Conductor Daniel Barenboim presents: Complete iconic life work of Wagner's Operas in a 34 CD Box set. Complete with track listing and synopsis for each opera, with web links for the libretto of each opera.

This is a set that no one who cares about Dvorák’s symphonies can afford to ignore. These performances really do belong in every serious collection.

Supraphon has finally released Václav Neumann’s 1970s Dvorák symphony cycle, and what a wonderful event it is. These performances are, on the whole, fresher and freer than his digital remakes, fine though those are, and more warmly recorded. The only exception is the somewhat shrill engineering in the First Symphony, but in general the sonics are comparable to other cycles of the period—Kertész, Kubelik, and Rowicki—and this is unquestionably the best played of them all. It’s difficult to overestimate the value of having the Czech Philharmonic in top form in this music, but the sound of the ensemble really does speak for itself. Kubelik’s Berlin Philharmonic might have the best strings, and the London Symphony for Kertész and Rowicki the boldest horns, but the Czech Philharmonic has the best ensemble, top to bottom, at least in Dvorák.

Consider one example: the climax of the first movement of the Seventh Symphony, a work that shows both the orchestra and Neumann at their very best. If you imprinted on this performance, nothing else can match it in power and intensity. The passionate lyricism of the strings, the thrilling low timpani roll that propels the trombones’ upward arpeggio, and those bright, sforzando trumpets combine to make an unforgettable impression (sound clip below), and it’s all exactly as Dvorák wrote it. Interestingly, where Neumann deviates from the printed page, as in the main theme’s fortissimo counterstatement in the first movement, or in the work’s concluding chorale, he gives the doubling parts to the trumpets rather than the horns, as in most other performances, and this too proves the better decision.

This brings us to Neumann’s own contribution. Traditionally he has gotten short shrift compared to the competition. Some of this was politics. In the 1960s and ’70s the British naturally preferred anything featuring the LSO, and Kubelik was a symbol of democratic resistance to Communist rule. He also had the superb Berlin Philharmonic at his disposal, rather than his usual Bavarian Radio forces, and Deutsche Grammophon behind him. Neumann, on LP at least, was spottily available on generally horrible pressings, and he had the disadvantage to be taking over from Ancerl, an indisputably great conductor who wound up on the right side of Cold War politics. Then Neumann remade all the symphonies in digital sound, a set that Supraphon promoted intensely, and this earlier effort simply disappeared from sight.

In general, Neumann’s approach might sound a touch “old fashioned”—quick movements move at moderate speeds, slow movements flow without ever dragging. Although not quite so slow in the allegros, conductors like Otto Klemperer come to mind. And yet, Neumann is by no means lacking in energy. His Eighth Symphony is as fresh (and swift) as any in the catalog. He whips up quite a frenzy in the finale of the Fifth, and this Third Symphony might just be the best on disc. Its first movement is as energetic as can be, the central funeral march is gorgeous and never stiff, while the finale actually sounds less mechanical at this moderate speed than it does when taken more quickly. The Sixth seldom has been paced more naturally, and as Dvorák fans all know, Ancerl’s benchmark performance is a tough act to follow. Neumann has nothing to fear from the comparison, especially in the coda of the finale, which is stunning.

Neumann always did well by the “New World” Symphony, and in only a few spots in the first two symphonies does Neumann sound less than fully engaged (though in the former, he’s still more effective than in his digital remake). The third movement of the Second, particularly, needs to be crisper. Suitner on Berlin Classics is unmatched here. For the most part, though, Neumann’s performances have held up extremely well. In particular, he offers an object lesson in phrasing and, especially, the correct use of legato in lyrical passages. So many performances today, perhaps encouraged by the perpetual staccato of the early music movement, break up Dvorák’s melodies into fragments, whereas Neumann conducts in whole paragraphs.

The couplings add greatly to this set’s attractions. They are uniformly excellent. The Symphonic Variations overflows with character; the three concert overtures belong together (they share a theme, heard at the outset of In Nature’s Realm), and these versions of the four late symphonic poems rank with the best available. They are also very well recorded. So to summarize, this is a set that no one who cares about Dvorák’s symphonies can afford to ignore. Even if you have the versions just mentioned, these performances really do belong in every serious collection.

