Concerto #2 | D Major | 101; VIIb#2 | Ma, ECO, Jose Luis Garcia | *** | Sony | 1978 | --- | -- |
Rodrigo | Fantasia para un gentilhombre | --- | --- | Alfonso Moreno, Mexico State PO, Enrique Batiz | *** | EMI | --- | --- | This admirable reissued collection is surely worthy of Rodrigo's 90th birthday celebrations and is a tribute to Enrique Batiz, who must have had a hand in organizing the recordings as well as directing them. |
Borodin | Prince Igor: ---------------- --Overture ---------------- --II : Polovtsian Dances | --- | --- | ---------------- LSO, Solti ---------------- RLPO+Chorus, Sir Charles Mackerras | *** --- | Decca --- | --- | --- | Among the finest ever recorded. Fine dash, LSO players consistently on their toes. ---------------- |
Rossini | Silken Ladder:Overture | --- | --- | Philh. O, Riccardo Muti | --- | --- | --- | --- | --- |
Beethoven | Piano Concerto #5 "Emperor" | E-flat Major | 73 | Rudolf Serkin, NYPO, Leonard Bernstein | ** | CBS | 1981 | --- | Commanding; partnership works productively. |
Beethoven | String Quartet #9 "Rasumovsky 3"/ "Hero" | C Major | 59#3 | Julliard Qt | --- | --- | --- | --- | --- |
Schoenberg | Transfigured Night | --- | 4 | BPO, Herbert von Karajan | **** | DG | --- | --- | Altogether magical and very much in a class of its own. Tremendous intensity and variety of tone color: the palette that the strings of the Berlin Philharmonic have at their command is altogether extraordinarily wide-ranging. CD sound is firm and cleanly defined. |
Schoenberg | Variations for Orchestra | --- | 31 | BPO, Karajan | **** | DG | --- | --- | The most challenging of S's orchestral works, here receives a reading which vividly conveys the ebb and flow of tension within the phrase and over the whole plan. |
Khachaturian | Symphony #2 "Bell" | a minor | --- | VPO, Khachaturian | --- | Decca | 1962 | --- | --- |
Khachaturian | Gayaneh: suite | --- | --- | VPO, Khachaturian | *** | Decca | 1962 | Sofiensaal | The composer achieves a brilliant response from the VPO and everything is most vivid. |
Weber | Euryanthe:Overture | --- | J291 | BPO, Karajan | *** | DG | 1973 | --- | K's familiar characteristics--superb orchestral control, ability to produce a homogeneity of sound. |
Weber | Abu Hassan:Overture | --- | J106 | BPO, Karajan | *** | DG | 1973 | --- | --- |
Weber | Peter Schmoll & seine Nachbarn:Overture | --- | J8 | BPO, Karajan | *** | DG | 1973 | --- | --- |
Glazunov | Violin Concerto | a minor | 82 | Perlman, Israel PO, Zubin Mehta | *** | EMI | 1989 | --- | Command and panache are irresistible. Glorious account. |
Paganini | Carnival of Venice | A Major | 10 (MS59) | Salvatore Accardo, COE, Franco Tamponi | --- | EMI | --- | --- | --- |
Tchaikovsky | Coronation March | D Major | --- | Cincinnati Pops O, --- | --- | --- | --- | --- | --- |
Massenet | Thais:Meditation | --- | --- | BPO, Karajan | --- | EMI | 1981 | --- | --- |
Cherubini | Anacreon:Overture | --- | --- | BPO, Karajan | --- | EMI | 1981 | --- | --- |
Weber | Der Freischutz: ---------- --Overture ---------- III: folksong ---------- III: Chorus | --- | J277 | BPO, Karajan | *** | EMI | 1981 | --- | K's performance have great style and refinement. Superbly crafted and there are no better examples, epitomizing the spirit of the opera which it serves to introduce. Needless to say, the Berlin horn playing is peerless. |
Kreisler | Tambourin chinois | --- | --- | Eric Gruenberg, Philh. O, Elgar Howarth | --- | Decca | 1988 | --- | --- |
Saint-Saens | Havanaise | E Major | 83 | Ruggiero Ricci, LSO, Pierino Gamba | --- | Decca | 1988 | --- | --- |
Beethoven | Romance #2 | F Major | 50 | Willi Boskovsky, Vienna Mozart Ensemble, Boskovsky | --- | Decca | 1988 | --- | --- |
Mozart | Mass #19 (Requiem) | d minor | 626 | Marjana Lipovsek, Jan Henrick Rootering, Bav.RSO, Sir Colin Davis | --- | --- | --- | --- | --- |
Tchaikovsky | Symphony #3 "Polish" | D Major | 29 | Salzburg RSO, Rudolf Moralt | --- | Summit | --- | --- | --- |
Beethoven | 6 National Airs with Variations: #1 | G Major | 105 | Jean-Pierre Rampal, Veyron-Lacroix | --- | Vox | 1979 | --- | --- |
Beethoven | Piano Trio #7 "Archduke" | B-flat Major | 97 | Mannheimer Trio | --- | Vox | 1979 | --- | --- |
Beethoven | Fantasia (Choral Fantasy) | c minor | 80 | Walter Klien, St. Louis SO & Chorus, Jerzy Semkow | --- | Vox | 1979 | --- | --- |
Beethoven | Egmont | --- | 84 | Cheryl Studer, BPO, Claudio Abbado; Lorengar, VPO, Georg Szell(Overture;1: "Die Trommel geruhret!") | *** | DG; Decca | 1991; 1970 | --- | Splendid. |
Mozart | Impresario: Overture | --- | 486 | OAE | --- | --- | --- | --- | --- |
Weber | Ruler of the Spirits:Overture | d minor | J122 | BPO, Karajan | *** | DG | 1973 | --- | --- |
Bartok | Concerto for Orchestra | --- | Sz116 | BPO, Karajan | --- | DG | --- | --- | --- |
Rossini | Italian Girl in Algiers:Overture | --- | --- | BPO, Karajan | *** | DG | 1971 | --- | K's virtuoso Rossini performance is superbly polished and vivid. Crisp, plenty of weight, good ambience. A class of its own. Has an electricity, refinement, and authority that sweep all before it. Real spirit. |
d'Albert | Tiefland | --- | --- | d'Albert | --- | --- | --- | --- | --- |
Rimsky-Korsakov | The Snow Maiden--III:Dance of the Buffoons | --- | --- | NYPO, Leonard Bernstein | --- | CBS | --- | --- | --- |
Gliere | Red Poppy:Russian Sailors' Dance | --- | --- | NYPO, Bernstein | --- | CBS | --- | --- | --- |
Gliere | Harp Concerto | --- | 74 | London Sinfonia, Richard Hickox | --- | --- | --- | --- | --- |
Mozart | Violin Concerto #2 | D Major | 211 | David Oistrakh, BPO, Oistrakh | --- | EMI | --- | --- | --- |
Ravel | La Valse | --- | --- | Nat O of France, Lorin Maazel | --- | CBS | --- | --- | --- |
Beethoven | Wellington's Victory | --- | 91 | VPO, Maazel | --- | CBS | --- | --- | --- |
Beethoven | Symphony #4 | B-flat Major | 60 | Cleveland O, Columbia SO, Bruno Walter (II) | *** | Sony | 1959 | --- | Splendid, finest achievement of Walter's whole cycle. There's intensity and a feeling of natural vigor which makes itself felt in every bar. All aspects of this symphony are welded together here and show what depths it really contains. |
Delibes | Coppelia | --- | --- | Nat. PO, Richard Bonynge | *** | Decca | --- | Walthamstow Assembly Hall | Expert British musicians bring a polished and spirited ensemble, with wind solos constant delight. |
Mozart | Divertimento #17 | D Major | 445;334 | Salzburg Mozarteum O, Graf(K445); BPO, Karajan | --- | DG | --- | --- | --- |
Strauss, J II | Be Embraced by Millions Waltz | --- | 443 | Vienna Opera O, Carl Michalski | --- | Classical Treasures | --- | --- | --- |
Shostakovich | Symphony #9 | E-flat Major | 70 | USSR SO, D. Oistrakh | --- | --- | Dec 29 1969 | Large Hall, Moscow Conservatory | --- |
Mendelssohn | Festgesang | --- | --- | Leontyne Price, V. Singverein, VPO, Karajan | --- | Decca | June, 1961 | Sofiensaal, Vienna | --- |
Bach | Magnificat | E-flat Major | 243a | Price, V. Singverein, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
Schubert | Ellens Gesang I-III | --- | 837,838,839 | Dame Janet Baker, Gerald Moore; Price, VPO, Karajan (Ave Maria) | **** | EMI;Decca | 1970; June, 1961 | as above | --- |
Adam | O Holy Night | --- | --- | Price, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
Gounod | Ave Maria #1 | --- | --- | Price, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
Mozart | Exsultate, jubilate | F Major | 165 | Price, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
Poulenc | Le disparu | --- | --- | Pierre Bernac, Francis Poulenc | --- | --- | --- | --- | --- |
Gruber | Silent Night | --- | --- | Price, V. Singverein, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
Cornelius | We Three Kings of Orient | --- | --- | Price, V. Singverein, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
--- | Angels We Have Heard on High (? c. AD200)
---------------- Cornell University Evening Song (?) ---------------- God Rest ye Merry, Gentlemen (?) ---------------- It Came Upon the Midnight Clear (Sears) ---------------- Sweet Li'l Jesus(?) | --- | --- | Price, V. Singverein, V Boys Choir, VPO, Karajan | --- | Decca | June, 1961 | as above | --- |
Beethoven | Symphony #8 | F Major | 93 | BPO, Karajan | *** | DG | 1977 | --- | Electrically intense. Vibrant, distinguished. K is a gifted exponent of this symphony. |
Rossini | Semiramide: Overture | --- | --- | BPO, Karajan | *** | DG | 1971 | --- | Superbly polished and vivid. Crisply transferred with plenty of supporting weight and good ambience. |
Enescu | Roumanian Rhapsody #1 | --- | --- | RCA Victor SO, Leopold Stokowski | --- | --- | --- | --- | --- |
Schubert | Wanderer Fantasie | C Major | 760 | Alfred Brendel | *** | Philips | Nov 1971 | Salzburg | High Order |
Weber | Oberon:Overture | --- | J306 | BPO, Karajan | *** | DG | 1973 | --- | --- |
Mozart | Duo | G Major | 423 | Perlman, Pinchas Zukerman; Arthur Grumiaux, Arrigo Pelliccia (I,II) | *** | Ph | --- | --- | --- |
Mozart | Rondo | C Major | 373 | Perlman, CSO, Zukerman | --- | --- | --- | --- | --- |
Mozart | Adagio | E Major | 261 | Zukerman, CSO | --- | --- | --- | --- | --- |
Mozart | String Quartet #17 "Hunt" | B-flat Major | 458 | Amadeus Qt | *** | DG | --- | --- | --- |
Handel | Judas Maccabaeus:III:"See the conqu'ring hero comes!" | --- | HWV63 | --- | --- | Philips | --- | --- | -- |
