GREAT VALUE - SUPER SET, 10 Dec 2008
I am realy pleased with this boxed set. The quality of the sound on most of the CD's is quite amazing.You need have no worries about buying this set and will discover much of Stravinsky's music which you might not know.
Happy listening. Dave.

A tremendous set...., 10 Jun 2008
the master himself-why SONY/BMG dont do this with other artists is curious;
but the playing is excellent as well as the sound, for the dates of recording-and Im
exposed to pieces ive never heard, or even heard of before.
Who knew IS stuck his big toe in to the water of Jazz...?
The shoddy booklet is a real shame, but I cannot complain,
its a box set that doesnt require a fork lift to bring into the house-
and I spent EXACTLY $26.00 USD for it at TOWER Mail Order
true value for money.


Five Stars, with only a little disappointment..., 18 Jan 2008
I obviously agree with the enthusiasm shown by the preceding reviewers. Well beyond the bargain, this is a real cornerstone of the recording history. Many years have passed since the useless discussions in the Sixties about Stravinsky skills as a conductor, and with the grace of time we can honour now a neat, logical, unemphatic rendition of his masterworks.
However... (there is always a however), whilst the lack of the spoken and sung texts may be easily filled up with web services, Sony have not grabbed the opportunity of this compact re-edition of the 1991 Recorded Legacy megabox to heal an annoying flaw with respect to the original 1982 Centenary Edition in 31 LPs: the cancellation of ten works, which well depicted the artistic flavour of the Stravinsky years. One of the reviewers spoke of the discovery of a great pianist, Charles Rosen; well, many of the cancelled works gave exactly this type of information and feeling.
If someone is interested in knowing the details, the omitted works are: Pastorale for voice and piano (Tourel/Rogers); Tango for two pianos and Concerto for two pianos (Vronsky and Babin, the concerto however being substituted by a very old EMI recording by the Stravinskys); Serenade for piano (Rosen, also substituted by another old EMI recording by Stravinsky); Three Easy Pieces and Five Easy Pieces for four-hands piano (Gold and Fizdale); finally, and above all, the Pastorale for violin and wind quartet (Szigeti with Stravinsky and an unspecified wind quartet), the arrangement of The Star-spangled Banner (Stravinsky), the short Fanfare for a new Theatre (Heinrich and Nagel), and the Chanson Russe for violin and piano (Szigeti and Stravinsky).
Five stars, no doubt, also taking into account this imperfection. By the way, the Fanfare, the Star-spangled Banner, and the Chanson Russe are contained in another Sony box, the well known Original Jacket Collection - Stravinsky conducts Stravinsky (SX9K 64136).


What a magnificent collection !, 27 Oct 2007
I have always regarded Stravinsky as one of the most outstanding composers I have ever listened to but had not, until now, quite realised what a stunning variety of music he had written during his lifetime.
Sony have always been a reliable name to count on for top quality products and this box set has not failed to delight.
I only wish some of the other recording companies could produce similar high quality box sets at such bargain prices.
Congratulations to Sony and if the maestro is listening upstairs - bravo !!

Discs 3, 12, 13 and 20 ..., 20 Oct 2007
This extraordinary gathering of the main body of Stravinsky's works, substantially conducted by the composer, is an obvious eye-catcher, especially at the very appealing pricing. It is indeed wonderful, but inevitably there are some drawbacks. Few listeners will want to sit down to listen to 22 CD's of one composer's output in a row; most listeners will find their ears wearying somewhat at the very dated sound quality - the majority of the recordings are from the 1960's, and although many come up surprisingly well, the sound is often plummy and sometimes worse. Crucially, the harsh truth is that the majority of the conducting took place when Stravinsky was in his eighties. We love the feel of the authenticity, but I am sure I will not be the only listener who pines for greater energetic impact.

The four CD's I have sampled so far are the 3rd (of 7 discs devoted to Ballet music), the 12th and 13th (the two "chamber and historic" CD's) and the 20th (first of two on "sacred works").

From the 3rd, Les Noces is sung in some kind of English translation. If you are used to this in Russian, the words are sure to sound perverse at times. But the four pianists are an amazing line-up - Barber, Copland, Foss and Sessions, and the singing is pleasantly clean-voiced in a piece that glistens with some of Stravinsky's finest ensemble writing. Less successful is Renard the Fox, a piece of entirely different cultural positioning which nonetheless is made to sound bizarrely similar to Les Noces. The disc closes with a rendering of The Soldier's Tale whose cheerfulness comes across despite the limited qualities of the sound.

Discs 12 and 13 give a different slant, with the composer himself at the keyboard (recordings from 1934, 1938 and, with Szigeti in the Duo Concertant, 1945). The sound from 1934 (the Serenade in A) is really too poor to make much of, but the 1938 take of the Concerto for Two Solo Pianos (Igor and son Soulima Stravinsky) has an undeniable sense of father and son enjoying themselves without stretching too hard to get all the notes exactly right. Szigeti sounds happy enough to be with the great composer to be too worried about his accompanist's fingers. The solo piano works only really come to life as true interpretative performances when Charles Rosen steps up to do the Sonata, which as you would expect is done with huge refinement and intelligence.

The bigger chamber works are also a mixed bag. Best for me was the Symphonies of Wind Instruments, where the playing is full of sympathy and I found myself forgetting the 1951 sound quality. Some of the other light pieces left me with eyebrows raised as to why the great man troubled to write down some of the limp ideas - the Tango for example is surely too lugubrious even to be taken as ironic.

The Sacred music disc however includes some fine things. The Mass is probably best of these - the performance had me wondering anew at Stravinsky's intriguing choice of double wind quintet to accompany the choral writing. I have long loved the Cantata, but there are few surprises here (apart from "Right Mighty Elizabeth" being tossed away like a scrumpled sweetwrapper) and most afficionados of this fine work will want something much better recorded for regular listening or study. Lastly I really wonder why the Bach "Chorale Variations" arrangement was included at all - the choir sound almost as though they are sight-singing and the work is of very limited interest in relation to Stravinsky's wider achievements.

But I am not cavilling overall - just cautioning listeners that this fantastic offer is not all fresh caviare. I am listening on with enthusiasm !

GREAT VALUE - SUPER SET, 10 Dec 2008
I am realy pleased with this boxed set. The quality of the sound on most of the CD's is quite amazing.You need have no worries about buying this set and will discover much of Stravinsky's music which you might not know.
Happy listening. Dave.

A tremendous set...., 10 Jun 2008
the master himself-why SONY/BMG dont do this with other artists is curious;
but the playing is excellent as well as the sound, for the dates of recording-and Im
exposed to pieces ive never heard, or even heard of before.
Who knew IS stuck his big toe in to the water of Jazz...?
The shoddy booklet is a real shame, but I cannot complain,
its a box set that doesnt require a fork lift to bring into the house-
and I spent EXACTLY $26.00 USD for it at TOWER Mail Order
true value for money.


Five Stars, with only a little disappointment..., 18 Jan 2008
I obviously agree with the enthusiasm shown by the preceding reviewers. Well beyond the bargain, this is a real cornerstone of the recording history. Many years have passed since the useless discussions in the Sixties about Stravinsky skills as a conductor, and with the grace of time we can honour now a neat, logical, unemphatic rendition of his masterworks.
However... (there is always a however), whilst the lack of the spoken and sung texts may be easily filled up with web services, Sony have not grabbed the opportunity of this compact re-edition of the 1991 Recorded Legacy megabox to heal an annoying flaw with respect to the original 1982 Centenary Edition in 31 LPs: the cancellation of ten works, which well depicted the artistic flavour of the Stravinsky years. One of the reviewers spoke of the discovery of a great pianist, Charles Rosen; well, many of the cancelled works gave exactly this type of information and feeling.
If someone is interested in knowing the details, the omitted works are: Pastorale for voice and piano (Tourel/Rogers); Tango for two pianos and Concerto for two pianos (Vronsky and Babin, the concerto however being substituted by a very old EMI recording by the Stravinskys); Serenade for piano (Rosen, also substituted by another old EMI recording by Stravinsky); Three Easy Pieces and Five Easy Pieces for four-hands piano (Gold and Fizdale); finally, and above all, the Pastorale for violin and wind quartet (Szigeti with Stravinsky and an unspecified wind quartet), the arrangement of The Star-spangled Banner (Stravinsky), the short Fanfare for a new Theatre (Heinrich and Nagel), and the Chanson Russe for violin and piano (Szigeti and Stravinsky).
Five stars, no doubt, also taking into account this imperfection. By the way, the Fanfare, the Star-spangled Banner, and the Chanson Russe are contained in another Sony box, the well known Original Jacket Collection - Stravinsky conducts Stravinsky (SX9K 64136).