-- David Hurwitz, ClassicsToday.com

During his thirteen years as chief conductor of the Stuttgart Radio Symphony Orchestra of SWR Sir Roger Norrington conducted and recorded an important part of Berlioz's core repertoire. The present boxed set brings together on seven CDs the Requiem, the opera Benvenuto Cellini (concert performance), the oratorio L'Enfance du Christ, the overture Les Francs-juges and of course the Symphonie fantastique.

Norrington's style has caused a stir internationally with what has come to be termed ‘The Stuttgart Sound’: a synthesis of historically-informed performance practice with the technical capabilities of a modern orchestra. Whether in Mozart, Haydn, Bruckner, or Berlioz, Norrington seeks to capture the performance experience of the time, adjusting the orchestra’s size and seating plan to create an authentic sound without vibrato.

Hector Berlioz had to surmount a variety of challenges before he was able to pursue his musical vocation. His father, a respected physician in the provincial South of France, was not readily willing to come to terms with his son's intention to quit his medical studies and turn instead to music. He therefore made all further financial support subject to Hector's climbing up the musical ladder at lightning speed. Alas, it didn't work so easily. Berlioz's road to success was tedious and marked by adversity and struggle, his personal life tumultuous. The uniqueness and originality of his musical style are no longer disputed, but this insight came at the end of a decades-long process.

This 3LP set is the reissue of the 1954 box initiated by Walter Legge, EMI's famous producer, to commemorate the 25th anniversary of Diaghilev's death. The cover reproduces the original illustration purposely designed at the time by Natalia Goncharova, one of the famous set painters of the Ballets russes. The 32-page booklet, richly illustrated with historical photos, sketches of costumes, and sketches of sets, includes the notes from the 1954 edition by Igor Marketvitch. It is in English and French, and features a short excerpt of 'Le Ballet' by Boris Kochno along with work presentations by the British dance specialist Cyril W. Beaumont.

Maurice Ravel's music reflects the cultural and creative ferment of his times, as the heady sensuality of the Belle �poque made way for neo-classicism, the Jazz Age and modernism. Strikingly diverse in mood and scale, his works assert his distinctive identity, expressed through craftsmanship of the utmost finesse and beauty: deeply sensitive and balancing sincerity, irony and a touch of provocation. An essential collection of landmark performances, this 21-CD box of Ravel's complete works brings together major interpreters of the present day and preceding generations. There are even contributions from the composer himself, as conductor, pianist (on piano rolls) and artistic supervisor.

Johanna Martzy (1924-1979) became a figure on the basis of a handful of recordings. The meteoric career of this distinguished ambassadress of the Hungarian violin school in no way foretold her posthumous idolisation. Her historic recordings of the Bach Sonatas and Partitas and stunning readings of Schubert's complete works for violin and piano, together with a few first-class concerto discs, make up a legacy. At last, it is available and remastered in high definition from the original tapes.

There is hardly a better way to approach Ludwig van Beethoven than through his piano concertos. Beethoven’s own instrument was the piano, and in his improvisations – which made him the darling of the Viennese salons – he merged virtuosity and unbridled expression. The piano concertos give a clear idea of these performances. At the same time, they are prime examples of Beethoven’s ability to create large orchestral works with seemingly endless arcs of tension. One of the most revered artists of our time, Mitsuko Uchida is known as a peerless interpreter of the works of Mozart, Schubert, R. Schumann and Beethoven, as well for being a devotee of the piano music of Alban Berg, Arnold Schoenberg, Anton Webern, and György Kurtág.

The Found Tapes: Live in Los Angeles is a 3 CD set from Tribe Records co-founder Phil Ranelin, celebrating a trio of LA club performances from 1978-1981 which remain especially significant to the visionary trombonist. Backed by a young Billy Childs on piano, Ralph Penland on drums, and Tony Dumas on bass, Ranelin was in peak form as a player and bandleader during this period. This is particularly true of one specific outing at the now shuttered Maiden Voyage in Los Angeles on July 19, 1981, which is presented in full within this set. The audio was restored from decades old cassette tapes which have never been heard until now. A master trombonist of the J.J. Johnson tradition, Ranelin's career has spanned over five decades with eleven records as a solo artist, four as a Freddie Hubbard sideman, session recordings for Motown, and work with artists ranging from Stevie Wonder and Ella Fitzgerald to Red Hot Chili Peppers and Telefon Tel Aviv.

