Der Freischutz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflote, Der Freischutz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting.
Every man's death diminishes us all, but the death of a man so close to completing his greatest achievement and the summation of his life's work diminishes us all greatly – very, very greatly. When Emil Gilels died in 1985, he had completed recordings of most but not all of Beethoven's piano sonatas, released here in a nine-disc set. What's here is unimaginably good: superlative recordings of 27 of the 32 canonical sonatas, including the "Pathétique," "Moonlight," "Waldstein," "Appassionata," "Les Adieux," and the majestic "Hammerklavier," plus the two early "Electoral" Sonatas and the mighty Eroica Variations. What's missing is unimaginably priceless: five of the canonical sonatas, including the first and – horror vacui – the last. But still, for what there is, we must be grateful. Beyond all argument one of the great pianists of the twentieth century, Gilels the Soviet super virtuoso had slowly mellowed and ripened over his long career, and when he began recording the sonatas in 1972, his interpretations had matured and deepened while his superlative technique remained gloriously intact straight through to the last recordings of his final year.
This six-CD collection of 101 favorite tracks is the perfect introduction to the music of Ludwig van Beethoven, considered by many to be the greatest of all classical composers.
The comprehensive collection covers every aspect of this popular composer s music from the power and might of his groundbreaking Choral Symphony to the Viennese charm of his Minuets.
"Muti's Beethoven Fifth is fleet, fluid, and transparent. He shows his usual attention to details, and offers many individual touches. I especially enjoyed the horn crescendo in bar 34 of the Allegro con brio. It's not indicated in my ancient Eulenberg score but makes perfect sense in its context. …Muti achieves a clarity and rhythmic definition found only in the finest interpretations…The playing of the Philadelphia Orchestra is nothing short of spectacular. The fast string triplets from measure 132 in the final movement are not only accurate but beautifully played with full tone.
Recorded between 1964 and 1968, Paul Kletzki's respected cycle of Ludwig van Beethoven's symphonies on Supraphon rightly should be classified as a historical item for specialists, rather than as a recommended option for anyone seeking a great (and great sounding) modern set. Kletzki was an admired and popular conductor, noted for working with both European and American orchestras, and his interpretations of Beethoven are intelligent and insightful, regarded by some reviewers as among the finest of their time; the performances are still valuable for their musicality and significance among mid-20th century offerings.