What a magnificent collection !, 27 Oct 2007
I have always regarded Stravinsky as one of the most outstanding composers I have ever listened to but had not, until now, quite realised what a stunning variety of music he had written during his lifetime.
Sony have always been a reliable name to count on for top quality products and this box set has not failed to delight.
I only wish some of the other recording companies could produce similar high quality box sets at such bargain prices.
Congratulations to Sony and if the maestro is listening upstairs - bravo !!

Discs 3, 12, 13 and 20 ..., 20 Oct 2007
This extraordinary gathering of the main body of Stravinsky's works, substantially conducted by the composer, is an obvious eye-catcher, especially at the very appealing pricing. It is indeed wonderful, but inevitably there are some drawbacks. Few listeners will want to sit down to listen to 22 CD's of one composer's output in a row; most listeners will find their ears wearying somewhat at the very dated sound quality - the majority of the recordings are from the 1960's, and although many come up surprisingly well, the sound is often plummy and sometimes worse. Crucially, the harsh truth is that the majority of the conducting took place when Stravinsky was in his eighties. We love the feel of the authenticity, but I am sure I will not be the only listener who pines for greater energetic impact.

The four CD's I have sampled so far are the 3rd (of 7 discs devoted to Ballet music), the 12th and 13th (the two "chamber and historic" CD's) and the 20th (first of two on "sacred works").

From the 3rd, Les Noces is sung in some kind of English translation. If you are used to this in Russian, the words are sure to sound perverse at times. But the four pianists are an amazing line-up - Barber, Copland, Foss and Sessions, and the singing is pleasantly clean-voiced in a piece that glistens with some of Stravinsky's finest ensemble writing. Less successful is Renard the Fox, a piece of entirely different cultural positioning which nonetheless is made to sound bizarrely similar to Les Noces. The disc closes with a rendering of The Soldier's Tale whose cheerfulness comes across despite the limited qualities of the sound.

Discs 12 and 13 give a different slant, with the composer himself at the keyboard (recordings from 1934, 1938 and, with Szigeti in the Duo Concertant, 1945). The sound from 1934 (the Serenade in A) is really too poor to make much of, but the 1938 take of the Concerto for Two Solo Pianos (Igor and son Soulima Stravinsky) has an undeniable sense of father and son enjoying themselves without stretching too hard to get all the notes exactly right. Szigeti sounds happy enough to be with the great composer to be too worried about his accompanist's fingers. The solo piano works only really come to life as true interpretative performances when Charles Rosen steps up to do the Sonata, which as you would expect is done with huge refinement and intelligence.

The bigger chamber works are also a mixed bag. Best for me was the Symphonies of Wind Instruments, where the playing is full of sympathy and I found myself forgetting the 1951 sound quality. Some of the other light pieces left me with eyebrows raised as to why the great man troubled to write down some of the limp ideas - the Tango for example is surely too lugubrious even to be taken as ironic.

The Sacred music disc however includes some fine things. The Mass is probably best of these - the performance had me wondering anew at Stravinsky's intriguing choice of double wind quintet to accompany the choral writing. I have long loved the Cantata, but there are few surprises here (apart from "Right Mighty Elizabeth" being tossed away like a scrumpled sweetwrapper) and most afficionados of this fine work will want something much better recorded for regular listening or study. Lastly I really wonder why the Bach "Chorale Variations" arrangement was included at all - the choir sound almost as though they are sight-singing and the work is of very limited interest in relation to Stravinsky's wider achievements.

But I am not cavilling overall - just cautioning listeners that this fantastic offer is not all fresh caviare. I am listening on with enthusiasm !

THESHOLD OF PARADISE, 03 Sep 2008
Allegri's Miserere is given the top billing on this disc, perhaps because of some celebrated special effects, explained in the liner notes, that it contains. The first track is devoted to a sombre and beautiful Crucifixus (from the Nicene Creed) by one Lotti, an older contemporary of Bach. Admirable and compelling, both of these, but what I bought this disc for was the two items by Palestrina, his Stabat Mater and the celestial Missa Papae Marcelli.

It is not just the quality of the early music specialists these days but the sheer profusion of them that continues to astonish me. I looked through the list of singers (18, not 16) and while I did not recognise most of the names offhand that may simply be because I did not investigate my large record collection, and I certainly did spot the name of a certain Mark Padmore among the tenors. The top parts are taken by sopranos, not trebles, all the altos are male, and the four soloists in the Allegri are also members of the choir.

To me, the 16th century polyphonists are not some recondite category of music that I have come to know in a spirit of antiquarianism. My early education made me familiar with Palestrina, Victoria and others of the period before I knew Bach Beethoven and Brahms, and that surely has to be the right sequence simply because it is the chronological and historical sequence. I have no mental reconfiguring to do before I listen to Palestrina because I have long known, and indeed sung in, the two works here. If they need `selling' to anyone, the best I can do is to state baldly that these performances are magnificent and the music itself is sublime beyond sublimity. This performance of the Mass in particular even ousts my treasured account from Willcocks in being at least as well sung and benefiting from more modern recording. Everything here is `quality'. To compliment a choir on its infallible intonation is not like congratulating an author on his spelling, it is a higher sort of achievement and one that cannot be taken for granted even nowadays and even from the most distinguished performers. Here it is utterly beyond question, and I was overawed by the breath-control that these vocalists, to a man and a woman, exhibited in the long final notes of the various pieces. All this is at the service of a musical sense that is instinct with belief and commitment as well as being stylistically impeccable. Nothing is exaggerated, but I sense a fervour in this singing that would not be out of place in the most `expressive' later music. The recording is just about ideal too, clear without either dryness or excessive resonance, reproducing with fidelity the superb vocal tone.

Nothing Allegri can do matches the heavenly serenity of the Missa Papae Marcelli, but the performance, as you might expect, is to the same standard, and so is that of Lotti's very fine Crucifixus. Harry Christophers contributes a short preface, and the main liner note, by Ivan Moody, provides some informative background. It may be that a little comment of my own on the texts respectively of the Stabat Mater and the Miserere will be helpful, because these are not the brightest jewels of the production.

The text of the Stabat Mater that Palestrina used is not the one I am most familiar with, the text set by Verdi for one. Details of the divergences need not concern us now, but for the odd fact that in two instances the Sixteen sing the other version and not what you will find printed here. I shall point these out at the places where they occur, in the course of correcting misprints in the Latin

. `Contristantem': read `contristatam'
. `Per tansivit': read `pertransivit'
. `Quis Christi': delete `Quis'
. `Me sentire vim doloris,': the comma should either be removed or come after `fac' in the next line
. `Fac me vere tecum flere': the other version `Fac me tecum pie flere' meaning `Make me weep devoutly with you' is what is sung
. `con dolore': read `condolere'
. `Ob amorem Filii': the other version `Et cruore Filii' meaning `And with the blood of your Son' is what is sung
. `custodire': read `custodiri'

There are a few misprints in the Latin of the Miserere as well, and more seriously there is a fair little sprinkling of mistranslations in the English. I shall mention only the outright errors and not those cases where the translation allows itself some latitude

. `miserationem': read `miserationum'
. `Ecce enim...manifestasti mihi': the translation is completely wrong. Read `For lo, thou hast loved truth: thou hast revealed to me those things in thy wisdom that are uncertain and hidden.'
. `mudabor': read `mundabor'
. `the bones which thou hast broken': read `my bones that were cast down'
. `invisceribus': read `in visceribus'
. `proiecias': read `proicias'
. `free spirit': read `lordly spirit'
. `sanquinibus': read `sanguinibus'
. `dedessem': read `dedissem'
. `build thou the walls of Jerusalem': read `so that the walls of Jerusalem may be built'
. `imponenet': read `imponent'

It is worth understanding what we are listening to, especially when what we are listening to is as transcendentally good as we find it here.

Sublime!, 26 Jun 2008
What more praise can be added to that of the previous two reviews? They have said it all! If I could I would give it much more than 5 stars! This is one of my all-time favourite CDs - this particular interpretation of Allegri's "Miserere", for me, is simply the best! I cannot find words to describe its effect on me - it is truly inspiring, sublime and uplifting! The Sixteen are extremely accomplished artists who bring great musicality and depth to all of their performances - they will never disappoint!

A Touch of Heaven, 12 Nov 2007
If there is one classical vocal album you need to have in your collection, this is it. It is sublime and will make the hairs stand up on the back of your neck. You've heard of classical chill - this is the real deal. This is a magnificent collection and the Miserere in particular is something really special. The Sixteen are a wonderfully talented group of people and they can be justly proud of their achievement with this recording. I cannot recommend this CD highly enough - it is simply magnificent.