Claudio Arrau (1903-1991) is a pianist fully deserving of the epithet 'legendary'. His rigorous intellect and sense of the sublime found expression in his transcendent technique and sumptuous, yet lucid sonorities. The recordings in this 24CD collection, a significant portion of Arrau's legacy from the years between 1921 and 1962, are indispensable to his extensive discography. They can now be heard in their full glory, thanks to a process of restoration and HD remastering using the original tapes (for recordings from the LP era) or the best available source (for 78s). Among them are four world premiere releases: Beethoven's Piano Sonata No. 30, op. 109, a Chopin �tude, and two pieces by Liszt.

Who on this planet has never seen KING KONG and heard Max Steiner’s powerful innovative music more than once? Here’s a treasure trove of classic scary music that these 20th-century composers gave their best and probably never thought would ever be heard again and especially newly recorded! Film fans and scholars in every future century will continue to discover and study this music art form and give the composers their unexpected and rightful immortality!
— Craig Spaulding, Screen Archives Entertainment

You can have too much of a good thing, but Mendelssohn wrote a lot of music that deserves to be better known, and if you’re a hard core Mendelssohnian or are just curious to learn what you’ve been missing, this attractively priced 11-disc set deserves your consideration. The performances of the five standard symphonies with Litton and the Bergen Philharmonic are uniformly fine: very well played, and intelligently paced. Once example that all fans of the composer will appreciate is the ideal tempo that Litton chooses for the coda of the Scottish Symphony (sound clip)–grand but fluid, so that the music never sounds as though it should have stopped a few minutes before it actually does.

The twelve string symphonies, early though they are, contain a great deal of masterful music, and the later ones are in fact quite substantial. This set is both the most complete, as well as on balance the most desirable yet recorded. You get both versions of No. 8 (with and without winds), plus the single movement No. 13, and also the scherzo from the Octet in its string orchestra arrangement (later on in the box). Lev Markiz leads the Amsterdam Sinfonietta in performances that respect the music’s classical roots without sacrificing warmth or beauty of tone. Rhythms are sharp, tempos lively, and the string ensemble consistently well balanced.

There are four discs of concertos here, including Isabelle van Keulen’s excellent original version of the famous E minor Violin Concerto (second sample). Everyone will have favorite performances of this music, or at least the more famous works, but with Markiz once again in charge of the accompaniments, these versions with chamber orchestra are all of a piece. There’s a welcome intimacy between solo(s) and orchestra that makes these recordings quite distinctive and appealing. The solo piano concertos have plenty of sparkle in Brautigam’s hands, while Roland Pöntinen and Love Derwinger play the two double piano concertos with unaffected brilliance.

Some of this music (the lesser known concertos) is not always easy to find in top-knotch performances, so even if you wind up duplicating the standard pieces, this may well be worth considering. With fabulous sonics, you really can’t go wrong at mid to budget price.

-- David Hurwitz, ClassicsToday.com

Classical Music

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Also available on standard DVD

Russian dance superstar Natalia Osipova joined The Royal Ballet as a Principal in 2013 and has since filled each of her leading roles with an unforgettable passion, fiery energy and technical prowess. This collection brings together some of her most spellbinding performances: her dramatic dual performance of Odette and her rival Odile in Swan Lake; outstanding solos and flair for comedy as the young lover Lise in La Fille mal gardée; and her electric stage presence in the title role of the quintessential Romantic ballet Giselle where she was hailed as ‘technically and artistically supreme… ethereal and desperately moving’ (The Daily Telegraph). The set is completed with an in-depth portrait, Force of Nature Natalia, which provides an unparalleled opportunity to become closely acquainted with one of the leading ballerinas of her generation, and invites you to discover why critics and audiences all over the world call her a ‘force of nature’ of the dance world.

