Editorial Reviews - Amazon.com
Eugene Ormandy recorded the New World Symphony many times, though this recording is special in that it features the London Symphony Orchestra rather than the Philadelphia Orchestra. Maybe that accounts for the extra edge of excitement, for this is without question one of the great recordings of the piece. It's coupled with a warmly appealing performance of the Serenade for Strings, and at budget price this recording is an easy recommendation. --David Hurwitz
This performance is breath of pure Bohemian fresh air. If I may draw an analogy, it is like seeing an old master you have long admired but felt rather in awe of, stripped of its old varnish, despoiled of its centuries of dust and grime and for the first time revealed as a COMPLETELY DIFFERENT PAINTING. Sure, the nostalgia is still there but gone, miraculously, is the sentimentality. Marriner takes Dvorak back, to where I am sure he would have been very happy to go, to his country roots and this performance is an utter delight.
…The detail and clarity of the engineering, plus the spacious, airy overall spectrum of the recording (made at the famous Watford Colosseum), cements the conclusion that it is still possible to make a classic Tchaikovsky symphony recording that listeners are likely to enjoy decades in the future, just as recordings made decades ago—Wilhelm Furtwängler's (on Naxos and EMI), or Bernstein's and Mravinsky's second recordings (both on DG)—are today. Recording Of The Month.
Seiji Ozawa has been music director of the Vienna State Opera since the 2002-03 season and is an annual and favored guest of the Vienna Philharmonic Orchestra. Prior to his Vienna State Opera appointment he served as music director of the Boston Symphony Orchestra for twenty-nine seasons (1973-2002)—the longest-serving music director in the orchestra’s history…
A 50-CD set of legendary recordings celebrating the world-renowned Decca Sound. Classic-status pioneering stereo recordings from the past 60 years and starring a galaxy of internationally-acclaimed artistic talent.
Following the completion of the 4th’s subtle psychography, 11 years would pass before Pyotr Ilyich Tchaikowsky would return to the composition of a ‘purely’ symphonic work – the 5th Symphony (the composer considered his mighty Manfred Symphony dating from 1885 as his only explicitly programmatic symphony). Despite having just returned from a spectacularly received European concert tour, he commenced the project in a state of complete exhaustion, self-doubt & uncertainty. From his new country residence in Klin, he wrote in the spring of 1888: “I frequently have doubts about my own abilities & wonder if it is not time to stop, & if my creativity has not been stretched to the limit.” His comments in a letter to his benefactor, Nadeshda von Meck, in June, are similar; he fears that “the well may be dry.”