Best version since 1963 Kings College, Cambridge edition , 26 Sep 2006
This is the greatest version of the Misere since The King`s College Version in 1963 by Willcocks. The high notes here not by the boys choirs and not in English but in Latin soar to such heights they are goosebump inducing. This entire recording is authentic, and quality and beautiful from start to finish. You go straight in from the first notes and it builds wonderfully and is consistent throughout. Harry Christophers seems to have a natural feel for this kind of music. I have also been very impressed with his Byrd.
This disc is a real pleasure. It is sung with care and control and yet invisably flawless in the fautlines with a sense of the beauty of the artistic or religious vision. The quality of the Sixteen here is suberb. One of their best ever recordings.

I could not believe this had no reviews so thought I would just help people along to make an informed choice here being the first reviewer.I would be interested to hear what others think. I have quite a number of Palestrina cds and other contemporary polyphonic composers and this is one of my most treasured recordings...It has a real grace to it and flow and clarity to the voices . And it is all the better to be sung in Latin musically than some of the English translations. It makes it more abstract and pure a musical experience for me. My Latin is far too rusty to make out much at all. The voices do overlap well and are very well timed. I cannot make out a single flaw in the timing but I am sure they may be some. The entire recording hangs well from start to finish like a great work of art should. This cd is also very well balanced and flows as it ought like an entire experience. I have bought a few of the cheaper Palestrina cds but I was glad to pay the extra for this cd. It really is that beautiful. It sounds authentic as as I imagine the age to sing..It has a sincerity about it if that is at all possible. It seems sung out of enjoyment and love out of a genuine passion and love for beauty, art and/or God...It is evident alot of thought has gone into the arranging and the choir really know their conductor and their notes, really quite a treasure this. One of the greatest Palestrina cds I know of. An ideal straight there to the Renaissance experience. Not sure who I am writing this review too actually.... But whatever your level of understanding of polyphonic music. This really is a beautiful disc. And it becomes more beautiful...as it goes on..with the modulating changes and soaring notes of the Misere. I am yet to know of another recording of the Misere that has such high sustained ear piercing high notes or such extended beauty. For this alone the cd is a masterpiece but the entire recording is very pure. Out of all the recordings I know of this I can imagine was sung in the Vatican in the 16th under Palestrina `s watchful eyes and ears. Track 3 is astounding...It really goes right through me with the high notes. Beautiful. Highly recommened version or a great piece of music. The sound quality of the recording is also excellent. Being the latest version of this recording of any note it is of a very high quality. I was very impressed with when I first heard this cd and it never fails to uplift and inspire me every time I play it. Which is my and most peoples acid test for quality. This cd should be out in the library a long time. Very hard to beat this version. And in my view the best one. An absolutely perfect start to Palestrina if you do not know him already. The condusting is precision but with a creative flow to it. The singers obviously know every note and have worked on every part of this as a thought out work of art. A very faithful rendition. No wonder the first Pope on hearing this music was so impressed. I would be. I quite think the singers and the conductor had this in mind when they recorded this. Beauty is upper most and grace. It also sounds good low and loud. It never fails to move. A very emotional and beautifully sung Palestrina version. Highly recommended.

GREAT VALUE - SUPER SET, 10 Dec 2008
I am realy pleased with this boxed set. The quality of the sound on most of the CD's is quite amazing.You need have no worries about buying this set and will discover much of Stravinsky's music which you might not know.
Happy listening. Dave.

A tremendous set...., 10 Jun 2008
the master himself-why SONY/BMG dont do this with other artists is curious;
but the playing is excellent as well as the sound, for the dates of recording-and Im
exposed to pieces ive never heard, or even heard of before.
Who knew IS stuck his big toe in to the water of Jazz...?
The shoddy booklet is a real shame, but I cannot complain,
its a box set that doesnt require a fork lift to bring into the house-
and I spent EXACTLY $26.00 USD for it at TOWER Mail Order
true value for money.


Five Stars, with only a little disappointment..., 18 Jan 2008
I obviously agree with the enthusiasm shown by the preceding reviewers. Well beyond the bargain, this is a real cornerstone of the recording history. Many years have passed since the useless discussions in the Sixties about Stravinsky skills as a conductor, and with the grace of time we can honour now a neat, logical, unemphatic rendition of his masterworks.
However... (there is always a however), whilst the lack of the spoken and sung texts may be easily filled up with web services, Sony have not grabbed the opportunity of this compact re-edition of the 1991 Recorded Legacy megabox to heal an annoying flaw with respect to the original 1982 Centenary Edition in 31 LPs: the cancellation of ten works, which well depicted the artistic flavour of the Stravinsky years. One of the reviewers spoke of the discovery of a great pianist, Charles Rosen; well, many of the cancelled works gave exactly this type of information and feeling.
If someone is interested in knowing the details, the omitted works are: Pastorale for voice and piano (Tourel/Rogers); Tango for two pianos and Concerto for two pianos (Vronsky and Babin, the concerto however being substituted by a very old EMI recording by the Stravinskys); Serenade for piano (Rosen, also substituted by another old EMI recording by Stravinsky); Three Easy Pieces and Five Easy Pieces for four-hands piano (Gold and Fizdale); finally, and above all, the Pastorale for violin and wind quartet (Szigeti with Stravinsky and an unspecified wind quartet), the arrangement of The Star-spangled Banner (Stravinsky), the short Fanfare for a new Theatre (Heinrich and Nagel), and the Chanson Russe for violin and piano (Szigeti and Stravinsky).
Five stars, no doubt, also taking into account this imperfection. By the way, the Fanfare, the Star-spangled Banner, and the Chanson Russe are contained in another Sony box, the well known Original Jacket Collection - Stravinsky conducts Stravinsky (SX9K 64136).


What a magnificent collection !, 27 Oct 2007
I have always regarded Stravinsky as one of the most outstanding composers I have ever listened to but had not, until now, quite realised what a stunning variety of music he had written during his lifetime.
Sony have always been a reliable name to count on for top quality products and this box set has not failed to delight.
I only wish some of the other recording companies could produce similar high quality box sets at such bargain prices.
Congratulations to Sony and if the maestro is listening upstairs - bravo !!

Discs 3, 12, 13 and 20 ..., 20 Oct 2007
This extraordinary gathering of the main body of Stravinsky's works, substantially conducted by the composer, is an obvious eye-catcher, especially at the very appealing pricing. It is indeed wonderful, but inevitably there are some drawbacks. Few listeners will want to sit down to listen to 22 CD's of one composer's output in a row; most listeners will find their ears wearying somewhat at the very dated sound quality - the majority of the recordings are from the 1960's, and although many come up surprisingly well, the sound is often plummy and sometimes worse. Crucially, the harsh truth is that the majority of the conducting took place when Stravinsky was in his eighties. We love the feel of the authenticity, but I am sure I will not be the only listener who pines for greater energetic impact.

The four CD's I have sampled so far are the 3rd (of 7 discs devoted to Ballet music), the 12th and 13th (the two "chamber and historic" CD's) and the 20th (first of two on "sacred works").

From the 3rd, Les Noces is sung in some kind of English translation. If you are used to this in Russian, the words are sure to sound perverse at times. But the four pianists are an amazing line-up - Barber, Copland, Foss and Sessions, and the singing is pleasantly clean-voiced in a piece that glistens with some of Stravinsky's finest ensemble writing. Less successful is Renard the Fox, a piece of entirely different cultural positioning which nonetheless is made to sound bizarrely similar to Les Noces. The disc closes with a rendering of The Soldier's Tale whose cheerfulness comes across despite the limited qualities of the sound.

Discs 12 and 13 give a different slant, with the composer himself at the keyboard (recordings from 1934, 1938 and, with Szigeti in the Duo Concertant, 1945). The sound from 1934 (the Serenade in A) is really too poor to make much of, but the 1938 take of the Concerto for Two Solo Pianos (Igor and son Soulima Stravinsky) has an undeniable sense of father and son enjoying themselves without stretching too hard to get all the notes exactly right. Szigeti sounds happy enough to be with the great composer to be too worried about his accompanist's fingers. The solo piano works only really come to life as true interpretative performances when Charles Rosen steps up to do the Sonata, which as you would expect is done with huge refinement and intelligence.

The bigger chamber works are also a mixed bag. Best for me was the Symphonies of Wind Instruments, where the playing is full of sympathy and I found myself forgetting the 1951 sound quality. Some of the other light pieces left me with eyebrows raised as to why the great man troubled to write down some of the limp ideas - the Tango for example is surely too lugubrious even to be taken as ironic.