Beethoven | King Stephen | --- | 117 | Dietrich Fischer-Dieskau, Santa Cecilia National Academic O, Chung; LSO, M Tilson Thomas(Overture) | *** | DG; Columbia | 1975(Ov.) | --- | No more than random chips from the master's workbench. Ov.:Fresh and more atmospheric than ever, excellent playing. |
Sibelius | Press Celebrations:6:Finlandia | --- | --- | CSO, James Levine | --- | --- | --- | Highland Park, IL | --- |
Khachaturian | Piano Concerto | D-flat Major | --- | Nicolai Petrov, USSR SO, Khachaturian | --- | Russian | Feb 15 1977 | --- | --- |
Mozart | Violin Concerto #4 | D Major | 218 | Issac Stern, ECO, Alexander Schneider | *** | CBS | 1983 | --- | Splendid |
Tchaikovsky | Serenade for Strings | C Major | 48 | BPO, Karajan | **** | DG | 1980 | --- | Marvelously polished. Compelling. Taut, alert, and superbly articulated playing in the first movement, a passionately intense third, and a bustling, immensely spirited finale. Elegant. Satisfyingly well-balanced, firm resonant bass line to balance the bright upper range. |
Rachmaninov | Piano Concerto #2 | c minor | 18 | Sviatoslav Richter, Warsaw PO, Stanislav Wislocki | *** | DG | 1959 | --- | --- |
Schumann | Symphony #4 | d minor | 120 | New Philh O, Otto Klemperer; LCP, Sir Roger Norrington(I) | *** | EMI | --- | --- | Masterly; special stature. Immediately dramatic attention; finale faster than many. Conclusion most exciting. Plainly the players were on their toes throughout. Intensity of K's conviction often mean quite breathtaking phrases. I:Warm. |
Saint-Saens | Piano Concerto #2 | g minor | 22 | Philippe Entremont, Philadelphia O, Eugene Ormandy | --- | CBS | 1965 | --- | --- |
Offenbach | Orpheus in the Underworld | --- | --- | Monte Carlo PO, Manuel Rosenthal; VPO, Maazel(Ov.) | --- | Naxos | Jul, 1996 | --- | --- |
Puccini | Manon Lescaut:I:2b,4; II:13 | --- | --- | Luciano Pavarotti, Philh. O, Leone Magiera; BPO, Karajan | --- | Decca; EMI | Jul 30, 1991; Dec 31, 1985 | Hyde Park; Philharmonie | In the presence of Prince and Princess of Wales. |
Tchaikovsky | Oprichnik:Dances | --- | --- | ROHCG O, Sir C. Davis | *** | Philips | 1978 | --- | --- |
Schmidt | Notre Dame:Intermezzo | --- | --- | BPO, Karajan | --- | EMI | 1980 | --- | --- |
Puccini | Suor Angelica:Intermezzo | --- | --- | BPO, Karajan | --- | EMI | 1980 | --- | --- |
Mascagni | L'Amico Fritz:Intermezzo | --- | --- | BPO, Karajan | --- | EMI | 1980 | --- | --- |
Humperdinck | Hansel and Gretel:Overture | --- | --- | BPO, Karajan | --- | EMI | 1980 | --- | --- |
Mahler | Symphony #1 "Titan" | D Major | --- | Israel PO, Zubin Mehta (I-IV); BPO, Claudio Abbado (V) | *** | EMI/DG | 1987/--- | --- | Fresh and full, bringing out beauty and clarity of the Berlin strings. High voltage; most compelling; technically immaculate. Abbado's own insight extraordinary. Vivid and well-balanced. Confidence, familiarity, and precision--deeply impressive. Assured control of tempos, phrasing, and dynamics clearly delineated. Strong in character and atmosphere. |
--- | Saltarello (? c. AD1300) | --- | --- | --- | --- | ASV | --- | --- | --- |
Haydn | Symphony #88 "Letter V" | G Major | I/88 | New Philh O, Klemperer | --- | --- | 1964 | --- | --- |
Beethoven | Piano Sonata #21 "Waldstein" | C Major | 53 | Guiomar Novaes | --- | Vox | 1979 | --- | --- |
Strauss, Josef | Austrian Village Swallows Waltz | --- | 164 | Vienna Opera O, Peter Falk | --- | Classical Treasures | --- | --- | --- |
Strauss, J II | Vienna Blood Waltz | --- | 354 | Vienna Opera O, Peter Falk | --- | Classical Treasures | --- | --- | --- |
Strauss, J II | Voices of Spring Waltz | --- | 410 | Vienna Opera O, Peter Falk | --- | Classical Treasures | --- | --- | --- |
Strauss | Alpine Symphony | --- | 64 | Dresden Staatskapelle, Karl Bohm | --- | DG | 1958 | --- | --- |
Strauss | Don Quixote | --- | 35 | Pierre Fournier, BPO, Karajan | *** | DG | 1966 | --- | Fournier's partnership with K is outstanding. His portrayal of the Don has no less nobility than previous rivals and compares well with more recent versions. He brings great subtlety and (when required) repose to the part. The finale and Don Quixote's death are very moving in Fournier's hands, while K's handling of orchestral detail is quite splendid. This recording is of DG's very finest quality. Strongly recommended. |
Mendelssohn | Rondo capriccioso | E Major | 14 | Rena Kyriakou | --- | Vox | 1986 | --- | --- |
Mendelssohn | Symphony #4 "Italian" | A Major | 90 | Vienna Musikgesellschaft O, Edouard van Remoortel (I); LSO, Abbado (II, IV); VPO, Dohnanyi (III) | *** | Vox; DG; Decca | 1986; 1979 | --- | Admirably fresh, bright, and atmospheric. |
Chopin | Fantasia | f minor | 49 | Cliburn | --- | RCA | 1972 | --- | --- |
Chopin | Barcarolle | F-sharp Major | 60 | Cliburn | --- | RCA | 1972 | --- | --- |
Chopin | Berceuse | D-flat Major | 57 | Arthur Rubinstein | *** | RCA | 1946 | --- | --- |
Kreisler | Liebesleid | --- | --- | Gruenberg, Philh O, Howarth | --- | Decca | 1988 | --- | --- |
Kreisler | Liebesfreud | --- | --- | Gruenberg, Philh O, Howarth | --- | Decca | 1988 | --- | --- |
Kreisler | Caprice viennois | --- | --- | Gruenberg, Philh O, Howarth | --- | Decca | 1988 | --- | --- |
Beethoven | Symphony #6 "Pastoral" | F Major | 68 | Columbia SO, Walter | *** | CBS | --- | --- | Affectionate, completely integrated performance from a master who thought and lived the work all his life. The sound is beautifully balanced, with sweet strings and clear, glowing woodwind, and the bass response is firm and full. |
Milhaud | Scaramouche | --- | 165b | --- | --- | --- | --- | --- | --- |
Faure | Requiem | d minor | 48 | Mary Seers, Michael George, ECO, Matthew Best | *** | Hyperion | --- | --- | Refined, set against a helpful church acoustic. Ethereally beautiful. |
Holst | St Paul's Suite | --- | 29#2 | St Paul CO | --- | --- | --- | --- | --- |
Bruch | Scottish Fantasy | --- | 46 | Perlman, ?O, Jesus Lopez-Cobos | --- | --- | --- | --- | --- |
Nielsen | Symphony #4 "Inextinguishable" | --- | 29 | BPO, Karajan | *** | DG | --- | --- | By far the best ever recorded. Incomparable, with vision and majesty. Strings play with passionate intensity; a thrilling sense of commitment thruout. Exquisitely blended, subtle wind playing. Excellently recorded. |
Tchaikovsky | Symphony #2 "Little Russian" | c minor | 17 | Philh O, Carlo Maria Giulini | --- | --- | 1958 | --- | --- |
Janacek | Sinfonietta | --- | --- | VPO, Mackerras | *** | Decca | 1983 | --- | Superb. Massed brass has tremendous bite and brilliance as well as characteristic Viennese ripeness; spectacular digital recording. |
Mozart | Cassation #1 | G Major | 63 | VPO, Rafael Kubelik | --- | Seraphim | 1963 | --- | --- |
Ketelbey | In a Chinese Temple Garden | --- | --- | Ambrosian Chorus, London Promenade O, Alexander Faris | --- | Philips | --- | --- | --- |
Ketelbey | In a Monastery Garden | --- | --- | as above | --- | Philips | --- | --- | --- |
Ketelbey | In a Persian Market | --- | --- | as above | --- | Philips | --- | --- | --- |
Ketelbey | Bells Across the Meadows | --- | --- | as above | --- | Philips | --- | --- | --- |
Franck | Symphonic Variations | --- | M46 | Alexis Weissenberg, BPO, Karajan | ****(C) | EMI | --- | --- | Curzon: Even after 3 decades, there is no finer version (1992). Vintage, natural. Transferred w/o bloom loss. |
Bartok | Music for Strings, Percussion and Celesta | --- | Sz106 | BPO, Karajan | --- | EMI | --- | --- | --- |
Schubert | Piano Sonata #21 | B-flat Major | 960 | Brendel | *** | Philips | --- | --- | Impressive and full of insight, supported by excellent Philips sound. Confidently recommended; touching freshness; warm; occupy a commanding place in the catalogue. Strongly delineated and powerfully characterized. |
Sibelius | Symphony #5 | E-flat Major | 82 | BPO, Karajan | *** | DG | 1964 | --- | Such is the excellence of the classic HvK 5th that few listeners would guess its age. It is a great performance. This version is indisputably the finest of the four he has made. Grand and noble. Superlative playing goes without saying. |
Strauss | Salome | --- | 54 | Hildegard Behrens, Agnes Baltsa, Jose van Dam, VPO, Karajan | *** | EMI | Sept, 1978 | --- | Among K's best of his later records of stage works. HB is triumphantly successful; her understanding to a point where most sopranos have been transformed into raging harpies. Sensuous beauty of tone conveyed ravishingly. Fine projection. Cast of finest Salzburg standard. vD is gloriously noble, at once commands attention. K, as is so often in Strauss, is at his most commanding and sympathetic, with orchestra playing rapturously. This is a performance that has one revelling in sensuousness. Composer to K over breakfast: "You are much closer to Salome than I am." |
Dvorak | Humoresques | various | 101 | Rudolf Firkusny | --- | Vox | --- | --- | --- |
Beethoven | String Quartet #13 | B-flat Major | 130 & 133 | Italian Quartet | *** | Philips | --- | --- | Merits are considerable. Sonority produced is beautifully blended and splendidly focused. Searching and thoughtful. |
Beethoven | String Quartet #16 | F Major | 135 | Italian Quartet | *** | Philips | --- | --- | Magnificent account, sounding very fresh and immediate. |
Beethoven | String Quartet #12 | E-flat Major | 127 | Italian Quartet | *** | Philips | --- | --- | Most searching account, goes far deeper than many rivals. |
Liszt | Hungarian Rhapsody #6 | D-flat Major | S244#6 | Andre Gavrilov | --- | EMI | --- | --- | --- |
