Various works performed by various artists. EMI 50999 0 27175 2 4 (2-disc set).
The folks at EMI continue their series of compilations with this two-disc set of works by Hungarian pianist and composer Franz Liszt (1811-1886). However, you won't find any of Liszt's longer works here, no complete piano concertos or sonatas or Faust or Dante symphonies. Instead, what we get are smaller pieces, tone poems and rhapsodies, and movements from lengthier works. The set's value is twofold: For the novice collector of classical music it provides an introduction to the composer, a place to start; for the experienced collector it provides a way to sample quite a few recordings one might not have heard before and which one might want to explore further. Either way we get high-class performances from big-name artists in typically good EMI sound.
Oddly, EMI say on the cover that the set contains "over 2 hours of Romantic Masterpieces." Actually, there are over two-and-a-half hours of music on the two discs. You'd think they'd want to brag about that a little more.
I won't attempt to cover everything on the two discs since there are twenty-five separate items involved. Instead, I'll just highlight a few of the best or most-important things the discs contain. First up on disc one we get the Hungarian Rhapsody No. 2 in C minor, arranged for orchestra by Karl Muller-Berghaus and performed by Willi Boskovsky and the London Philharmonic Orchestra, recorded in 1978. Just in case the listener is somehow unfamiliar with the music, EMI provide a hint in the form of a parenthesis with the name of a famous movie that featured the music, in this case Who Framed Roger Rabbit? Remember the dueling pianos? People may forever remember Boskovsky for his recordings of Johann Strauss, but he was also one of the best conductors in the orchestral arrangements of the Rhapsodies, so I found his interpretation most welcome, an exhilarating way to open the show in excellent, dynamic sound.
Speaking of piano solos, as Liszt was, after all, a pianist and wrote much of his material for himself as soloist. Accordingly, we find here La campanella with Cecile Ousset, piano, from 1985. It's lovely, if a tad distant in sound. Un sospiro with Francois-Rene Duchable, from 1996, is longing and wistful. The Transcendental Etudes No. 5, Feux follets, with Dimitris Sgouros (1985) and No. 4, Mazeppa, with Vladimir Ovchinikov (1989) also sound good; as do about ten minutes from the Piano Sonata in B minor with Cecile Ousset again (1985).
Needless to say, there are a few shorter orchestral works here as well, like Les Preludes played by Riccardo Muti and the Philadelphia Orchestra, from 1983, that closes disc one. Oddly, with movie names everywhere in the booklet, EMI make no mention of Les Preludes featuring prominently in the old Flash Gordon serials with Buster Crabbe. Anyway, Muti whips up a storm, although the sound is a bit softer than I'd like.
Disc two begins with the opening movement of the Piano Concerto No. 1 and later we get the closing movements of the Piano Concerto No. 2 with Michel Beroff, piano, and Kurt Masur and the Gewandhaus Orchestra from 1980. They are very big and very grand, with a clean, clear, if slightly up-close piano sound and excellent accompaniment from the one of the oldest ensembles in the world. The same team also do the Mephisto Waltz No. 1, recorded in 1981, and the Totentanz or "Dance Macabre," recorded in 1980. The latter is among the best interpretations you'll find anywhere, the Dies Irae variations downright scary.
On disc two you'll also find the Hungarian Rhapsody No. 6 with Andrea Lucchesini, piano, recorded in 1984, and the Hungarian Rhapsody No. 15 with Georges Sziffra, piano, recorded in 1968, Sziffra's rendition one of the best available.
In all, the performances do justice to the music, although in many cases I would have personal favorites beyond the ones included here. You can reference my "Basic Classical Collection on Compact Disc" for further recommendations. Still, you could not really ask for better versions than these in interpretation or sound.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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