The Sacred music disc however includes some fine things. The Mass is probably best of these - the performance had me wondering anew at Stravinsky's intriguing choice of double wind quintet to accompany the choral writing. I have long loved the Cantata, but there are few surprises here (apart from "Right Mighty Elizabeth" being tossed away like a scrumpled sweetwrapper) and most afficionados of this fine work will want something much better recorded for regular listening or study. Lastly I really wonder why the Bach "Chorale Variations" arrangement was included at all - the choir sound almost as though they are sight-singing and the work is of very limited interest in relation to Stravinsky's wider achievements.

But I am not cavilling overall - just cautioning listeners that this fantastic offer is not all fresh caviare. I am listening on with enthusiasm !

THESHOLD OF PARADISE, 03 Sep 2008
Allegri's Miserere is given the top billing on this disc, perhaps because of some celebrated special effects, explained in the liner notes, that it contains. The first track is devoted to a sombre and beautiful Crucifixus (from the Nicene Creed) by one Lotti, an older contemporary of Bach. Admirable and compelling, both of these, but what I bought this disc for was the two items by Palestrina, his Stabat Mater and the celestial Missa Papae Marcelli.

It is not just the quality of the early music specialists these days but the sheer profusion of them that continues to astonish me. I looked through the list of singers (18, not 16) and while I did not recognise most of the names offhand that may simply be because I did not investigate my large record collection, and I certainly did spot the name of a certain Mark Padmore among the tenors. The top parts are taken by sopranos, not trebles, all the altos are male, and the four soloists in the Allegri are also members of the choir.

To me, the 16th century polyphonists are not some recondite category of music that I have come to know in a spirit of antiquarianism. My early education made me familiar with Palestrina, Victoria and others of the period before I knew Bach Beethoven and Brahms, and that surely has to be the right sequence simply because it is the chronological and historical sequence. I have no mental reconfiguring to do before I listen to Palestrina because I have long known, and indeed sung in, the two works here. If they need `selling' to anyone, the best I can do is to state baldly that these performances are magnificent and the music itself is sublime beyond sublimity. This performance of the Mass in particular even ousts my treasured account from Willcocks in being at least as well sung and benefiting from more modern recording. Everything here is `quality'. To compliment a choir on its infallible intonation is not like congratulating an author on his spelling, it is a higher sort of achievement and one that cannot be taken for granted even nowadays and even from the most distinguished performers. Here it is utterly beyond question, and I was overawed by the breath-control that these vocalists, to a man and a woman, exhibited in the long final notes of the various pieces. All this is at the service of a musical sense that is instinct with belief and commitment as well as being stylistically impeccable. Nothing is exaggerated, but I sense a fervour in this singing that would not be out of place in the most `expressive' later music. The recording is just about ideal too, clear without either dryness or excessive resonance, reproducing with fidelity the superb vocal tone.

Nothing Allegri can do matches the heavenly serenity of the Missa Papae Marcelli, but the performance, as you might expect, is to the same standard, and so is that of Lotti's very fine Crucifixus. Harry Christophers contributes a short preface, and the main liner note, by Ivan Moody, provides some informative background. It may be that a little comment of my own on the texts respectively of the Stabat Mater and the Miserere will be helpful, because these are not the brightest jewels of the production.

The text of the Stabat Mater that Palestrina used is not the one I am most familiar with, the text set by Verdi for one. Details of the divergences need not concern us now, but for the odd fact that in two instances the Sixteen sing the other version and not what you will find printed here. I shall point these out at the places where they occur, in the course of correcting misprints in the Latin

. `Contristantem': read `contristatam'
. `Per tansivit': read `pertransivit'
. `Quis Christi': delete `Quis'
. `Me sentire vim doloris,': the comma should either be removed or come after `fac' in the next line
. `Fac me vere tecum flere': the other version `Fac me tecum pie flere' meaning `Make me weep devoutly with you' is what is sung
. `con dolore': read `condolere'
. `Ob amorem Filii': the other version `Et cruore Filii' meaning `And with the blood of your Son' is what is sung
. `custodire': read `custodiri'

There are a few misprints in the Latin of the Miserere as well, and more seriously there is a fair little sprinkling of mistranslations in the English. I shall mention only the outright errors and not those cases where the translation allows itself some latitude

. `miserationem': read `miserationum'
. `Ecce enim...manifestasti mihi': the translation is completely wrong. Read `For lo, thou hast loved truth: thou hast revealed to me those things in thy wisdom that are uncertain and hidden.'
. `mudabor': read `mundabor'
. `the bones which thou hast broken': read `my bones that were cast down'
. `invisceribus': read `in visceribus'
. `proiecias': read `proicias'
. `free spirit': read `lordly spirit'
. `sanquinibus': read `sanguinibus'
. `dedessem': read `dedissem'
. `build thou the walls of Jerusalem': read `so that the walls of Jerusalem may be built'
. `imponenet': read `imponent'

It is worth understanding what we are listening to, especially when what we are listening to is as transcendentally good as we find it here.

Sublime!, 26 Jun 2008
What more praise can be added to that of the previous two reviews? They have said it all! If I could I would give it much more than 5 stars! This is one of my all-time favourite CDs - this particular interpretation of Allegri's "Miserere", for me, is simply the best! I cannot find words to describe its effect on me - it is truly inspiring, sublime and uplifting! The Sixteen are extremely accomplished artists who bring great musicality and depth to all of their performances - they will never disappoint!

A Touch of Heaven, 12 Nov 2007
If there is one classical vocal album you need to have in your collection, this is it. It is sublime and will make the hairs stand up on the back of your neck. You've heard of classical chill - this is the real deal. This is a magnificent collection and the Miserere in particular is something really special. The Sixteen are a wonderfully talented group of people and they can be justly proud of their achievement with this recording. I cannot recommend this CD highly enough - it is simply magnificent.

Best version since 1963 Kings College, Cambridge edition , 26 Sep 2006
This is the greatest version of the Misere since The King`s College Version in 1963 by Willcocks. The high notes here not by the boys choirs and not in English but in Latin soar to such heights they are goosebump inducing. This entire recording is authentic, and quality and beautiful from start to finish. You go straight in from the first notes and it builds wonderfully and is consistent throughout. Harry Christophers seems to have a natural feel for this kind of music. I have also been very impressed with his Byrd.
This disc is a real pleasure. It is sung with care and control and yet invisably flawless in the fautlines with a sense of the beauty of the artistic or religious vision. The quality of the Sixteen here is suberb. One of their best ever recordings.

I could not believe this had no reviews so thought I would just help people along to make an informed choice here being the first reviewer.I would be interested to hear what others think. I have quite a number of Palestrina cds and other contemporary polyphonic composers and this is one of my most treasured recordings...It has a real grace to it and flow and clarity to the voices . And it is all the better to be sung in Latin musically than some of the English translations. It makes it more abstract and pure a musical experience for me. My Latin is far too rusty to make out much at all. The voices do overlap well and are very well timed. I cannot make out a single flaw in the timing but I am sure they may be some. The entire recording hangs well from start to finish like a great work of art should. This cd is also very well balanced and flows as it ought like an entire experience. I have bought a few of the cheaper Palestrina cds but I was glad to pay the extra for this cd. It really is that beautiful. It sounds authentic as as I imagine the age to sing..It has a sincerity about it if that is at all possible. It seems sung out of enjoyment and love out of a genuine passion and love for beauty, art and/or God...It is evident alot of thought has gone into the arranging and the choir really know their conductor and their notes, really quite a treasure this. One of the greatest Palestrina cds I know of. An ideal straight there to the Renaissance experience. Not sure who I am writing this review too actually.... But whatever your level of understanding of polyphonic music. This really is a beautiful disc. And it becomes more beautiful...as it goes on..with the modulating changes and soaring notes of the Misere. I am yet to know of another recording of the Misere that has such high sustained ear piercing high notes or such extended beauty. For this alone the cd is a masterpiece but the entire recording is very pure. Out of all the recordings I know of this I can imagine was sung in the Vatican in the 16th under Palestrina `s watchful eyes and ears. Track 3 is astounding...It really goes right through me with the high notes. Beautiful. Highly recommened version or a great piece of music. The sound quality of the recording is also excellent. Being the latest version of this recording of any note it is of a very high quality. I was very impressed with when I first heard this cd and it never fails to uplift and inspire me every time I play it. Which is my and most peoples acid test for quality. This cd should be out in the library a long time. Very hard to beat this version. And in my view the best one. An absolutely perfect start to Palestrina if you do not know him already. The condusting is precision but with a creative flow to it. The singers obviously know every note and have worked on every part of this as a thought out work of art. A very faithful rendition. No wonder the first Pope on hearing this music was so impressed. I would be. I quite think the singers and the conductor had this in mind when they recorded this. Beauty is upper most and grace. It also sounds good low and loud. It never fails to move. A very emotional and beautifully sung Palestrina version. Highly recommended.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

GREAT VALUE - SUPER SET, 10 Dec 2008
I am realy pleased with this boxed set. The quality of the sound on most of the CD's is quite amazing.You need have no worries about buying this set and will discover much of Stravinsky's music which you might not know.
Happy listening. Dave.