Dvorak | String Quintet | E-flat Major | 97 | Smetana Qt | --- | Denon | 1988 | --- | --- |
Beethoven | String Quartet #14 | c-sharp minor | 131 | Italian Quartet | *** | Philips | --- | --- | --- |
Beethoven | Violin Concerto | D Major | 61 | Perlman, BPO, Daniel Barenboim | *** | EMI | 1986 | Philharmonie | Flair and individuality, spontaneous in imagination, with depth of insight married to total technical command. Power and purposeful from the very first entry. From then on P plays with a persuasiveness even beyond the similarly spacious reading he recorded just a little over five years earlier. In the cadenzas P caps all rivals in sheer excitement and bravura. Anyone wanting a modern digital cannot do better than opt for this. |
Dvorak | Symphony #7 | d minor | 70 | Cleveland O, Dohnanyi | *** | Decca | --- | Masonic Auditorium | Very attractive. Tempi are all aptly judged. The playing of the O is so responsive that the overall impression is one of freshness, and the recording is in the demonstration class, with convincingly natural balance. The internal definition achieved without any kind of digital edge. |
Chopin | Impromptu #1 | A-flat Major | 29 | Syvia Capova | --- | Classical Heritage | --- | --- | --- |
Chopin | Impromptu #2 | F-sharp Major | 36 | as above | --- | Classical Heritage | --- | --- | --- |
Chopin | Impromptu #3 | G-flat Major | 51 | as above | --- | Classical Heritage | --- | --- | --- |
Chopin | Nocturnes #1-21 | various | various | Ashkenazy, Sergei Rachmaninov, Cliburn, Rubinstein, Capova | *** | Decca, RCA | 1961, Aug 1965, 1975-1985 | --- |
Rubinstein in Chopin is a magician in color; his unerring sense
of nuance and the seeming inevitability of his rubato demonstrate
a very special musical imagination in this repertoire. The
recordings were the best he received in his Chopin series for
RCA. ---------------- The disparity in dates seems not to have affected the consistency of sound that the Decca engineers have achieved with A. The playing is splendidly ruminative and atmospheric. |
Mahler | Symphony #6 "Tragic" | a minor | --- | VPO, Bernstein | *** | DG | --- | --- | --- |
Chopin | Piano Sonata #2 "Funeral March" | b-flat minor | 35 | Capova | --- | Classical Heritage | --- | --- | --- |
Beethoven | String Quartet #15 | a minor | 132 | Italian Quartet | *** | Philips | --- | --- | --- |
Bruckner | Symphony #2 "Pauses" | c minor | WAB 102 | Minnesota O, Stanislav Skrowaczewski | --- | --- | --- | --- | --- |
Bruckner | Symphony #7 "Lyric" | E Major | WAB 107 | VPO, Karajan | *** | DG | 1989 | --- | K secures a marvellous response from the O. |
Mozart | Don Giovanni | --- | 527 | Matti Salminen, Gosta Winbergh, Ashley Putnam, Samuel Ramey, Carol van Ness, Dawn Upshaw, Julian Robins, Met O, Levine | --- | --- | --- | --- | --- |
Schubert | Violin Sonata #2 | a minor | 385 | Isaac Stern, Barenboim | *** | Columbia | 28 Feb-1 Mar 1988 | Studio Cle d'Ut, Paris | Natural warmth. |
Mozart | Piano Concerto #26 "Coronation" | D Major | 537 | Barenboim, BPO, Barenboim | --- | Teldec | 1991 | Berlin | --- |
Prokofiev | Toccata | C Major | 11 | Prokofiev | --- | Nimbus | Feb 1921 | --- | --- |
Schumann | Carnaval | --- | 9 | Charles Rosen | --- | --- | --- | --- | --- |
Strauss | Death and Transfiguration | --- | 24 | BPO, Karajan | **** | Columbia | Nov 1984 | --- | Electrifying. Balance has no lack of vividness. |
Gounod | Petite symphonie | E-flat Major | --- | --- | --- | --- | --- | --- | --- |
Beethoven | Piano Concerto #3 | c minor | 37 | Richter, Moscow PO, Kiril Kondrashin | --- | DG (I) | --- | --- | --- |
Mendelssohn | Overture "Calm Sea and Prosperous Voyage" | D Major | 27 | VPO, Dohnanyi | --- | Decca | Dec 1978 | --- | --- |
Liszt | Piano Sonata | b minor | S178 | Argerich | --- | DG | 1960 | --- | --- |
Strauss, Josef | Music of the Spheres Waltz | --- | 235 | VPO, Karajan | *** | DG | 18 Oct 1949 | Musikverein | Delectable compilation for the 150th anniversary of the VPO |
Brahms | Violin Concerto | D Major | 77 | Oistrakh, French National Radio O, Klemperer | *** | EMI | 1961 | --- | Conjunction of two such positive artists makes a reading characterful to the point of idiosyncracy, monumental and strong. O sounds superbly poised and confident and in the finale the total effect is one of clear gain. Full recording. |
Sibelius | Symphony #1 | e minor | 39 | Oslo PO, Mariss Jansons(I); VPO, Maazel | **** | EMI; Decca | 1960 | --- | J's is the finest to have appeared since M's. The Oslo PO is on peak form, playing with thrilling virtuosity. Tempi are well judged, the players are responsive to every dynamic nuance, phrasing is beautifully shaped. A very exciting performance. By far the best of Maazel's Sibelius are the First and fourth. Freshness of vision along with careful attention. The Vienna PO responds with enthusiasm and brilliance, recording is with splendid detail. Climaxes are very exciting. |
Sibelius | Symphony #7 | C Major | 105 | BPO, Karajan | **** | DG | --- | --- | --- |
Sibelius | Symphony #2 | D Major | 43 | VPO, Bernstein | --- | DG | --- | --- | --- |
Brahms | Symphony #4 | e minor | 98 | RPO, Fritz Reiner | *** | Chesky | 1960 | Walthamstow Town Hall | One of the tautest, without any loss of warmth. Incisive playing brings strength and polish. First movement with flow and urgency. Excellent recording. |
Sibelius | Symphony #4 | a minor | 63 | Cleveland O, Szell | --- | --- | 1965 | --- | --- |
Schubert | Symphony #4 "Tragic" | c minor | 417 | VPO, Muti | --- | --- | --- | --- | --- |
Brahms | Piano Trio #1 | B Major | 8 | Haydn Trio | --- | Teldec | 1979 | --- | --- |
Brahms | Piano Concerto #2 | B-flat Major | 83 | Richter, CSO, Erich Leinsdorf | *** | RCA | 1960 | --- | All the intensity of a live occasion. R in splendid form. Impressive weight and authority as well as a warm, lyrical feeling. The Chicago acoustics ensure that the orchestral texture is full-bodied and atmospheric and the piano timbre sounds full. Highly recommendable. |
Schubert | String Quintet | C Major | 956 | Amadeus Quartet, Robert Cohen | --- | DG | --- | --- | --- |
Bruckner | Symphony #6 "Philosophic" | A Major | WAB 106 | BPO, Barenboim | --- | --- | --- | --- | --- |
Schubert | Symphony #1 | D Major | 82 | COE, Abbado | *** | DG | 1988 | --- | Bright and sparkling, reflecting the youthful joy of both composer and players. Even when he adopts a brisk speed, as 3rd mvt of #1, A brings out the sunny relaxation of the writing, most exhilaratingly of all in the finale. |
Haydn | Symphony #94 "Surprise" | G Major | I/94 | VPO, Bernstein | --- | --- | --- | --- | --- |
Brahms | Tragic Overture | d minor | 81 | Bav. RSO, C. Davis | --- | --- | --- | --- | --- |
Beethoven | Overture: "Leonore #3" | C Major | 72b | VPO, Bernstein | --- | --- | --- | --- | --- |
Mendelssohn | Violin Concerto | e minor | 64 | K W Chung, Montreal SO, Charles Dutoit; Aaron Rosand, Luxembourg RSO, Louis de Fremont (II, III) | *** | Decca; Vox | ---; 1986 | --- | Sparkling.Warmly sympathetic accompaniment, amply recorded. One of C's happiest records. |
Glinka | Valse-fantasie | b minor | --- | Plovdiv PO, Rouslan Raichev | --- | Laser Light | 1990 | --- | --- |
Dvorak | Slavonic Dances #1-16 | various | 46, 72 | Hungarian State O, Adam Fischer (#1-8); Cleveland O, Dohnanyi | *** | Laser Light; Decca | 1990; 1990 | --- | D's rhythmic flexibility and the ebb and flow of his rubato are a constant delight. Bustling energy of #9 has plenty of impetus, yet never bring a feeling that the music is pressed too hard; the panache of the playing is simply exilharating. The sweep of the violins in #10 is thrilling, while the gentle melancholy of #12 and the wistful intro to #16 are equally well caught. #16 is done most imaginatively with a musing, impovisatory freedom, almost valedictory in feeling. The recording is superb, very much in the demonstration bracket, with warm acoustics ideal in providing rich textures and brilliance without edge. |
Weber | Invitation to the Dance | D-flat Major | 65 | --- | --- | Laser Light | 1990 | --- | --- |
Bruckner | Symphony #9 "Unfinished" | d minor | WAB 109 | CSO, Giulini | --- | --- | --- | --- | --- |
Mahler | Symphony #5 "Giant" | c-sharp minor | --- | BPO, Abbado (I,II,III); BSO, Leinsdorf | --- | DG | 1993 | --- | --- |
Strauss | Ein Heldenleben | --- | 40 | BPO, Karajan | *** | DG | --- | --- | This first digital recording for DG has tremendous sweep and all the authority and mastery we have come to expect--and, indeed, take for granted. Nothing other than glorious. Dramatic fire and virtuosity. Elctrifying. Tremendous climax. Great power and distinction. Very special from the greatest Strauss conductor of his day, who is still the major claimant for supremacy. Sensuous and warm. |
Liszt | Symphonic Poem #2 "Tasso" | --- | S96 | BPO, Karajan | *** | DG | Oct 1975 | --- | cellos/basses marvelous. |
Liszt | Hungarian Rhapsody #12 | c-sharp minor | S244#12 | BPO, Karajan | *** | DG | Oct 1975 | --- | --- |
Strauss, J II | Light as a Feather polka | --- | 319 | VPO, Hans Knappertsbusch | *** | DG | 31 Jan 1940 | Musikverein | --- |
Mendelssohn | Symphony #3 "Scottish" | a minor | 56 | LSO, Abbado | *** | DG | Feb 1984 | London, St. John's, Smith Square | Fine. Admirably fresh and bright, atmospheric. Very attractive ambience. Exhilarating. Warm and refined. |