As pianist Andrei Hoteev puts it, Vladimir Sofronitzki's interpretations included an "improvisatory style", which corresponds with what musicologist Sigfried Schibli has noted as a characteristic of Scriabin's own playing, going on to say Scriabin "developed his own style of playing the piano" with "alertly varied rhythms and dynamics...combined with a delicate touch and spontaneous agogics." Indeed, Sofronitzki's Scriabin performances have often been praised for their idiomatic, "poetic" rubato together with a flair for musical architecture and rhythmic precision. In his desire for fidelity to the original, Sofronitzki's highly sensitive use of the pedal reflects his striving to abide by the composer's expressive markings as closely as possible. His affinity with Scriabin's oeuvre may derive from the fact that both the composer and the pianist himself were influenced by the music of Frédéric Chopin. Having spent his childhood in Warsaw, where his family had settled when he was two years old, Sofronitzki came to be regarded as setting new standards for Chopin interpretation - an artistic focus that goes back to his first piano tuition in the Polish capital. In 1949, the centenary of Chopin's death, Sofronitzki performed all his piano works on five successive days at the great hall of the Tchaikovsky Conservatory in Moscow.

REVIEWS:

The flow of melody and the highest transparency of musical events were top priorities for Vladimir Sofronitzky, whom Emil Gilels called the greatest piano player in the world and of whom the famous Heinrich Neuhaus said, « He plays like a god and looks like a god. » Let’s look closely at these two statements: Gilels speaks of the piano player not of the pianist. Consciously or unconsciously? And Neuhaus speaks of the god. God, is that power? Mightiness? Because Sofronitzky’s playing is powerful. It is dramatic and sonorous. This is Sofronitzky’s individualism: his feelings are those of sovereignty, of control. Poetry and tenderness are not his thing. And so the recordings of this edition impress me more than they touch me.

However, those who are intoxicated by consummate piano technique will be happy with this. In addition to the Etudes, Mazurkas, Preludes, Impromptus, Nocturnes and Poèmes, this box includes the legendary near-complete recording of the piano sonatas with Vladimir Sofronitzky. Only the first three movements of the 1st Sonata and the 9th Sonata, which the pianist never recorded out of respect for Scriabin, are missing and replaced by recordings by other pianists. Sofronitzky’s interpretations are phenomenal: he literally chisels the music into sculptures, relentless, accented, yet often very restrained and labored for nuance. Nevertheless, it is the enormously powerful playing that dominates and captivates the listener[.]

-- Pizzicato

These are historical recordings from 1946 to 1962, played primarily by Sofronitski; all the others are listed as guests. Profil celebrates Scriabin’s 150th birthday with a nearly complete collection of his solo piano works. This remastered collection has cleaned things up to today’s standards.

"Historical Recordings 1946-1962" is correct for all the recordings here except Scriabin’s tracks. There is not a bad performance in this collection. A few choices were made that I didn’t agree with, but, by and large, this is spectacular Scriabin...I was amazed at the musical concentration Sofronitsky summoned to play such beautifully shaped phrases on such an instrument. Anyone who enjoys Scriabin’s piano music will find exceptional performances on each disc here.

-- American Record Guide

On the occasion of his 50th anniversary, Avishaï Cohen offers a sumptuous present: 50 titles selected by his fans in a luxurious box set including 6 golden 180g vinyls. Deluxe edition limited and numbered to 2.000 copies worldwide! Each title has been commented by Avisaï Cohen in a beautiful 32-page hardcover book. Avishai Cohen, born in Kabri, Israel on April 20th, 1970, grew up in a multicultural family whose roots were found in Spain, Greece and Poland. At home, music was always in the air, with his mother Ora, an artistic influence, listening to both classical and traditional music. Avishais musical journey began when he was nine years old, when he began playing the piano. After moving to St. Louis, Missouri with his family at age fourteen, he continued to study the piano and began to play the bass guitar. The electric bass put a spell on him when his teacher introduced him to the music of luminary bassist Jaco Pastorius. Back in Israel, Avishai joined the Music and Arts Academy in Jerusalem to further explore the bass universe.

GREAT RUSSIAN SYMPHONIES (10-CD Box Set)

The word ‘symphony’ is used to describe an extended orchestral composition in Western classical music. By the eighteenth century the Italianate opera sinfonia—musical interludes between operas or concertos—had assumed the structure of three contrasting movements, and it is this form that is often considered as the direct forerunner of the orchestral symphony. With the rise of established professional orchestras, the symphony assumed a more prominent place in concert life between 1790 and 1820 until it eventually came to be regarded by many as the yardstick by which one would measure a composer’s achievement.