A tremendous set...., 10 Jun 2008
the master himself-why SONY/BMG dont do this with other artists is curious;
but the playing is excellent as well as the sound, for the dates of recording-and Im
exposed to pieces ive never heard, or even heard of before.
Who knew IS stuck his big toe in to the water of Jazz...?
The shoddy booklet is a real shame, but I cannot complain,
its a box set that doesnt require a fork lift to bring into the house-
and I spent EXACTLY $26.00 USD for it at TOWER Mail Order
true value for money.


Five Stars, with only a little disappointment..., 18 Jan 2008
I obviously agree with the enthusiasm shown by the preceding reviewers. Well beyond the bargain, this is a real cornerstone of the recording history. Many years have passed since the useless discussions in the Sixties about Stravinsky skills as a conductor, and with the grace of time we can honour now a neat, logical, unemphatic rendition of his masterworks.
However... (there is always a however), whilst the lack of the spoken and sung texts may be easily filled up with web services, Sony have not grabbed the opportunity of this compact re-edition of the 1991 Recorded Legacy megabox to heal an annoying flaw with respect to the original 1982 Centenary Edition in 31 LPs: the cancellation of ten works, which well depicted the artistic flavour of the Stravinsky years. One of the reviewers spoke of the discovery of a great pianist, Charles Rosen; well, many of the cancelled works gave exactly this type of information and feeling.
If someone is interested in knowing the details, the omitted works are: Pastorale for voice and piano (Tourel/Rogers); Tango for two pianos and Concerto for two pianos (Vronsky and Babin, the concerto however being substituted by a very old EMI recording by the Stravinskys); Serenade for piano (Rosen, also substituted by another old EMI recording by Stravinsky); Three Easy Pieces and Five Easy Pieces for four-hands piano (Gold and Fizdale); finally, and above all, the Pastorale for violin and wind quartet (Szigeti with Stravinsky and an unspecified wind quartet), the arrangement of The Star-spangled Banner (Stravinsky), the short Fanfare for a new Theatre (Heinrich and Nagel), and the Chanson Russe for violin and piano (Szigeti and Stravinsky).
Five stars, no doubt, also taking into account this imperfection. By the way, the Fanfare, the Star-spangled Banner, and the Chanson Russe are contained in another Sony box, the well known Original Jacket Collection - Stravinsky conducts Stravinsky (SX9K 64136).


What a magnificent collection !, 27 Oct 2007
I have always regarded Stravinsky as one of the most outstanding composers I have ever listened to but had not, until now, quite realised what a stunning variety of music he had written during his lifetime.
Sony have always been a reliable name to count on for top quality products and this box set has not failed to delight.
I only wish some of the other recording companies could produce similar high quality box sets at such bargain prices.
Congratulations to Sony and if the maestro is listening upstairs - bravo !!

Discs 3, 12, 13 and 20 ..., 20 Oct 2007
This extraordinary gathering of the main body of Stravinsky's works, substantially conducted by the composer, is an obvious eye-catcher, especially at the very appealing pricing. It is indeed wonderful, but inevitably there are some drawbacks. Few listeners will want to sit down to listen to 22 CD's of one composer's output in a row; most listeners will find their ears wearying somewhat at the very dated sound quality - the majority of the recordings are from the 1960's, and although many come up surprisingly well, the sound is often plummy and sometimes worse. Crucially, the harsh truth is that the majority of the conducting took place when Stravinsky was in his eighties. We love the feel of the authenticity, but I am sure I will not be the only listener who pines for greater energetic impact.

The four CD's I have sampled so far are the 3rd (of 7 discs devoted to Ballet music), the 12th and 13th (the two "chamber and historic" CD's) and the 20th (first of two on "sacred works").

From the 3rd, Les Noces is sung in some kind of English translation. If you are used to this in Russian, the words are sure to sound perverse at times. But the four pianists are an amazing line-up - Barber, Copland, Foss and Sessions, and the singing is pleasantly clean-voiced in a piece that glistens with some of Stravinsky's finest ensemble writing. Less successful is Renard the Fox, a piece of entirely different cultural positioning which nonetheless is made to sound bizarrely similar to Les Noces. The disc closes with a rendering of The Soldier's Tale whose cheerfulness comes across despite the limited qualities of the sound.

Discs 12 and 13 give a different slant, with the composer himself at the keyboard (recordings from 1934, 1938 and, with Szigeti in the Duo Concertant, 1945). The sound from 1934 (the Serenade in A) is really too poor to make much of, but the 1938 take of the Concerto for Two Solo Pianos (Igor and son Soulima Stravinsky) has an undeniable sense of father and son enjoying themselves without stretching too hard to get all the notes exactly right. Szigeti sounds happy enough to be with the great composer to be too worried about his accompanist's fingers. The solo piano works only really come to life as true interpretative performances when Charles Rosen steps up to do the Sonata, which as you would expect is done with huge refinement and intelligence.

The bigger chamber works are also a mixed bag. Best for me was the Symphonies of Wind Instruments, where the playing is full of sympathy and I found myself forgetting the 1951 sound quality. Some of the other light pieces left me with eyebrows raised as to why the great man troubled to write down some of the limp ideas - the Tango for example is surely too lugubrious even to be taken as ironic.

The Sacred music disc however includes some fine things. The Mass is probably best of these - the performance had me wondering anew at Stravinsky's intriguing choice of double wind quintet to accompany the choral writing. I have long loved the Cantata, but there are few surprises here (apart from "Right Mighty Elizabeth" being tossed away like a scrumpled sweetwrapper) and most afficionados of this fine work will want something much better recorded for regular listening or study. Lastly I really wonder why the Bach "Chorale Variations" arrangement was included at all - the choir sound almost as though they are sight-singing and the work is of very limited interest in relation to Stravinsky's wider achievements.

But I am not cavilling overall - just cautioning listeners that this fantastic offer is not all fresh caviare. I am listening on with enthusiasm !

THESHOLD OF PARADISE, 03 Sep 2008
Allegri's Miserere is given the top billing on this disc, perhaps because of some celebrated special effects, explained in the liner notes, that it contains. The first track is devoted to a sombre and beautiful Crucifixus (from the Nicene Creed) by one Lotti, an older contemporary of Bach. Admirable and compelling, both of these, but what I bought this disc for was the two items by Palestrina, his Stabat Mater and the celestial Missa Papae Marcelli.

It is not just the quality of the early music specialists these days but the sheer profusion of them that continues to astonish me. I looked through the list of singers (18, not 16) and while I did not recognise most of the names offhand that may simply be because I did not investigate my large record collection, and I certainly did spot the name of a certain Mark Padmore among the tenors. The top parts are taken by sopranos, not trebles, all the altos are male, and the four soloists in the Allegri are also members of the choir.

To me, the 16th century polyphonists are not some recondite category of music that I have come to know in a spirit of antiquarianism. My early education made me familiar with Palestrina, Victoria and others of the period before I knew Bach Beethoven and Brahms, and that surely has to be the right sequence simply because it is the chronological and historical sequence. I have no mental reconfiguring to do before I listen to Palestrina because I have long known, and indeed sung in, the two works here. If they need `selling' to anyone, the best I can do is to state baldly that these performances are magnificent and the music itself is sublime beyond sublimity. This performance of the Mass in particular even ousts my treasured account from Willcocks in being at least as well sung and benefiting from more modern recording. Everything here is `quality'. To compliment a choir on its infallible intonation is not like congratulating an author on his spelling, it is a higher sort of achievement and one that cannot be taken for granted even nowadays and even from the most distinguished performers. Here it is utterly beyond question, and I was overawed by the breath-control that these vocalists, to a man and a woman, exhibited in the long final notes of the various pieces. All this is at the service of a musical sense that is instinct with belief and commitment as well as being stylistically impeccable. Nothing is exaggerated, but I sense a fervour in this singing that would not be out of place in the most `expressive' later music. The recording is just about ideal too, clear without either dryness or excessive resonance, reproducing with fidelity the superb vocal tone.

Nothing Allegri can do matches the heavenly serenity of the Missa Papae Marcelli, but the performance, as you might expect, is to the same standard, and so is that of Lotti's very fine Crucifixus. Harry Christophers contributes a short preface, and the main liner note, by Ivan Moody, provides some informative background. It may be that a little comment of my own on the texts respectively of the Stabat Mater and the Miserere will be helpful, because these are not the brightest jewels of the production.

