It's an intimate, home-studio recording of love songs – deep, almost painfully heartfelt – and so good it will be sure to top most best-of lists. There's no tricksiness, just the woody thump of Haden's bass adding authority to Jarrett's tender, faithful chording. "For All We Know" is a Desert Island Discs cert; "Body & Soul" is done almost jauntily; the closing "Don't Ever Leave Me" a bitter sweet miracle. If you buy only one album this year, etc. ~Phil Johnson in The Independent, 2 May 2010
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.
Best of 2007 Classical CDs ‘This thrilling performance was given in the Barbican last May when Sir Colin excelled himself in the power & nobility of his interpretation, with the LSO in terrific form, & the American soprano Christine Brewer sang with gleaming white-hot tone as Leonore. The final paean of joy at liberation is overwhelming. 1st-class recording quality.
The Beethoven quartets have always been at the cote of the Emerson Quartet's repertoire, and over the years it has honed its playing of these works to a fine degree. Here in this new set we encounter exaltation, immaculate playing and ensemble precision of awesome proportions (typically, first and second violinists often swap their roles). The Emerson is perhaps the best rehearsed quartet of our century. The playing is not only flawless technically, but reflects a careful study of the music, both formally and in the players' intense preoccupation with textual matters. The recording of this set is also spectacular.
…I already indicated the excellent qualities of the soloists especially Franziska Hirzel and Birgit Remmert who sing with that important ethereal intensity. Kofman conducts with the ideal tonic and lets the music move along quite magically. The SACD sound comes out trumps on my Sony SACD-11 player and I really have nothing but an unqualified recommendation for this beautiful set.
The Beethoven set includes the first two piano concertos (No. 1 in two versions, one with cadenzas supplied by Glenn Gould) together with Beethoven’s only completed opera in its final version: Fidelio. He always had a strong and fervent view of freedom and its resonance still rings true today nearly two hundred years since its first performance.
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.