Bruckner | Symphony #8 "Apocalyptic" | c minor | WAB 108 | VPO, Karajan | **** | DG | Nov 1988 | Musikverein | Most impressive of K's versions. The sheer beauty of sound and opulence of texture is awe-inspiring but never draws attention to itself. We are not far into the first mvt when one simply forgets the performance and marvels at the composer's vision. The recording is superior. This is quite an experience! K will be remembered by this representative recording; perhaps the symphony he loved and revered above all others--the music being in the hearts and minds and the collective unconsciousness of K and every one of the 100 and more players of the VPO that gives this its particular charisma and appeal. It is a wonderful reading, authoratative and profound. The end of the work is loveable, astonishing and uplifting. Especially fine and very moving. Plenty of weight/space/warmth/clarity. Eloquent. A splendid performance that effectively documents K's undeniable strengths as a conductor. K, VPO, and DG are all at their best. A valecdictory recording. |
Sarasate | Zigeunerweisen | --- | 20 | Stern, Franz Waxman, ?O | --- | --- | --- | --- | --- |
Prokofiev | Peter and the Wolf | --- | 67 | NYPO, Bernstein | --- | --- | --- | --- | --- |
Brahms | Symphony #1 | c minor | 68 | Cleveland O, Szell | *** | Sony | --- | --- | Bold, direct thrust gives the outer mvts plenty of power and impetus. The sound is remarkably good. |
Franck | Symphony | d minor | 48 | CSO, Pierre Monteux | **** | RCA | 7 Jan 1961 | --- | Unique grip, control of the continuous ebb and flow of tempo and tension is masterly. Splendid playing of the CSO is ever responsive to the mood changes. The Chicago ambience ensures that the overall effect is properly spacious. Perhaps M's very finest recording. |
Dukas | The Sorcerer's Apprentice | --- | --- | Fr. Nat. O., Maazel | --- | --- | --- | --- | --- |
Beethoven | Symphony #2 | D Major | 36 | Philh O, Kurt Sanderling (I); NYPO, Bernstein | *** | Sony | 1964 | --- | NYPO plays as if their very lives depended on it. The slow mvt is sensitively shaped. The last two mvts are very fast and have a Toscanini-like sense of drive. Plenty of underlying body. |
Chopin | Preludes #1-26 | all | 28;45 | Russel Sherman; Idil Biret | --- | Classical Heritage; Naxos | Feb 1992 | Heidelberg | --- |
Chopin | Waltzes #1-19 | various | various | Arthur Lima | --- | Classical Heritage | --- | --- | --- |
Tchaikovsky | Romeo and Juliet | b minor | -- | SRO, Stokowski | --- | Decca | --- | --- | --- |
Strauss, J II | Queen's Lace Handkerchief: Roses from the South Waltz | --- | 388 | VPO, Bohm | *** | DG | Sep 4, 1972 | --- | --- |
Strauss | Metamorphosen | --- | AV142 | BPO, Karajan | **** | DG | 1983 | --- | Even greater emotional urgency than 1971. Superbly committed by the greatest Strauss conductor of his day. |
Sibelius | Pelleas et Melisande | --- | 46 | BPO, Karajan | *** | DG | 1983 | --- | At last a version comparable with the classic Beecham version. Very striking. |
Kalinnikov | Symphony #1 | g minor | --- | SNO, Jarvi | *** | Chandos | --- | --- | Fired with enthusiasm for this appealing work. Strongly recommended. |
Elgar | 3 Bavarian Dances | --- | 27b | English String O, Boughton | --- | Nimbus | --- | --- | --- |
Liszt | Hungarian Rhapsody #5 | e minor | S244#5 | BPO, Karajan | *** | DG | Oct 1975 | --- | --- |
Lehar | Merry Widow:I,14 | --- | --- | Vienna Strauss O, Boskovksy | --- | EMI | 1982 | Vienna | --- |
Lehar | Where the Lark Sings:I,6 | --- | --- | as above | --- | EMI | 1982 | Vienna | --- |
Lehar | Giuditta | --- | --- | as above | --- | EMI | 1982 | Vienna | --- |
Lehar | Eva | --- | --- | as above | --- | EMI | 1982 | Vienna | --- |
Lehar | Gold and Silver | --- | 79 | as above | --- | EMI | 1982 | Vienna | --- |
Lehar | Der Graf von Luxemburg | --- | --- | as above | --- | EMI | 1982 | Vienna | --- |
Lehar | Zigeunerliebe | --- | --- | as above | --- | EMI | 1982 | Vienna | --- |
Tchaikovsky | Symphony #6 "Pathetique" | b minor | 74 | LSO, Gennadi Rozhdestvensky | --- | MCA | 1987 | --- | --- |
Tchaikovsky | The Storm | --- | 76 | LSO, Rozhdestvensky | --- | MCA | 1987 | --- | --- |
Mahler | Symphony #9 | D Major | --- | BPO, Bernstein | *** | DG | Oct 4, 1979 | --- | Electric response, radiant, refined, deeply expressive playing in direct response to the conductor. Superbly sustained speeds, tautly concentrated, yet with hushed inner quality. |
Schubert | Piano Quintet "Trout" | A Major | 667 | Smetana Quartet, Josef Hala, Frantisek Posta | --- | Denon | Oct 11, 1983 | --- | --- |
Handel | Royal Fireworks Music | D Major | HWV 351 | LAPO, D. A. Miller | --- | --- | 1990 | Hollywood Bowl | --- |
Verdi | Aida | --- | --- | Aprile Milo, Domingo, Dolora Zajick, Sherill Milnes, Paata Burchuladze, Dmitri Kavrakos, Met O, Levine | --- | --- | --- | Met | --- |
Mahler | Symphony #7 | e minor | --- | Frankfurt RSO, Eliahu Inbal | *** | Denon | --- | --- | One of the high points of I's Mahler series, masterfully paced, relaxed, and lyrical where appropriate, but incorporating all the biting tensions that are missing in his version of the 6th, the other dark, middle symphony. I's easy, natural manner is particularly effective in the three middle mvts, and the radiant beauty of the 4th mvt, taken at a flowing speed, has never sounded more Elysian. The easy purposefulness of the finale in its many sections brings a masterly example of his unforced, incisive control, ending exhuberantly at full power. The recording is outstandingly fine in its vivid, natural balance. |
Strauss | Till Eulenspiegel | --- | 28 | Dresden Staatskapelle, Bohm (VPO, Richard Strauss) | --- | DG | 1958 | --- | --- |
Beethoven | Bagatelle "Fur Elise" | a minor | --- | Brendel | *** | Philips | --- | --- | Excellent |
Strauss | Horn Concerto #2 | E-flat Major | --- | Norbert Hauptmann, BPO, Karajan | --- | DG | 1974 | --- | --- |
Brahms | Symphony #3 | F Major | 90 | Bav. RSO, Davis (I); Concg. O, Haitink | *** | Philips | --- | --- | Impressive. Distinguished by unanimity of attack and chording, wonderfully true intonation and homogeneity of tone; and H's firm grip and lyrical eloquence make this a very satisfying account. Sound is fresh and full in the Philips manner. |
Mozart | Symphony #40 | g minor | 550 | VPO, Bernstein (I); Dresden Staatskapelle, C. Davis | **** | DG | 1984 | Musikverein | Perhaps the most distinguished of B's Mozart records. Electrifying; keenly dramatic, individual and stylish. |
Mozart | Symphony #41 "Jupiter" | C Major | 551 | VPO, Bernstein | **** | DG | Jan, 1984 | Musikverein | Exhilarating in tensions. B's electricity sustains the repeats. First rate sound. |
Strauss | Ariadne auf Naxos | --- | 60 | Dame Elisabeth Schwarzkopf, Rita Streich, Irmgard Seefried, R. Schock, Lisa Otto, Grace Hoffman, Hermann Prey, Philh O, Karajan | **** | EMI | Jun 30-Jul 7, 1954 | Kingsway Hall, London | ES [is] radiant, deeply moving. Streich sparkles engagingly. IS is excpetionally beautiful in tone, conveying a depth and intensity rarely if ever matched. Fine pacing and delectably pointed ensemble add to the impact of a uniquely perceptive K interpretation. Strauss upon hearing IS: "I never knew what a good part that could be." |
Strauss | Elektra | --- | 58 | Hanna Schwarz, Alessandra Marc, Deborah Voigt, Siegfried Jerusalem, Samuel Ramey, Michael Howard, Walter Zeh, Hyon-Sook Back, VPO, Giuseppe Sinopoli | **** | DG | Sep, 1995 | Musikverein | S directs an incandescent performance, at once powerful and sensuous, vividly recorded in full-bodied sound, with team unmatched since Solti's classic recording. M, fine in the Barenboim, is here much more aptly cast, instantly establishing her command in the opening monolog, magnetically done. Where she scores even more over Nilsson is in the warmth and beauty of tone. Not only are the dramatic outbursts thrillingly projected with firmly focused tone, she is just as compelling in gentler moments, whether reflecting the creepily sinister side of E's character or in her radiant ecstasy following Recognition. The glorious solo ending with the rapturous cry 'seliger' has never been caught so seductively on disc as here, with S drawing glowing playing from VPO, if anything even more persuasive than he was in his Salome. V is clear and firm too, well contrasted, and Schwarz is powerful, with bitingly well-focused tone. Having such a fine, heroic tenor as J in the small role is another tribute, crowned by the choice of R-warm and strong, a perfect foil for Marc. The performance is rounded off with a thrilling account of the final scene, capturing E's hysterical joy with rare intensity. |
Liszt | Hungarian Fantasia | --- | S123 | Shura Cherkassky, BPO, Karajan | *** | DG | Dec, 1960 | Jesus-Christus-Kirche | Glittering, affectionate, with engaging touches from the orchestra. Superbly assured. |
Liszt | Hungarian Rhapsody #8 | f-sharp minor | S244#8 | Malcolm Frager | --- | VAI | Mar 18, 1973 | --- | --- |
Liszt | 2 Faust Episodes: #2: Mephisto Waltz #1 | --- | S110 | BPO, Karajan | *** | DG | Sep, 1971 | --- | --- |
Liszt | Symphonic Poem #6 "Mazeppa" | --- | S100 | BPO, Karajan | *** | DG | Feb, 1961 | --- | Great performance, superbly thrilling and atmospheric. A superb achievement, showing K and his Berlin O at their finest. |
Liszt | Hungarian Rhapsody #2 | c-sharp minor | S244#2 | BPO, Karajan | *** | DG | Apr, 1967 | --- | --- |