The text of the Stabat Mater that Palestrina used is not the one I am most familiar with, the text set by Verdi for one. Details of the divergences need not concern us now, but for the odd fact that in two instances the Sixteen sing the other version and not what you will find printed here. I shall point these out at the places where they occur, in the course of correcting misprints in the Latin

. `Contristantem': read `contristatam'
. `Per tansivit': read `pertransivit'
. `Quis Christi': delete `Quis'
. `Me sentire vim doloris,': the comma should either be removed or come after `fac' in the next line
. `Fac me vere tecum flere': the other version `Fac me tecum pie flere' meaning `Make me weep devoutly with you' is what is sung
. `con dolore': read `condolere'
. `Ob amorem Filii': the other version `Et cruore Filii' meaning `And with the blood of your Son' is what is sung
. `custodire': read `custodiri'

There are a few misprints in the Latin of the Miserere as well, and more seriously there is a fair little sprinkling of mistranslations in the English. I shall mention only the outright errors and not those cases where the translation allows itself some latitude

. `miserationem': read `miserationum'
. `Ecce enim...manifestasti mihi': the translation is completely wrong. Read `For lo, thou hast loved truth: thou hast revealed to me those things in thy wisdom that are uncertain and hidden.'
. `mudabor': read `mundabor'
. `the bones which thou hast broken': read `my bones that were cast down'
. `invisceribus': read `in visceribus'
. `proiecias': read `proicias'
. `free spirit': read `lordly spirit'
. `sanquinibus': read `sanguinibus'
. `dedessem': read `dedissem'
. `build thou the walls of Jerusalem': read `so that the walls of Jerusalem may be built'
. `imponenet': read `imponent'

It is worth understanding what we are listening to, especially when what we are listening to is as transcendentally good as we find it here.

Sublime!, 26 Jun 2008
What more praise can be added to that of the previous two reviews? They have said it all! If I could I would give it much more than 5 stars! This is one of my all-time favourite CDs - this particular interpretation of Allegri's "Miserere", for me, is simply the best! I cannot find words to describe its effect on me - it is truly inspiring, sublime and uplifting! The Sixteen are extremely accomplished artists who bring great musicality and depth to all of their performances - they will never disappoint!

A Touch of Heaven, 12 Nov 2007
If there is one classical vocal album you need to have in your collection, this is it. It is sublime and will make the hairs stand up on the back of your neck. You've heard of classical chill - this is the real deal. This is a magnificent collection and the Miserere in particular is something really special. The Sixteen are a wonderfully talented group of people and they can be justly proud of their achievement with this recording. I cannot recommend this CD highly enough - it is simply magnificent.

Best version since 1963 Kings College, Cambridge edition , 26 Sep 2006
This is the greatest version of the Misere since The King`s College Version in 1963 by Willcocks. The high notes here not by the boys choirs and not in English but in Latin soar to such heights they are goosebump inducing. This entire recording is authentic, and quality and beautiful from start to finish. You go straight in from the first notes and it builds wonderfully and is consistent throughout. Harry Christophers seems to have a natural feel for this kind of music. I have also been very impressed with his Byrd.
This disc is a real pleasure. It is sung with care and control and yet invisably flawless in the fautlines with a sense of the beauty of the artistic or religious vision. The quality of the Sixteen here is suberb. One of their best ever recordings.

I could not believe this had no reviews so thought I would just help people along to make an informed choice here being the first reviewer.I would be interested to hear what others think. I have quite a number of Palestrina cds and other contemporary polyphonic composers and this is one of my most treasured recordings...It has a real grace to it and flow and clarity to the voices . And it is all the better to be sung in Latin musically than some of the English translations. It makes it more abstract and pure a musical experience for me. My Latin is far too rusty to make out much at all. The voices do overlap well and are very well timed. I cannot make out a single flaw in the timing but I am sure they may be some. The entire recording hangs well from start to finish like a great work of art should. This cd is also very well balanced and flows as it ought like an entire experience. I have bought a few of the cheaper Palestrina cds but I was glad to pay the extra for this cd. It really is that beautiful. It sounds authentic as as I imagine the age to sing..It has a sincerity about it if that is at all possible. It seems sung out of enjoyment and love out of a genuine passion and love for beauty, art and/or God...It is evident alot of thought has gone into the arranging and the choir really know their conductor and their notes, really quite a treasure this. One of the greatest Palestrina cds I know of. An ideal straight there to the Renaissance experience. Not sure who I am writing this review too actually.... But whatever your level of understanding of polyphonic music. This really is a beautiful disc. And it becomes more beautiful...as it goes on..with the modulating changes and soaring notes of the Misere. I am yet to know of another recording of the Misere that has such high sustained ear piercing high notes or such extended beauty. For this alone the cd is a masterpiece but the entire recording is very pure. Out of all the recordings I know of this I can imagine was sung in the Vatican in the 16th under Palestrina `s watchful eyes and ears. Track 3 is astounding...It really goes right through me with the high notes. Beautiful. Highly recommened version or a great piece of music. The sound quality of the recording is also excellent. Being the latest version of this recording of any note it is of a very high quality. I was very impressed with when I first heard this cd and it never fails to uplift and inspire me every time I play it. Which is my and most peoples acid test for quality. This cd should be out in the library a long time. Very hard to beat this version. And in my view the best one. An absolutely perfect start to Palestrina if you do not know him already. The condusting is precision but with a creative flow to it. The singers obviously know every note and have worked on every part of this as a thought out work of art. A very faithful rendition. No wonder the first Pope on hearing this music was so impressed. I would be. I quite think the singers and the conductor had this in mind when they recorded this. Beauty is upper most and grace. It also sounds good low and loud. It never fails to move. A very emotional and beautifully sung Palestrina version. Highly recommended.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

A must buy, 04 Mar 2007
I don't know much about classical music unlike the other reviewers for this CD. However, I was fortunate in that my mother bought me a record (remember them?) of Concertos no 1,3 and 5. You get

1. all 6 Brandenburg concertos beautifully played by English Chamber Orchestra. Normally albums of Bach's Brandenburg concertos only have three of the concertos. Having listened to a few of these, the quality of this CD is at least equal to those recordings in my opinion.

2. two additional concertos: the Concerto for Oboe, Violin and Strings and the Concerto for Flute and Strings. The first of these, as observed in the other reviews, is stunning.

I think this CD is fabulous to listen to and is a complete steal for the price.

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

Bach Concertos, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's music lies in his concerti, and naturally one wonders which recordings to buy with so much choice. I was totally struck by the performance of the concerti on this disc - I can honestly say that you need look no further, in particular for the recording of Bach's Concerto for Oboe and Violin. In a time and age where the question of baroque authenticity is rife, scholars, performers and music appreciaters have began to pose questions as to what one looks for in a performance, what is correct and incorrect and moreover, what makes a good performance. Timeless recordings like this answer these questions in no uncertain terms, and remind us that no amount of talking, philosophising and by-the-book reinventing of the past will substitute a truelly musically intuitive performance. Tess Miller and Carmel Kaine create something totally sublime - this disc is certainly one to own, even if only to hear this remarkable duo!

GREAT VALUE - SUPER SET, 10 Dec 2008
I am realy pleased with this boxed set. The quality of the sound on most of the CD's is quite amazing.You need have no worries about buying this set and will discover much of Stravinsky's music which you might not know.
Happy listening. Dave.

A tremendous set...., 10 Jun 2008
the master himself-why SONY/BMG dont do this with other artists is curious;
but the playing is excellent as well as the sound, for the dates of recording-and Im
exposed to pieces ive never heard, or even heard of before.
Who knew IS stuck his big toe in to the water of Jazz...?
The shoddy booklet is a real shame, but I cannot complain,
its a box set that doesnt require a fork lift to bring into the house-
and I spent EXACTLY $26.00 USD for it at TOWER Mail Order
true value for money.


Five Stars, with only a little disappointment..., 18 Jan 2008
I obviously agree with the enthusiasm shown by the preceding reviewers. Well beyond the bargain, this is a real cornerstone of the recording history. Many years have passed since the useless discussions in the Sixties about Stravinsky skills as a conductor, and with the grace of time we can honour now a neat, logical, unemphatic rendition of his masterworks.
However... (there is always a however), whilst the lack of the spoken and sung texts may be easily filled up with web services, Sony have not grabbed the opportunity of this compact re-edition of the 1991 Recorded Legacy megabox to heal an annoying flaw with respect to the original 1982 Centenary Edition in 31 LPs: the cancellation of ten works, which well depicted the artistic flavour of the Stravinsky years. One of the reviewers spoke of the discovery of a great pianist, Charles Rosen; well, many of the cancelled works gave exactly this type of information and feeling.
If someone is interested in knowing the details, the omitted works are: Pastorale for voice and piano (Tourel/Rogers); Tango for two pianos and Concerto for two pianos (Vronsky and Babin, the concerto however being substituted by a very old EMI recording by the Stravinskys); Serenade for piano (Rosen, also substituted by another old EMI recording by Stravinsky); Three Easy Pieces and Five Easy Pieces for four-hands piano (Gold and Fizdale); finally, and above all, the Pastorale for violin and wind quartet (Szigeti with Stravinsky and an unspecified wind quartet), the arrangement of The Star-spangled Banner (Stravinsky), the short Fanfare for a new Theatre (Heinrich and Nagel), and the Chanson Russe for violin and piano (Szigeti and Stravinsky).
Five stars, no doubt, also taking into account this imperfection. By the way, the Fanfare, the Star-spangled Banner, and the Chanson Russe are contained in another Sony box, the well known Original Jacket Collection - Stravinsky conducts Stravinsky (SX9K 64136).