The symphony came late to Russia. The first attempts at a Russian Nationalist symphony were made in the late nineteenth-century by Balakirev and his acolytes, Borodin and Rimsky-Korsakov as well as by Tchaikovsky, whose symphonies (despite his European leanings) have a distinctly Russian flavour. In their wake followed numerous composers, from Glazunov to Myaskovsky, similarly instilling their music with the melodies of their homeland. In the years that followed Russian politics had an unmistakable impact on the Russian symphonists, as Rachmaninov and Prokofiev (among others) went into exile whilst composers such as Shostakovich vented their political frustrations through the medium of music—his Leningrad Symphony being a prime example.

R E V I E W:

The most important works here also tend to get the best performances. So let’s proceed in order of overall quality. Best are Shostakovich’s Fifth with Petrenko, Borodin’s Second and Rimsky-Korsakov’s Scheherazade with Schwarz, Kuchar’s Prokofiev First and Fifth, and Kalinnikov’s First, and Antoni Wit in Tchaikovsky’s Fifth and Sixth. All the rest are fair to good. These include Glazunov’s Sixth and Rachmaninov’s Second (and The Rock) with Anissimov, Shostakovich’s Seventh and Miaskovsky’s 25th (Yablonsky), Tchaikovsky’s Fourth and assorted short works (1812 Overture, Romeo and Juliet) with Adrian Leaper, and Scriabin’s Poem of Ecstasy and Third Symphony with Golovschin. Topping it all off is a pretty respectable Antar Symphony conducted by André Anichanov. Yes, you can do better in most of this music, but this 10-disc set is well-chosen and an easy way to get a big pile of popular and unfairly neglected Russian symphonies, so who’s complaining?

-- David Hurwitz, ClassicsToday.com

These 16 CDs offer a comprehensive and meticulously curated journey through Bizet's major works, bringing together exceptional performances by top-tier artists. Operas: 9 CDs, featuring two versions of Carmen the legendary 1964 version by Maria Callas and Nicolai Gedda under the baton of Georges Pr�tre, and the original version restored by Fritz Oeser in 1964, recorded in 2012 by Simon Rattle with the Berliner Philharmoniker, Magdalena Ko�en� and Jonas Kaufmann. Orchestral Works: 3 CDs Piano Music, Songs, Choral Music, and Arrangements: 1.5 CDs (including the two Carmen Fantasy his famous opera inspired to both Pablo de Sarasate and Franz Waxman) Historical Recordings dating from 1903 (!) to 1943: 2.5 CDs Booklet includes an extensive biography by French specialist Fran�ois Laurent.

The complete Symphonies of Tchaikovsky along with other favourite orchestral works in one box set. Featuring famous Russian conductors such as Rozhdestvensky, Mravinsky, Svetlanov, Kogan and Kondrashin along with famous artists such as Richter, Oistrakh and Rostropovich.

Classical Music

(5-CD set) The Emerald Duets is a crowning achievement among Wadada Leo Smith's many recorded duo collaborations with drummers/percussionists that have previously featured such creative giants as Ed Blackwell, Jack DeJohnette, Milford Graves (TUM BOX 003), Louis Moholo-Moholo (TUM CD 029) and G�nter Sommer, among others. The Emerald Duets features four master drummers who have each, in their own unique fashion, contributed to the way modern drumming has developed in the past six decades and how it is now perceived. Pheeroan akLaff, Andrew Cyrille and Han Bennink are each featured on one disc and Jack DeJohnette on two discs, including Smith's five-part composition "Paradise: The Gardens and Fountains" that fills the fifth disc of this boxed set in it's entirety. The sessions with akLaff, Cyrille and DeJohnette mostly feature compositions by Wadada Leo Smith, including three very different versions of Smith's powerful statement for the protection of freedom and democracy, "The Patriot Act, Unconstitutional and a Force that Destroys Democracy." The session with Bennink includes a combination of Smith's compositions and collectively created tracks.