Dvorak | Piano Quartet #2 | E-flat Major | 87 | Domus Qt | **** | Hyperion | Oct, 1987 | --- | This is real chamber-music-playing: intimate, unforced, and distinguished by both vitality and sensitivity. Ideal acoustic; in perfect perspective. Sound wonderfully alive and warm. An altogether outstanding chamber-music record. |
Dvorak | Piano Quartet #1 | D Major | 23 | Domus Qt | **** | Hyperion | Oct, 1987 | --- | --- |
Strauss | Die Frau ohne Schatten | --- | 65 | Behrens, Julia Varady, Reinhild Runkel, van Dam, Domingo, Sumi Jo, Gottfried Hornik, Noriko Sasaki, VPO, Solti | **** | Decca | 1989, 1991 | --- | As much a landmark in S's career as his Ring. B is a huge success. vD, clean and dark voice, brings warmth and depth. With big choral ensembles both well disciplined and warmly expressive, this superb recording is unlikely to be matched, let alone surpassed, for many years. Whole performance high voltage. Irresistible emotional thrust and a moving tenderness. Full and vivid sound of demonstration quality. |
Suppe | Tantalus's Torment: Overture | --- | --- | VPO, Mehta | --- | CBS | 1989 | Musikverein | --- |
Suppe | Queen of Spades: Overture | --- | --- | VPO, Mehta | --- | CBS | 1989 | as above | --- |
Mozart | Mass #18 "Great" | c minor | 427 | Barbara Hendricks, Janet Perry, Peter Schreier, Benjamin Luxon, BPO, Karajan | *** | DG | Feb, 1981 | --- | K gives a Handelian splendor. Beauty and intensity are hard to resist. Solo singing is first rate, esp. BH, the dreamy beauty of her voice ravishingly caught. Rich and vivid. |
Schubert | Rondeau brillant | b minor | 895 | Stern, Barenboim | *** | Columbia | Dec 16-18, 1988 | --- | Plenty of character. |
Brahms | Haydn Variations | --- | 56a | VPO, Sir John Barbirolli | --- | EMI | 1969 | --- | --- |
Mozart | Mass #16 "Coronation" | C Major | 317 | Sylvia McNair, Delores Ziegler, Blochwitz, Andreas Schmidt, BPO, Levine | --- | DG | Feb 1991 | --- | --- |
Webern | 5 Movements | --- | 5 | BPO, Karajan | *** | DG | Nov, 1973 | --- | --- |
Webern | 6 Pieces | --- | 6 | BPO, Karajan | *** | DG | Mar, 1973 | --- | Expressive refinement reveals the emotional undertones---riveting results. |
Janacek | Jenufa | --- | --- | Elisabeth Soderstrom, Ochman, Dvorsky, Randova, Lucia Popp, VPO, Mackerras | **** | Decca | Apr, 1982 | Sofiensaal | Deeply sympathetic, strongly dramatic, and superbly recorded. |
Suppe | Vienna Jubilation Overture | --- | --- | VPO, Mehta | --- | CBS | 1989 | --- | --- |
Mozart | Symphony #28 | C Major | 200 | BPO, Abbado | *** | Sony | --- | --- | Not just big-scaled but elegant too. Pointing of rhythm delicately affectionate, conveying an element of fun. Slow mvt is kept flowing and finale played with such verve and diamond-bright articulation that there is no feeling of breathlessness. On its different scale, there is the same spirit of players enjoying themselves. Full and forward sound with good presence. |
Schubert | Moments musicaux | --- | 780 | Paul Badura-Skoda | --- | Astree | 1981 | --- | --- |
Dvorak | Czech Suite | D Major | 39 | Czech PO, Libor Pesek | --- | EMI | 1989 | Prague | --- |
Dvorak | My Home | --- | 62 | Czech PO, Pesek | --- | EMI | May, 1995 | Prague | --- |
Lully | Atys | --- | LWV53 | Guy de Mey, Les Arts Florissants O, William Christie | *** | HM | 1987 | --- | Excellent team gives life and dramatic speed consistently. Outstanding cast. |
Berg | 3 Orchestral Pieces | --- | 6 | BPO, Karajan | *** | DG | Dec, 1972 | --- | Of justly famous collection. No more persuasive view could be taken. Beautiful, refined. |
Webern | Passacaglia | --- | 1 | BPO, Karajan | *** | DG | Feb, 1974 | --- | Strong recommendation. |
Webern | Symphony | --- | 21 | BPO, Karajan | *** | DG | Feb, 1974 | --- | Conveys intensity of argument even to the unskilled ear. Highly sensitive response from O. |
Dvorak | Symphony #4 | d minor | 13 | Czech PO, Pesek | ** | EMI | 1989 | Prague | --- |
Suppe | Jolly Robbers:Overture | --- | --- | VPO, Mehta | --- | CBS | 1989 | --- | --- |
Suppe | Morning, Noon, and Night in Vienna:Overture | --- | --- | VPO, Mehta | --- | Columbia | 1989 | --- | --- |
Schubert | Violin Sonata #4 "Grand Duo" | A Major | 574 | Stern, Barenboim | *** | Columbia | Dec 16-18, 1988 | Paris | Unaffected directness. Both provide flair. |
Haydn | Violin Concerto #1 | C Major | VIIa/1 | Stern, Columbia CO, Stern | ** | Columbia | Nov 12, 1947 | Liederkranz Hall, NYC | Excellently recorded. Very acceptable. Highlight is touching acct of mvt 2. |
Schoenberg | Pelleas und Melisande | --- | 5 | BPO, Karajan | *** | DG | Jan, 1974 | --- | The Straussian opulence has never been as ravishing in this superbly recorded version. The gorgeous tapestry of sound is both rich and full of refinement and detail, while the thrust of the argument is powerfully conveyed. Presents the emotional element at full power and unequalled precision. |
Schubert | Violin Sonata #3 | g minor | 408 | Stern, Barenboim | *** | Columbia | Feb 28-Mar 1, 1988 | Paris | Superb set. |
Schubert | Fantasie | C Major | 934 | Stern, Barenboim | *** | Columbia | Feb 28-Mar 1, 1988 | Paris | Mysterious opening is superbly caught. Finale is a joy. |
Hindemith | Mathis der Maler | --- | --- | BPO, Hindemith | --- | DG | Sep-Oct, 1955 | --- | --- |
Schubert | Violin Sonata #1 | D Major | 384 | Stern, Barenboim | *** | Columbia | Dec 16-18, 1988 | Paris | Unaffected directness and simplicity of style. |
Strauss, J II | Waldmeister:Overture | --- | --- | VPO, Boskovsky | *** | DG | Dec 1956 | Sophiensaal | --- |
Strauss, J II | Cagliostro in Wien: Auf der Jagd Polka | --- | --- | VPO, Karajan | *** | DG | Sep 1959 | --- | --- |
Strauss, J II | Kaiser Waltz | --- | 437 | VPO, Karajan | **** | DG | Jan 1, 1987 | Musikverein | Outstanding concert produced music-making of the utmost magic. K: "[the orchestra's] feeling for the waltz rhythms is absolutely unique." Superbly balanced. The acoustics of the Musikverein bring natural warmth to every department. Indispensable--an easy first choice among any S comilations ever issued. It was an occasion when everything was right. |
Puccini | Turandot | --- | --- | Katia Ricciarelli, Piero de Palma, Ruggero Raimondi, Domingo, Hendricks, Gottfried Hornik, Heinz Zednik, Francisco Araiza, Siegmund Nimsgern, VPO, Karajan | *** | DG | May, 1981 | --- | D is vocally superb, commanding. Star names even in small roles. Sound is full and brilliant. |
Beethoven | Name-Day Overture | C Major | 115 | BPO, Karajan | *** | DG | Jan, 1969 | --- | Impressive performance that has stood the test of time. Imposing command of structure and detail. The customary virtuosity one expects from this conductor and the O. |
Bach | Tanz | --- | --- | E Power Biggs | --- | Columbia | --- | --- | --- |
Bach | Menuet | G Major | --- | Biggs | --- | Columbia | --- | --- | --- |
Haydn | Symphony #101 "Clock" | D Major | I/101 | ASMF, Sir Neville Marriner | --- | --- | --- | --- | --- |
Beethoven | Ruins of Athens | --- | 113 | Arleen Auger, Franz Crass, BPO, Bernhard Klee | --- | DG | Apr, 1970 | Jesus-Christus-Kirche | --- |
Dvorak | Cello Concerto | b minor | 104 | Heinrich Schiff, Concg. O, Davis; Ma, BPO, Maazel(II) | *** | Phillips | --- | --- | Vein of poetry akin to Ma. |
Grieg | Holberg Suite | --- | 40 | BPO, Karajan | *** | DG | Feb, 1981 | --- | Finest available. Wonderful lightness and delicacy, with cultured phrasing. Many subtleties of color and texture revealed by clear and full digital sound with its firm bass-line. |
Janacek | Lachian Dances | --- | --- | Rochester PO, Zinman | --- | --- | --- | --- | --- |
Dvorak | Symphony #9 "New World" | e minor | 95 | Israel PO, Bernstein(I); LAPO, Giulini | --- | --- | --- | --- | --- |
Strauss, J II | Tales from the Vienna Woods Waltz | --- | 325 | VPO, Hans Knappertsbusch | *** | DG | Oct, 1957 | Sophiensaal | --- |
Suppe | Galatea: Overture | --- | --- | VPO, Mehta | --- | Columbia | 1989 | --- | --- |
Elgar | Pomp and Circumstance #1-5 | --- | 39 | English String O, Boughton | --- | Nimbus | Jun, 1988 | U of Birmingham | Recorded where E was music prof. |
Suppe | Light Cavalry: Overture | --- | --- | VPO, Mehta | --- | Columbia | 1989 | --- | --- |
Suppe | Poet and Peasant: Overture | --- | --- | VPO, Mehta | --- | Columbia | 1989 | --- | --- |
Grieg | 4 Norwegian Dances | --- | 35 | Gothenburg SO, Jarvi | *** | DG | May, 1986 | --- | Excellent playing. J secures light and transparent textures and finely balanced sonorities throughout. |
Grieg | Lyric Suite | --- | --- | Gothenburg SO, Jarvi | *** | DG | May, 1986 | --- | Very fine, wide-ranging recording. |
Elgar | Wand of Youth suite #2 | --- | 1b | English String O, Boughton | --- | Nimbus | Jun, 1988 | --- | --- |
Mendelssohn | Symphony #1 | c minor | 11 | VPO, Dohnanyi | *** | Decca | Jun, 1976 | Sofiensaal | Fresh and direct. |
Dvorak | Silent Woods | --- | 68#5 | Zara Nelsova, SLSO, Walter Susskind | --- | Vox (CDX 5015) | 1990 | --- | --- |
Dvorak | Rondo | g minor | 94 | Nelsova, SLSO, Susskind | --- | Vox | 1990 | --- | --- |
Grieg | Symphonic Dances | --- | 64 | Gothenburg SO, Jarvi | *** | DG | May, 1986 | --- | Excellent use of the celebrated acoustic of this O's hall. |
Strauss, J II | Die Fledermaus: Overture; Waltz | --- | --- | VPO, Maazel; Erich Kleiber | *** | DG | Jan 1, 1980; Feb 3, 1929 | --- | --- |
Dvorak | Mazurek | e minor | 49 | Ruggiero Ricci, SLSO, Susskind | --- | Vox | 1990 | --- | --- |
Dvorak | Piano Concerto | g minor | 33 | Rudolf Firkusny, SLSO, Susskind | --- | Vox | 1990 | --- | --- |