What a magnificent collection !, 27 Oct 2007
I have always regarded Stravinsky as one of the most outstanding composers I have ever listened to but had not, until now, quite realised what a stunning variety of music he had written during his lifetime.
Sony have always been a reliable name to count on for top quality products and this box set has not failed to delight.
I only wish some of the other recording companies could produce similar high quality box sets at such bargain prices.
Congratulations to Sony and if the maestro is listening upstairs - bravo !!

Discs 3, 12, 13 and 20 ..., 20 Oct 2007
This extraordinary gathering of the main body of Stravinsky's works, substantially conducted by the composer, is an obvious eye-catcher, especially at the very appealing pricing. It is indeed wonderful, but inevitably there are some drawbacks. Few listeners will want to sit down to listen to 22 CD's of one composer's output in a row; most listeners will find their ears wearying somewhat at the very dated sound quality - the majority of the recordings are from the 1960's, and although many come up surprisingly well, the sound is often plummy and sometimes worse. Crucially, the harsh truth is that the majority of the conducting took place when Stravinsky was in his eighties. We love the feel of the authenticity, but I am sure I will not be the only listener who pines for greater energetic impact.

The four CD's I have sampled so far are the 3rd (of 7 discs devoted to Ballet music), the 12th and 13th (the two "chamber and historic" CD's) and the 20th (first of two on "sacred works").

From the 3rd, Les Noces is sung in some kind of English translation. If you are used to this in Russian, the words are sure to sound perverse at times. But the four pianists are an amazing line-up - Barber, Copland, Foss and Sessions, and the singing is pleasantly clean-voiced in a piece that glistens with some of Stravinsky's finest ensemble writing. Less successful is Renard the Fox, a piece of entirely different cultural positioning which nonetheless is made to sound bizarrely similar to Les Noces. The disc closes with a rendering of The Soldier's Tale whose cheerfulness comes across despite the limited qualities of the sound.

Discs 12 and 13 give a different slant, with the composer himself at the keyboard (recordings from 1934, 1938 and, with Szigeti in the Duo Concertant, 1945). The sound from 1934 (the Serenade in A) is really too poor to make much of, but the 1938 take of the Concerto for Two Solo Pianos (Igor and son Soulima Stravinsky) has an undeniable sense of father and son enjoying themselves without stretching too hard to get all the notes exactly right. Szigeti sounds happy enough to be with the great composer to be too worried about his accompanist's fingers. The solo piano works only really come to life as true interpretative performances when Charles Rosen steps up to do the Sonata, which as you would expect is done with huge refinement and intelligence.

The bigger chamber works are also a mixed bag. Best for me was the Symphonies of Wind Instruments, where the playing is full of sympathy and I found myself forgetting the 1951 sound quality. Some of the other light pieces left me with eyebrows raised as to why the great man troubled to write down some of the limp ideas - the Tango for example is surely too lugubrious even to be taken as ironic.

The Sacred music disc however includes some fine things. The Mass is probably best of these - the performance had me wondering anew at Stravinsky's intriguing choice of double wind quintet to accompany the choral writing. I have long loved the Cantata, but there are few surprises here (apart from "Right Mighty Elizabeth" being tossed away like a scrumpled sweetwrapper) and most afficionados of this fine work will want something much better recorded for regular listening or study. Lastly I really wonder why the Bach "Chorale Variations" arrangement was included at all - the choir sound almost as though they are sight-singing and the work is of very limited interest in relation to Stravinsky's wider achievements.

But I am not cavilling overall - just cautioning listeners that this fantastic offer is not all fresh caviare. I am listening on with enthusiasm !

THESHOLD OF PARADISE, 03 Sep 2008
Allegri's Miserere is given the top billing on this disc, perhaps because of some celebrated special effects, explained in the liner notes, that it contains. The first track is devoted to a sombre and beautiful Crucifixus (from the Nicene Creed) by one Lotti, an older contemporary of Bach. Admirable and compelling, both of these, but what I bought this disc for was the two items by Palestrina, his Stabat Mater and the celestial Missa Papae Marcelli.

It is not just the quality of the early music specialists these days but the sheer profusion of them that continues to astonish me. I looked through the list of singers (18, not 16) and while I did not recognise most of the names offhand that may simply be because I did not investigate my large record collection, and I certainly did spot the name of a certain Mark Padmore among the tenors. The top parts are taken by sopranos, not trebles, all the altos are male, and the four soloists in the Allegri are also members of the choir.

To me, the 16th century polyphonists are not some recondite category of music that I have come to know in a spirit of antiquarianism. My early education made me familiar with Palestrina, Victoria and others of the period before I knew Bach Beethoven and Brahms, and that surely has to be the right sequence simply because it is the chronological and historical sequence. I have no mental reconfiguring to do before I listen to Palestrina because I have long known, and indeed sung in, the two works here. If they need `selling' to anyone, the best I can do is to state baldly that these performances are magnificent and the music itself is sublime beyond sublimity. This performance of the Mass in particular even ousts my treasured account from Willcocks in being at least as well sung and benefiting from more modern recording. Everything here is `quality'. To compliment a choir on its infallible intonation is not like congratulating an author on his spelling, it is a higher sort of achievement and one that cannot be taken for granted even nowadays and even from the most distinguished performers. Here it is utterly beyond question, and I was overawed by the breath-control that these vocalists, to a man and a woman, exhibited in the long final notes of the various pieces. All this is at the service of a musical sense that is instinct with belief and commitment as well as being stylistically impeccable. Nothing is exaggerated, but I sense a fervour in this singing that would not be out of place in the most `expressive' later music. The recording is just about ideal too, clear without either dryness or excessive resonance, reproducing with fidelity the superb vocal tone.

Nothing Allegri can do matches the heavenly serenity of the Missa Papae Marcelli, but the performance, as you might expect, is to the same standard, and so is that of Lotti's very fine Crucifixus. Harry Christophers contributes a short preface, and the main liner note, by Ivan Moody, provides some informative background. It may be that a little comment of my own on the texts respectively of the Stabat Mater and the Miserere will be helpful, because these are not the brightest jewels of the production.

The text of the Stabat Mater that Palestrina used is not the one I am most familiar with, the text set by Verdi for one. Details of the divergences need not concern us now, but for the odd fact that in two instances the Sixteen sing the other version and not what you will find printed here. I shall point these out at the places where they occur, in the course of correcting misprints in the Latin

. `Contristantem': read `contristatam'
. `Per tansivit': read `pertransivit'
. `Quis Christi': delete `Quis'
. `Me sentire vim doloris,': the comma should either be removed or come after `fac' in the next line
. `Fac me vere tecum flere': the other version `Fac me tecum pie flere' meaning `Make me weep devoutly with you' is what is sung
. `con dolore': read `condolere'
. `Ob amorem Filii': the other version `Et cruore Filii' meaning `And with the blood of your Son' is what is sung
. `custodire': read `custodiri'

There are a few misprints in the Latin of the Miserere as well, and more seriously there is a fair little sprinkling of mistranslations in the English. I shall mention only the outright errors and not those cases where the translation allows itself some latitude

. `miserationem': read `miserationum'
. `Ecce enim...manifestasti mihi': the translation is completely wrong. Read `For lo, thou hast loved truth: thou hast revealed to me those things in thy wisdom that are uncertain and hidden.'
. `mudabor': read `mundabor'
. `the bones which thou hast broken': read `my bones that were cast down'
. `invisceribus': read `in visceribus'
. `proiecias': read `proicias'
. `free spirit': read `lordly spirit'
. `sanquinibus': read `sanguinibus'
. `dedessem': read `dedissem'
. `build thou the walls of Jerusalem': read `so that the walls of Jerusalem may be built'
. `imponenet': read `imponent'

It is worth understanding what we are listening to, especially when what we are listening to is as transcendentally good as we find it here.