For this box, ALTO has compiled ten albums by as many outstanding pianists of the 20th century. These include both exemplary recordings and new compilations by ALTO as well as live recordings from the catalogs of the great labels. The entire 20th century is covered from Artur Schnabel and Artur Rubinstein to Marta Argerich with works by composers they were highly celbrated for. The interested enthusiast doesn't get a random grab bag here, but rather a well-thought-out program that also impresses connoisseurs. 10 Giants of the Keyboard: Marta Argerich; Chopin, Brahms, Liszt, Ravel, Prokofiev Vladimir Ashkenazy; Chopin Alfred Brendel; Schubert including complete Impromptus Emil Gilels; Schumann, Chopin, Tchaikovsky GLenn Gould; Bach 1955 Goldbergs, Partitas, Fugues Vladimir Horowitz; Mozart, Mendelssohn, Schumann, Liszt, Scriabin, othrs Wilhelm Kempff; Mozart concerti Sviatoslav Richter; Iconic Schubert Artur Rubinstein; Chopin Favourites Artur Schnabel; Beethoven collection

Super deluxe edition.

This 28-CD set commemorates the 50th anniversary of the death of Dimitri Shostakovich, presenting his symphonies, chamber symphonies, concertos, chamber music, string quartets, Jazz Ballet & Film music, 24 Preludes & Fugues. Dimitri Shostakovich (1906-1975) is without doubt one of the most famous and influential composers of 20th century Russia. He lived in a time of Soviet repression and, though outwardly a loyal communist, he resented the restrictions imposed by the regime on his creativity. This led to a fascinating duality between conformism and the expression of his most innermost feelings, fears and anger. Shostakovich's 15 symphonies chart a remarkable artistic journey. The Fifth Symphony, often considered his response to political censorship, balances grandeur with emotional depth. Later symphonies, such as the Eighth and Fourteenth, delve into themes of war and death, using stark textures and powerful contrasts to convey their messages. His concertos, particularly for piano, violin, and cello, showcase both virtuosity and lyrical intensity. The First Cello Concerto, written for Mstislav Rostropovich, is notable for it's bold structure and expressive range. Similarly, his Piano Concerto No. 1 stands out for it's wit and originality, blending classical form with jazz-like energy. Shostakovich's 15 string quartets form a deeply personal body of work. Unlike his public-facing symphonies, the quartets are introspective, often revealing his inner turmoil. The Eighth Quartet is especially poignant, widely interpreted as a self-portrait filled with coded references and bleak emotional content. In ballet, Shostakovich contributed scores such as The Golden Age and The Bolt, works that combine satire, modernist flair, and Soviet themes. These compositions often clashed with official ideology but are now appreciated for their rhythmic vitality and sharp characterizations. The Jazz suites show his playful, satirical side. They feature catchy dance rhythms and unconventional instrumentation, such as the saxophone and banjo. These works blend classical technique with popular idioms, reflecting Shostakovich's versatility and wit. Shostakovich's legacy lies in his ability to navigate artistic expression under a repressive regime, creating music that speaks both to his time and to universal human experiences. Excellent performances by Rudolf Barshai (who worked closely together with the composer), National Symphony Orchestra of Ukraine/Theodore Kuchar (both received a 10/10 rating on Classicstoday. Com), and many others.

More than forty years separate Marin Marais' Premier Livre de Pieces de Violes (1686) from the Cinquieme (1725). Despite the novelty of the basso continuo, the First Book is still the work of a composer who had inherited a tradition that developed in France during the 17th century. The Fifth, published a few years before his death, is a moving and perfect testimony to a musical language that was also in it's twilight years. The Second, Third and Fourth books reveal not only the evolution of musical forms but also the ineffable talent that ensured Marais' position as the undisputed master of his art, one that was inextricably linked to the spirit of French music of the Grand Siecle. Marin Marais' Pieces de Viole were recorded complete and first released in stages between 2014 and 2021; they are now issued as a boxed set to mark Francois Joubert-Caillet's appointment this year as professor at the Schola Cantorum Basiliensis.

Rossini's musical wit and zest for comic characterisation have enriched the operatic repertoire immeasurably, and his overtures distil these qualities into works of colourful orchestration, bravura and charm. From his most popular, such as La scala di seta (The Silken Ladder) and La gazza ladra (The Thieving Magpie), to the rarity Matilde of Shabran, the full force of Rossini's dramatic power is revealed in these masterpieces of invention. Each of the four discs in this set has received outstanding international acclaim, with Volum 2 described as "an unalloyed winner" by ClassicsToday , and the Prague Sinfonia Orchestra's playing described as "stunning" by American Record Guide (Volume 3).