Mendelssohn | Symphony #5 "Reformation" | d minor | 107 | VPO, Dohnanyi | *** | Decca | Jun, 1976 | Sofiensaal | Among finest of its period. |
Strauss, J II | Annen-Polka | --- | 117 | VPO, Clemens Krauss | *** | DG | Jul 2, 1929 | --- | Justly famous. |
Strauss, J II | Perpetuum mobile / Musical joke | --- | 257 | VPO, Karl Bohm | *** | DG | Oct 28, 1943 | Musikverein | --- |
Strauss, J II | Excursion Train polka | --- | 281 | VPO, Clemens Krauss | *** | DG | Dec 30, 1944 | Musikverein | --- |
Strauss, J II | Accelerations Waltz | --- | 234 | VPO, Josef Krips | *** | DG | Sep 14, 1957 | Sofiensaal | --- |
Varese | Ionisation | --- | --- | CSO, Pierre Boulez | --- | --- | 1995 | --- | --- |
Rimsky-Korsakov | The Invisible City of Kitezh | --- | --- | SNO, Jarvi | *** | Chandos | 1984 | --- | --- |
Rimsky-Korsakov | Mlada: Indian Dance; Procession of the Nobles | --- | --- | SNO, Jarvi | *** | Chandos | 1984 | --- | --- |
Bruckner | Symphony #5 "Tragic" | B-flat Major | WAB105 | Phd. O, Eugene Ormandy | --- | Columbia | 1967 | --- | --- |
Strauss, J II | Wine, Woman, and Song Waltz | --- | 333 | VPO, Boskovsky | *** | DG | Dec 30, 1978 | Musikverein | --- |
Strauss, J II | Tritsch-Tratsch-Polka | --- | 214 | VPO, Mehta | *** | DG | Jan 1, 1990 | Musikverein | --- |
Haydn | Symphony #83 "Hen" | g minor | I/83 | BPO, Karajan | --- | EMI | Aug, 1971 | St. Moritz | --- |
Britten | Peter Grimes: Interludes; finale | --- | 33 | BSO, Bernstein; Peter Pears, Claire Watson, Raymond Nilsson, ROHCG, Benjamin Britten | **** | DG; Decca | Aug 19, 1990; Dec, 1958 | --- | One of the first great achievements of the stereo era. Few opera recordings can claim to be so definitive, with P, for whom it was written, in the name-part. First-rate cast. Unfair to single out individuals. B conducts superbly and secures splendidly incisive playing, with the whole orchestra on its toes thruout. The recording, superbly atmospheric, has so many felicities that it would be hard to enumerate them, and the label has done wonders. The digital remaster for CD miraculously has improved the sound still further. The striking overall bloom remains, yet solo voice and chorus are vividly clear and fully projected. Background noise not really intrusive--one might believe this to be a modern digital set. Conceived in Escondido. |
Haydn | Symphony #100 "Military" | G Major | I/100 | St. Luke's O., Mackerras | --- | --- | --- | --- | --- |
Beethoven | Symphony #7 | A Major | 92 | NYPO/BSO (I,III/II), Bernstein; Milwaukee SO, Zdenek Macal | *** | Columbia/DG | 1964/Aug 19, 1990 | --- | --- |
Gossec | Rosine:Gavotte | D Major | --- | --- | --- | --- | --- | --- | --- |
Rossini | Cambiale di matrimonio:Overture | --- | --- | RPO, Sir Thomas Beecham | --- | --- | --- | --- | --- |
Borodin | In the Steppes of Central Asia | --- | --- | USSR SO, Svetlanov | --- | --- | --- | --- | --- |
Schubert | Symphony #2 | B-flat Major | 125 | COE, Abbado; Berlin Staatskapelle, Otmar Suitner(I) | *** | DG | Aug, 1986 | --- | Outstanding. Fine string bloom. Bright, reflecting the youthful joy of both composer and players. Vivid. |
Delius | Brigg Fair | --- | vi/16 | RPO, Beecham | **** | EMI | 1958 | --- | Technological miracle. |
Delius | Florida suite | --- | vi/1 | RPO, Beecham | **** | EMI | 1960 | --- | Ravishing performance. |
Delius | Suite of 3 characteristic pieces: #3: Marche caprice | C Major | vi/6a | RPO, Beecham | **** | EMI | 1958 | --- | Fine-spun magic. |
Delius | Over the Hills and Far Away | --- | vi/11 | RPO, Beecham | **** | EMI | 1960 | --- | Sentient string warmth which no other conductor has matched since. |
Delius | Sleigh Ride | --- | ix/3 | RPO, Beecham | **** | EMI | 1958 | --- | --- |
Rimsky-Korsakov | The Golden Cockerel | --- | --- | SNO, Jarvi; Jascha Heifetz, Emanuel Bay | *** | Chandos | 1984 | --- | Diaphanously sinous. Brass caught strikingly. |
Beethoven | Coriolan overture | c minor | 62 | VPO, Abbado | --- | --- | --- | --- | --- |
Mussorgsky | Pictures at an Exhibition | --- | --- | NYPO, Bernstein | --- | --- | --- | --- | Epic virtuosity and panache. |
Offenbach | La belle Helene:Overture | --- | --- | Detroit SO, Paul Paray | --- | Mercury | --- | --- | --- |
Schumann | Symphony #1 "Spring" | B-flat Major | 38 | VPO, Bernstein; Seattle SO, Gerard Schwarz(III, IV) | *** | DG | Feb, 1984 | --- | Extra voltage from live music making. Splendid orchestral playing and much engaging detail. |
Strauss, J II | Gypsy Baron:Overture | --- | --- | VPO, Karajan | --- | Columbia | Jan 1, 1987 | Musikverein | --- |
Strauss, Josef | Delirium Waltz | --- | 212 | VPO, Karajan | **** | Columbia | Jan 1, 1987 | Musikverein | In preparation for this outstanding concert, K re-studied the scores of his favorite Strauss pieces. |
Strauss, J I | Beliebte Annen-Polka | --- | 137 | VPO, Karajan | **** | Columbia | Jan 1, 1987 | Musikverein | With a minimum of gesture K coaxed the Viennese players into performance of the utmost warmth and freshness. |
Strauss, J II | Thunder and Lightning Polka | --- | 324 | VPO, Karajan | **** | Columbia | Jan 1, 1987 | Musikverein | --- |
Strauss, Josef | Without Cares Polka | --- | 271 | VPO, Karajan | **** | Columbia | Jan 1, 1987 | Musikverein | --- |
Strauss, J I | Radetzky March | --- | 228 | VPO, Karajan | **** | Columbia | Jan 1, 1987 | Musikverein | Wonderfully crisp yet relaxed. K kept the audience contribution completely in control. |
Smetana | Ma Vlast | --- | --- | Czech PO(I?, III)&BSO(IV-VI), Kubelik; BPO, Karajan(II) | *** | DG | 1990; Mar, 1971 | Prague | In 1990 RK returned to his homeland after an enforced 41 year absence. Vibrant. Special. Imbued with passionate national feeling. III is immensely dramatic. Powerful impulse; Particularly fine. Very successful. Fully acceptable; Superbly played, showing the HvK charisma at its most impressive. Self-recommending. |
Ravel | Tzigane | --- | --- | Chang, BPO, Domingo | --- | EMI | Jun, 2001 | Philharmonie, Berlin | --- |
Tchaikovsky | Hamlet Overture | f minor | 67 | Israel PO, Bernstein | --- | --- | --- | --- | --- |
Rimsky-Korsakov | The Tale of Tsar Saltan, of his son the famous and mighty hero Prince Gvidon Saltanovich and of the beautiful Swan Princess: I:1; II:Flight of the bumble-bee | --- | --- | SNO, Jarvi | *** | Chandos | 1984 | --- | Much presence. |
Dvorak | Symphony #1 "Bells of Zlonice" | c minor | --- | LSO, Istvan Kertesz | **** | Decca | 1966 | --- | Of Decca's best quality. Full-bodied and vivid with a fine ambient effect. |
Offenbach | Vert-vert:Overture | --- | --- | BPO, Karajan | *** | DG | --- | --- | Much to entice the ear. |
Offenbach | Grand Duchess of Gerolstein:Overture | --- | --- | BPO, Karajan | *** | DG | --- | --- | Very polished. |
Delius | A Dance Rhapsody #2 | --- | vi/22 | RPO, Beecham | **** | EMI | 1960 | --- | Superb wind solos. |
Delius | 3 Small Tone Poems: #1 "Summer Evening" | --- | vi/7 | RPO, Beecham | **** | EMI | 1963 | --- | --- |
Delius | 2 Pieces (First Cuckoo in Spring; Summer Night on the River) | --- | vi/19 | RPO, Beecham | **** | EMI | 1958 | --- | --- |
Delius | A Song before Sunrise | --- | vi/24 | RPO, Beecham | **** | EMI | 1958 | --- | Every-bit as rewarding as the finest live performances. |
Delius | Fennimore and Gerda:Interlude | --- | i/8 | RPO, Beecham | **** | EMI | 1958 | --- | --- |
Delius | Irmelin:Prelude | --- | i/2 | RPO, Beecham | **** | EMI | 1963 | --- | --- |
Delius | Songs of Sunset | --- | ii/5 | John Cameron, Maureen Forrester, RPO, Beecham | **** | EMI | 1963 | --- | Rich orchestral textures. |
Mozart | Piano Concerto #27 | B-flat Major | 595 | Barenboim, BPO, Barenboim | --- | Teldec | 1991 | --- | --- |
Bizet | Pearl Fishers:I:"Au fond du temple saint" | --- | --- | Nicolai Gedda, Ernest Blanc, Fr. Nat. Opera O, Pierre Dervaux | --- | EMI | 1960 | --- | --- |
Berlioz | Les troyens:Trojan March | --- | H133a | Phd. O, Ormandy | --- | Columbia | Feb 27, 1968 | --- | --- |
Beethoven | Symphony #5 | c minor | 67 | VPO, C Kleiber | --- | DG | 1975 | --- | Heroic struggle, intensely urgent, triumphantly resolved. Its electricity with ferocious power is rare. Fresh. |
Bach | Brandenburg Concerto #3 | G Major | 1048 | BPO, Karajan | --- | DG | 1965 | --- | --- |
Berlioz | Romeo et Juliette:Love Scene | --- | 17 | LSO, Sir C Davis | *** | Philips | 1968 | --- | Hardly needs saying--secures playing of great vitality and atmosphere. |
Offenbach | Bluebeard:Overture | --- | --- | BPO, Karajan | *** | DG | --- | --- | Racily evoke the theatre pit. Brilliance is extrovert. Cannot fail to be entertaining. |
Stravinsky | Symphony in Three Movements | --- | --- | Columbia SO, Stravinsky | *** | Columbia | 1961 | Hollywood | S knew how to draw out alert, vigorous performances. An object lesson for every conductor who has tried to perform this work. By vigorous, forthright treatment of the notes, the emotion implicit is made all the more compelling. The O plays superbly. Full and brilliant sound. |
Waldteufel | Skaters' Waltz | --- | 183 | Gulbenkian O, Michel Swierczewski | --- | Nimbus | 1990 | --- | --- |
Waldteufel | Beobile | --- | --- | as above | --- | Nimbus | 1990 | --- | --- |
Waldteufel | L'Estudiantina Waltz | --- | 191 | as above | --- | Nimbus | 1990 | --- | --- |
Brahms | Serenade #1 | D Major | 11 | LSO, Kertesz | **** | Decca | 1967 | --- | Beautiful and alert. Clear in detail. Vivid. Decca sound quality is undoubtedly fresher. Bright winds. Fresh. Unforced spontaneity. |