Sublime!, 26 Jun 2008
What more praise can be added to that of the previous two reviews? They have said it all! If I could I would give it much more than 5 stars! This is one of my all-time favourite CDs - this particular interpretation of Allegri's "Miserere", for me, is simply the best! I cannot find words to describe its effect on me - it is truly inspiring, sublime and uplifting! The Sixteen are extremely accomplished artists who bring great musicality and depth to all of their performances - they will never disappoint!

A Touch of Heaven, 12 Nov 2007
If there is one classical vocal album you need to have in your collection, this is it. It is sublime and will make the hairs stand up on the back of your neck. You've heard of classical chill - this is the real deal. This is a magnificent collection and the Miserere in particular is something really special. The Sixteen are a wonderfully talented group of people and they can be justly proud of their achievement with this recording. I cannot recommend this CD highly enough - it is simply magnificent.

Best version since 1963 Kings College, Cambridge edition , 26 Sep 2006
This is the greatest version of the Misere since The King`s College Version in 1963 by Willcocks. The high notes here not by the boys choirs and not in English but in Latin soar to such heights they are goosebump inducing. This entire recording is authentic, and quality and beautiful from start to finish. You go straight in from the first notes and it builds wonderfully and is consistent throughout. Harry Christophers seems to have a natural feel for this kind of music. I have also been very impressed with his Byrd.
This disc is a real pleasure. It is sung with care and control and yet invisably flawless in the fautlines with a sense of the beauty of the artistic or religious vision. The quality of the Sixteen here is suberb. One of their best ever recordings.

I could not believe this had no reviews so thought I would just help people along to make an informed choice here being the first reviewer.I would be interested to hear what others think. I have quite a number of Palestrina cds and other contemporary polyphonic composers and this is one of my most treasured recordings...It has a real grace to it and flow and clarity to the voices . And it is all the better to be sung in Latin musically than some of the English translations. It makes it more abstract and pure a musical experience for me. My Latin is far too rusty to make out much at all. The voices do overlap well and are very well timed. I cannot make out a single flaw in the timing but I am sure they may be some. The entire recording hangs well from start to finish like a great work of art should. This cd is also very well balanced and flows as it ought like an entire experience. I have bought a few of the cheaper Palestrina cds but I was glad to pay the extra for this cd. It really is that beautiful. It sounds authentic as as I imagine the age to sing..It has a sincerity about it if that is at all possible. It seems sung out of enjoyment and love out of a genuine passion and love for beauty, art and/or God...It is evident alot of thought has gone into the arranging and the choir really know their conductor and their notes, really quite a treasure this. One of the greatest Palestrina cds I know of. An ideal straight there to the Renaissance experience. Not sure who I am writing this review too actually.... But whatever your level of understanding of polyphonic music. This really is a beautiful disc. And it becomes more beautiful...as it goes on..with the modulating changes and soaring notes of the Misere. I am yet to know of another recording of the Misere that has such high sustained ear piercing high notes or such extended beauty. For this alone the cd is a masterpiece but the entire recording is very pure. Out of all the recordings I know of this I can imagine was sung in the Vatican in the 16th under Palestrina `s watchful eyes and ears. Track 3 is astounding...It really goes right through me with the high notes. Beautiful. Highly recommened version or a great piece of music. The sound quality of the recording is also excellent. Being the latest version of this recording of any note it is of a very high quality. I was very impressed with when I first heard this cd and it never fails to uplift and inspire me every time I play it. Which is my and most peoples acid test for quality. This cd should be out in the library a long time. Very hard to beat this version. And in my view the best one. An absolutely perfect start to Palestrina if you do not know him already. The condusting is precision but with a creative flow to it. The singers obviously know every note and have worked on every part of this as a thought out work of art. A very faithful rendition. No wonder the first Pope on hearing this music was so impressed. I would be. I quite think the singers and the conductor had this in mind when they recorded this. Beauty is upper most and grace. It also sounds good low and loud. It never fails to move. A very emotional and beautifully sung Palestrina version. Highly recommended.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

A must buy, 04 Mar 2007
I don't know much about classical music unlike the other reviewers for this CD. However, I was fortunate in that my mother bought me a record (remember them?) of Concertos no 1,3 and 5. You get

1. all 6 Brandenburg concertos beautifully played by English Chamber Orchestra. Normally albums of Bach's Brandenburg concertos only have three of the concertos. Having listened to a few of these, the quality of this CD is at least equal to those recordings in my opinion.

2. two additional concertos: the Concerto for Oboe, Violin and Strings and the Concerto for Flute and Strings. The first of these, as observed in the other reviews, is stunning.

I think this CD is fabulous to listen to and is a complete steal for the price.

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

One to own!, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's works lie in his concerti - such a wide choice makes it very hard for us to know which recordings to buy. I can safely say however that you need look no further than this, particularly in the case of Bach's Concerto for Oboe and Violin. We live in a day and age where the discussion of baroque authenticity is rife amongst performers, scholars and music appreciaters. The question of what is "correct" in baroque performance, what is authentic to the past and moreover what makes a good performance in this day and age is constantly addressed, creating lots of exciting new ideas and philosophies, but naturally no answers. Recordings such as this, however, give us the answers in no uncertain terms. No amount of talking, philosophising or re-creating of the past substitutes a truelly intuitive musical performance. Tess Miller and Carmel Kaine create something truely sublime, natural and authentic spiritually. It is worth owning this CD simply to hear this remarkable duo!

Bach Concertos, 30 Jun 2002
Some of the most celebrated and widely recorded of Bach's music lies in his concerti, and naturally one wonders which recordings to buy with so much choice. I was totally struck by the performance of the concerti on this disc - I can honestly say that you need look no further, in particular for the recording of Bach's Concerto for Oboe and Violin. In a time and age where the question of baroque authenticity is rife, scholars, performers and music appreciaters have began to pose questions as to what one looks for in a performance, what is correct and incorrect and moreover, what makes a good performance. Timeless recordings like this answer these questions in no uncertain terms, and remind us that no amount of talking, philosophising and by-the-book reinventing of the past will substitute a truelly musically intuitive performance. Tess Miller and Carmel Kaine create something totally sublime - this disc is certainly one to own, even if only to hear this remarkable duo!

Yes he humms, but thats not a bad thing!, 28 Aug 2008
I feel compelled to write this review as I think it is slightly unfair to give a one-star review based on his constant humming.

I think the first thing to say is that the Goldberg Variations is a fantastic piece of music, and is pretty much infallable as far as music goes. Goulds playing achives a great depth and variety of tone, whilst maintaining a strong sence of clarity that lets all of Bach's lines sing through, I think Gould has achieved something mind-blowing here!

Whilst at first one could find the performance marred by his constant humming, and it is prevelant, especially when listening on headphones, it is worth listening past. I think it provides a unique insight into how he is shaping the music that we don't often hear. To be honest I find myself humming along (no doubt somewhat encouraged) and its interesting to see where I differ from Gould. I think that without the humming his peformance wouldn't shine as much as it does. There is a reason why it's a favorite on desert island disks!

All in all an amazing CD, at an amazing price!

Magical, 09 Aug 2008
Glenn Gould is simply the master of this set, and in my opinion, this is the greatest recording ever made, even the 1955 doesnt come close.

its not the velocity of the recording that makes it magical, but rather the passion with which the music is performed.

and no, gould's voice doesnt bother me at all, in fact, it adds to the uniqueness of the recording.

Humming Nightmare, 09 Dec 2007
Gould's Humming is the most annoying thing. I will never listen to this CD again, although Gould is clearly a master of the instrument.

Marred by Gould's humming, 09 Oct 2007
A great performance marred by Gould's constant humming, which, if you are listening on headphones is really intrusive and, in my opinion, deeply annoying. I know that there are those who don't mind Gould's humming, however, I thought people should be aware of this.

This work cannot be summarised with a "tagline", 22 Mar 2007
I love Bach's music, and generally insist on two things; firstly, that it is played a little slower than we are generally served it; and secondly that it is played on the instruments it was written for. When I first heard Glenn Gould's 1981 recording, I realised how ridiculous that second requirement was, and how important that first requirement was. The music on this album just swept me away. There is no other recording of the Goldberg Variations that I've listened to that even comes close to it.

The technical mastery of Gould goes without saying, but what really struck me with this recording was the spirit with which this music is played - the feeling which Gould breathes into the work. This is most evident in the slower pieces, particularly the opening Aria, which take you on a journey of the most exquisite emotions. In almost every variation, Gould picks you up and takes you where he is going with it.

I lack the words to describe it - words ike "subliminal", "instropective" come to mind, and above all "human". Bach can be played very mechanically, but not here. Complimented by Gould's ghostly humming, occasionally rising to the level of audibility, Aria, and Canone della Quinta sound like they come straight from the soul. This music lifts you into another world.

Not once does he use the pedals.

This is just mind-blowing - buy it!