Honegger | Symphony #2 | D Major | 153 | BPO, Karajan | **** | DG | 1973 | --- | Arguably the finest versions of any Honegger work ever put on record. The Berlin strings have extraordinary sensitivity and expressive power, and K conveys the sombre wartime atmosphere to perfection. Panache and virtuosity so memorable. |
Honegger | Symphony #3 "Liturgique" | --- | 186 | BPO, Karajan | **** | DG | 1973 | --- | Astonishing refinement of texture. Slow mvt never sounded more magical. The recording was always one of DG's best. A great record. |
Stravinsky | Basler Concerto | D Major | --- | BPO, Karajan | --- | DG | 1972 | --- | --- |
Dvorak | Carnival Overture | --- | 92 | RLPO, Pesek | *** | Virgin | --- | --- | --- |
Mendelssohn | A Midsummer Night's Dream | --- | 61 | Eva Lind, Christine Cairns, VPO, Sir Andre Previn; Vienna Folksopera O, Remoortel; Lynne Dawson, Rotterdam PO, Jeffrey Tate (finale) | --- | Philips; Vox; EMI | Feb 1986; 1990 | Musikverein | --- |
Dvorak | Symphony #2 | B-flat Major | 4 | LSO, Kertesz | **** | Decca | 1966 | --- | Fresh insights. |
Dvorak | Symphony #3 | E-flat Major | 10 | LSO, Kertesz | **** | Decca | 1967 | --- | Remains a magnificent memorial to a conductor who died sadly young. |
Borodin | Symphony #2 | b minor | --- | Concg. O, Kirill Kondrashin; Gothenburg SO, Jarvi (II-IV) | *** | Philips; DG | Jun 6, 1980; 1992 | --- | II-IV: At last come a highly recommendable performance. First class. Strong, spacious reading. II is at its finest when the key melody, so beautifully introduced by the solo horn, returns on the full strings in a flood of romanticism. Jarvi's first mvt doesn't quite pull out. |
Dvorak | Slavonic Rhapsodies: #1 | D Major | 45#1 | Slovak PO, Zdenek Kosler | --- | Naxos | Sep, 1987 | --- | --- |
Chopin | Ballade #2 | F Major | 38 | Rubinstein | *** | RCA | 1959 | --- | Unique. |
Chopin | Ballade #3 | A-flat Major | 47 | Cliburn | --- | RCA | --- | --- | --- |
Chopin | Ballade #4 | f minor | 52 | Rubinstein | *** | RCA | 1959 | --- | Highly successful. |
Chopin | Scherzo #1 | b minor | 20 | Rubinstein | *** | RCA | 1959 | --- | Powerful. |
Chopin | Scherzo #3 | c-sharp minor | 39 | Cliburn | --- | RCA | --- | --- | --- |
Chopin | Scherzo #4 | E Major | 54 | Rubinstein | *** | RCA | 1959 | --- | Charismatic. |
Chopin | Tarantelle | A-flat Major | 43 | Rubinstein | *** | RCA | 1965 | --- | Has no superior. If the piece may appear musically less interesting and not very characteristic, in R's hands it is a glorious piece, full of bravura. |
Dvorak | Serenade | E Major | 22 | BPO, Karajan | --- | DG | --- | --- | --- |
Ravel | Bolero | --- | --- | BPO, Pierre Boulez | --- | DG | 1993 | --- | --- |
Bach | Brandenburg Concerto #4 | G Major | 1049 | BPO, Karajan | --- | DG | --- | --- | --- |
Prin | Echo of Psyche | --- | --- | Werner Tharichen, Guy Touvron, Berlin RSO, Vernon Handley | --- | Schwann | 1979 | Dusseldorf | --- |
Hertel | Concerto for 8 kettledrums | C Major | --- | Tharichen, Berlin RSO, Handley | --- | Schwann | 1981 | --- | --- |
Liszt | Hungarian Rhapsody #9 "Pester Karneval" | E-flat Major | S244#9 | Budapest Festival O, Ivan Fischer | --- | Philips | 1998 | --- | --- |
Prokofiev | Cello Sonata | C Major | 119 | II:Mstislav Rostropovich, Richter | --- | Melodiya | 1956 | --- | --- |
Grieg | 12 Songs:#2 "Spring" | --- | 33#2 | Barbara Bonney, Antonio Pappano | --- | Decca | 1999 | --- | --- |
Shostakovich | Cello Sonata | d minor | 40 | II:Rostropovich, Dmitri Shostakovich | --- | Melodiya | 1957 | --- | --- |
Tchaikovsky | Children's Album | various | 39 | 1-2;7-10;12-24: Mikhail Pletnev | --- | Melodiya | 1987 | --- | --- |
Schubert | Quartet for Flute, Viola, Guitar, and Cello | G Major | 96 | Schulz, Christ, Sollscher, Faust | --- | DG | 1993 | --- | --- |
Ravel | Mother Goose | --- | --- | BPO, Boulez | --- | DG | 1993 | --- | --- |
Brahms | String Sextet #1 | B-flat Major | 18 | Stern, Alexander Schneider, Milton Katims, Milton Thomas, Pablo Casals, Madeline Foley | --- | Columbia | 1952 | Prades | --- |
Gounod | Romeo et Juliette:I:Waltz;"Le nom de cette belle enfant?" | --- | --- | Ruth Ann Swenson, Domingo, Munich Radio O, Leonard Slatkin | --- | RCA | 1995 | --- | --- |
Ravel | Rapsodie espagnole | --- | --- | BPO, Boulez | --- | DG | 1993 | --- | --- |
Moltke | Great Elector's Cavalry March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Fucik | Florentine March | --- | 214 | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
--- | Finnish Cavalry March ---------------- St. Petersburg March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Haydn, M | Pappenheim March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Ertl | German Masters March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
King Frederick the Great | Hohenfriedberg March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Smetana | Bartered Bride | --- | T93 | Drahomira Tikalova, Ivo Zidek, Eduard Haken, Prague Nat Theatre O, Zdenek Chalabala; BPO, Karajan(III:Skocna) | --- | Sup;DG | 1959 | --- | --- |
Seifert | Carinthian Songs March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Wagner, E | The Bosnians are Coming | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Radeck | Fridericus Rex March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Teike | Old Comrades March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Sonntag | Nibelungen March | --- | --- | BPO, Karajan | --- | DG | 1973 | Jesus-Christus-Kirche | --- |
Beethoven | March for wind band | D Major | WoO 24 | BPO, Hans Priem-Bergrath | --- | DG | 1969 | --- | --- |
Beethoven | March for wind band | C Major | WoO 20 | BPO, Priem-Bergrath | --- | DG | 1969 | --- | --- |
Strauss, J II | Egyptischer March | --- | 335 | BPO, Karajan | --- | DG | 1971 | --- | --- |
Strauss, J II | Persischer March | --- | 289 | BPO, Karajan | --- | DG | 1971 | --- | --- |
Strauss, J II | Napoleon March | --- | 156 | BPO, Karajan | --- | DG | 1981 | --- | --- |
Schubert | Auf dem Wasser zu singen | A-flat Major | 774 | Elisabeth Schwarzkopf, Edwin Fischer | *** | EMI | 1952 | --- | S at the beginning of her recording career and F at the end of his make a magical partnership, inspiring intensely subtle expression from singer and pianist alike. F left few records more endearing than this, and S's coloring of word and tone is masterly. Mono sound has been freshened, with the voice given a touch more aural mascara than on the original CD version which sounded more limited than this. |
Nielsen | Symphony #3 "Sinfonia espansiva" | --- | 27 | Ruth Guldbaek, Niels Moller, Royal Danish O, Bernstein | --- | Columbia | May 16, 1965 | Odd Fellow Palace, Copenhagen | Composer served in this O. |
Mozart | Symphony #33 | B-flat Major | 319 | O of 18th Century, Frans Bruggen | --- | Philips | --- | --- | --- |
Beethoven | Creatures of Prometheus | --- | 43 | Orpheus Chamber O; Rochester PO, David Zinman (Finale) | *** | DG; Vox | Mar 1986; 1979 | SUNY, Purchase;--- | As this splendid recording demonstrates, there is much to admire in this lesser-known Beethoven. O plays most stylishly, helped by bright, clean recording. |
Beethoven | 12 Contredances | various | WoO 14 | BPO, Maazel | --- | DG | 1959 | --- | --- |
Beethoven | Ritterballet | --- | WoO 1 | BPO, Karajan | --- | DG | 1969 | --- | --- |
Beethoven | Gratulations-Menuet | E-flat Major | WoO 3 | BPO, Karajan | --- | DG | 1969 | --- | --- |
Beethoven | 12 Minuets | various | WoO 7 | ASMF, Marriner | --- | DG | 1978 | --- | --- |
Beethoven | 12 German Dances | various | WoO 8 | ASMF, Marriner | --- | DG | 1978 | --- | --- |
Brahms | Hungarian Dances #1-21 | various | WoO 1 | Budapest SO, Istvan Bogar | **** | Naxos | 1988 | Budapest | Sheer delight from beginning to end. Playing has warmth and sparkle, and the natural way the music unfolds brings a refreshing feeling of rhythmic freedom. Yet there are also many delightful individual touches from the conductor, with the woodwind joyfully producing some most engaging colors. Bogar's rubato is wholly spontaneous; the strings bring plenty of temperament to their phrasing of the more sultry tunes, while their lighter articulation is infectious. The recording is warm and full, yet transparent, with just the right brilliance on top. This is an outright winner among the available versions. One would far rather have this set than any of the other alternative versions. |
Schumann | Symphonic Etudes | --- | 13 | Murray Perahia | *** | Columbia | --- | --- | P has a special feeling. |
Schumann | Papillons | --- | 2 | Perahia | *** | Columbia | --- | --- | Unlikely to be surpassed. |
Dvorak | Piano Quintet #2 | A Major | 81 | Richter, Borodin Quartet | --- | Philips | Jun, 1982 | --- | --- |
Schubert | Die schone Mullerin: 1-3,8-9,18-20 | --- | 795 | Dietrich Fischer-Dieskau, Gerald Moore | **** | DG | 1972 | --- | With an excellent digital transfer barely giving an indication of its analog source, F-D's classic version remains among the very finest ever recorded. |
Beethoven | Die schone Schusterin | --- | WoO 91 | Nicolai Gedda, Anneliese Rothenberger, Munich Convivium musicum, Erich Keller | --- | DG | 1972 | Jesus-Christus-Kirche | --- |
Beethoven | Tarpeja | --- | WoO 2 | BBC SO, Sir Andrew Davis; Gothenburg SO, Jarvi | --- | DG | --- | --- | --- |
Beethoven | Germania | --- | WoO 94 | Gerald Finley, BBC SO, A Davis | --- | DG | --- | --- | --- |
Beethoven | Es ist vollbracht | --- | WoO 97 | Finley, BBC SO, A Davis | --- | DG | 1996 | --- | --- |
Tchaikovsky | Suite #3 | G Major | 55 | USSR MoC SO, Rozhdestvensky | --- | Erato | 1991 | --- | --- |
Berlioz | King Lear Overture | --- | 4 | LSO, Sir C Davis | *** | Philips | Oct, 1965 | --- | Woodwind detail. Outstanding. |
Schubert | Schwanengesang:4:Serenade | d minor | 957 | Fischer-Dieskau, Moore | *** | DG | 1972 | --- | Excellent sound. A high-water mark in F-D's recording. |
Stravinsky | Scherzo a la russe | --- | --- | Columbia SO, Stravinsky | *** | Columbia | 1963 | Manhattan Ctr, NYC | S knew how to draw out alert, vigorous performances. Illuminates facets of his inspiration which other interpreters often fail to notice. |
Stravinsky | Fireworks | --- | 4 | Columbia SO, Stravinsky | *** | Columbia | 1963 | as above | --- |
Saint-Saens | Cello Concerto #1 | a minor | 33 | Ma, Nat O of France, Maazel | **** | Columbia | 1980 | --- | Outstanding. Highly desirable. Distinguished by fine sensitivity and beautiful tone while O respond with playing of the highest quality thruout. |
Stravinsky | Scherzo fantastique | --- | 3 | CBC SO, Stravinsky | *** | Columbia | 1962 | Massey Hall, Toronto | --- |
Chabrier | Espana | --- | --- | SRO, Ernest Ansermet | --- | Decca | 1964 | --- | --- |
Chabrier | Dix pieces pittoresques | --- | --- | SRO, Ansermet | --- | Decca | 1964 | --- | --- |
Chabrier | Joyeuse marche | --- | --- | SRO, Ansermet | --- | Decca | 1964 | --- | --- |
Berlioz | Le carnaval romain | --- | 9 | LSO, C Davis | *** | Philips | 1965 | --- | Fire and brilliance. |
Mozart | Symphony #34 | C Major | 338 | AAM, Chris Hogwood; ASMF, Marriner(II) | *** | Decca;EMI | 1981;1991 | --- | AAM:Admirably proportioned strings. Remarkably successful. Great style, warmth, and polish. Intonation is not always absolutely refined. ASMF:Graceful and elegant. Positive yet unidiosyncratic. Supple phrasing. Mozart spirit is always alive here. Gives a great deal of pleasure. |
Delius | A Dance Rhapsody #1 | --- | vi/18 | RPO, Beecham | *** | EMI | Oct 29, 1952 | --- | Glorious performance whose appearance in this splendidly transferred CD cannot be welcomed too warmly. Despite mono sound, perfectly capture the mystery of D while conveying a purposeful sense of structure. |
Shostakovich | Symphony #15 | A Major | 141 | LPO, Haitink | **** | Decca | 1978 | --- | Early readings of this work seemed to underline the quirky unpredictability, quotation seeming joky rather than profound. H by contrast makes the first mvt sound genuinely symphonic,bitingly urgent. He underlines the purity of the bare lines of the second mvt. His slow tempo for the main lyrical theme in finale gives it heartaching tenderness, not the usual easy triviality. O is excellent, with refined tone and superb attack, and the recording is both analytical and atmospheric. |
Beethoven | Consecration of the House | --- | 114 | Sylvia McNair, BPO, Abbado | --- | DG | --- | --- | --- |
Beethoven | Leonore Prohaska | --- | WoO 96 | McNair, BPO, Abbado | --- | DG | --- | --- | --- |
Flotow | Martha:III:"Ach, so fromm M'appari" | --- | --- | Pavarotti, NYPO, Bonynge | --- | Decca | --- | --- | --- |
Offenbach | Robinson Crusoe | --- | --- | BPO, Karajan | *** | DG | 1972 | --- | --- |
Offenbach | La vie parisienne | --- | --- | Monte Carlo PO, Manuel Rosenthal; Philh O, Marriner(Overture) | --- | Naxos; Philips | Jul, 1996; Feb, 1981 | --- | --- |
Offenbach | Mesdames de la Halle | --- | --- | Monte Carlo PO, Rosenthal | --- | Naxos | Jul, 1996 | --- | --- |
Offenbach | Le voyage dans la lune | --- | --- | Monte Carlo PO, Rosenthal | --- | Naxos | Jul, 1996 | --- | --- |
Offenbach | Tromb-al-Cazar | --- | --- | Monte Carlo PO, Rosenthal | --- | Naxos | Jul, 1996 | --- | --- |
Offenbach | La Perichole | --- | --- | Monte Carlo PO, Rosenthal; Frederica von Stade, Met O, Levine(I:8d) | --- | Naxos; DG | Jul, 1996; Apr 27, 1996 | --- | --- |
Verdi | Messa da Requiem | --- | --- | Susan Dunn, Diane Curry, Jerry Hadley, Paul Plishka, Atlanta SO, Robert Shaw | **** | Telarc | 1987 | --- | Finest of his Atlanta recordings. Spectacular quality. Beautifully balanced and clear. Exceptionally satisfying, more recommendable than those of even the most eminent conductors. Clear, fresh, well-focused voices. An outstanding issue. |
Bach | Cantata #147 "Herz und Mund und Tat und Leben" | --- | 147 | Jane Bryden, Drew Minter, Jeff Thomas, Jan Opalach, ensemble, Josh Rifkin | *** | Decca | Sep 1985 | --- | Lively |
Bach | Hunt Cantata:9:Sheep May Safely Graze | --- | 208 | St. Andrew Camerata, Friedman | --- | Omega | 1988 | --- | --- |
Ibert | Escales | --- | --- | Phd O, Ormandy | --- | Columbia | Nov 20, 1960 | Broadwood Hotel, Philadelphia | --- |
Faure | Pavane | --- | 50 | Phd O, Ormandy | --- | Columbia | Mar 6, 1968 | Town Hall, Philadelphia | --- |
Ravel | Pavane pour une infante defunte | --- | --- | Montreal SO, Dutoit | **** | Decca | 1984 | --- | Wonderfully sympathetic. Ideally combines atmospheric evocation with vividness of detail. |
Praetorius | Terpsichore Dances:XXXII:Bouree | --- | --- | Early Music Consort, David Munrow | *** | EMI | Dec, 1973 | --- | One of M's most successful achievements. Sound is excellent in all respects. Bouree played by four racketts is fascinating. Delightful. |
Strauss, J II | Artists' Life Waltz | --- | 316 | NYPO, Bernstein | --- | --- | --- | --- | --- |
Verdi | Rigoletto | --- | --- | Ruth Ann Swenson, Denyce Graves, Marcelo Alvarez, Juan Pons, Robert Loyd; Pavarotti, June Anderson, Birgitta Svenden, Sondra Kelley, Joyce Guyer, Leo Nucci, Alan Held, Vernon Hartman, Richard Vernon, Met Op O, Marco Guidarini; Marcello Panni (III); Callas, Gobbbi, Di Stefano, Zaccaria, La Scala O, Serafin (I: end) | *** | EMI | Mar 9, 2002;1955 | Inn by Sacramento River | Never been a more compelling title role than Gobbi on his classic set (this). At every point, Gobbi finds extra meaning, with the widest tone color employed for expressive effect. Callas is compellingly imaginative. Astonishingly vivid transfer. |
Britten | War Requiem | --- | 66 | Galina Vishnevskaya, Pears, Fischer-Dieskau, LSO, Britten | *** | Decca | 1963 | --- | The vivid realism, one of the outstanding achievements of the whole analog stereo era. Uncannily precise placing and balancing. |
Khachaturian | Masquerade | --- | --- | LSO, Stanley Black | --- | Decca | 1977 | --- | --- |
Khachaturian | Spartacus | --- | --- | VPO, Khachaturian | *** | Decca | 1962 | Sofiensaal | Passionate. |
Glazunov | The Seasons | --- | 67 | SRO, Ansermet | --- | Decca | 1966 | --- | --- |
Delibes | Sylvia:I:3;III:1 | --- | --- | New Philh. O, Bonynge | *** | Decca | 1972 | --- | Wonderful polish and affection. Full, brilliant, and sparkling in Decca's best manner. |
Chopin | Ballade #1 "Polish" | g minor | 23 | Rubinstein | *** | RCA | 1959 | --- | An outstanding recital--there is no more distinguished miscellaneous Chopin collection in the catalog. Inimitable touch gives much pleasure. Coaxing and dazzling by turns. |
Mozart | Piano Sonata #6 "Durnitz" | D Major | 284 | Walter Klien | **** | Vox | 1964 | --- | Outstanding. |
Mozart | Piano Sonata #8 | a minor | 310 | Klien | **** | Vox | 1964 | --- | Consistent freshness. |
Mozart | Piano Sonata #9 | D Major | 311 | Klien | **** | Vox | 1964 | --- | Exemplary taste. |
Mozart | Piano Sonata #11 "Alla Turca" | A Major | 331 | Klien | **** | Vox | 1964 | --- | Enormous pleasure. |
Mozart | Piano Sonata #12 | F Major | 332 | Klien | **** | Vox | 1964 | --- | Robust. |
Mozart | Piano Sonata #13 | B-flat Major | 333 | Klien | **** | Vox | 1964 | --- | With vitality. |
Mozart | Piano Sonata #17 | B-flat Major | 570 | Klien | **** | Vox | 1964 | --- | Noting remotely self-conscious about it. |
Mozart | Fantasia; Piano Sonata #14 | c minor | 475;457 | Klien | **** | Vox | 1964 | --- | Unfailingly musical. |
Mozart | Piano Sonata #15 | F Major | 533 | Klien | **** | Vox | 1964 | --- | Every detail is beautifully placed. |
Mozart | Piano Sonata #18 "Trumpet" | D Major | 576 | Klien | **** | Vox | 1964 | --- | Without the slightest suggestion of preciosity. |
Mozart | Piano Sonata #16 "For Beginner" | C Major | 545 | Klien | **** | Vox | 1964 | --- | Round and full. |
Shostakovich | From Jewish Folk Poetry | --- | 79(a) | Elisabeth Soderstrom, Ortrun Wenkel, Ryszard Karczykowski, Concg. O, Haitink | **** | Decca | 1983 | --- | Splendid. Tenor brings vibrant Slav feeling. |
Ketelbey | Bank Holiday | --- | --- | L Promenade O, Faris | --- | Philips | Aug, 1981 | --- | --- |
Schumann | Kreisleriana | various | 16 | Vladimir Horowitz | **** | DG | Sep, 1985 | --- | Subtle color range and articulation. |
Scarlatti, D | Keyboard Sonata #135 | E Major | 135 | Horowitz | **** | DG | Sep, 1985 | --- | Extremely realistic. |
Kodaly | Dances of Galanta | --- | --- | Philh. Hungarica, Antal Dorati | *** | Mercury | Feb, 1958 | --- | Woodwind in the slow dances is intoxicatingly seductive, and the power and punch of the climaxes come over with real Mercury fidelity. Outstanding. |
Bartok | 7 Rumanian Folk Dances | --- | Sz68 | Minneapolis SO, Dorati | *** | Mercury | Nov, 1956 | --- | The pioneer stereo recording of this work. Sound wears its years very lightly. On top form, O provides plenty of ethnic feeling and color. Agreeable air of authenticity. |
Tchaikovsky | Sleeping Beauty:1-30b. | --- | 66 | Czechoslovak State PO, Andrew Mogrelia | --- | Naxos | 1991 | --- | --- |