Maazel Rhapsody In Blue

"Between 1972 and 1982 Maazel was Music Director of The Cleveland Orchestra and between 1973-79 made a series of recordings for Decca – all of which are collected here. The repertory includes many orchestral spectaculars and Decca’s first recording in Cleveland, Prokofiev’s Romeo and Juliet, is one of the very best and a recording which has achieved reference status. “…. The precision of The Cleveland Orchestra is little short of miraculous… the recording is one of Decca’s most spectacular, searingly detailed but atmospheric too.” [The Penguin Guide]

"Between 1972 and 1982 Maazel was Music Director of The Cleveland Orchestra and between 1973-79 made a series of recordings for Decca – all of which are collected here. The repertory includes many orchestral spectaculars and Decca’s first recording in Cleveland, Prokofiev’s Romeo and Juliet, is one of the very best and a recording which has achieved reference status. “…. The precision of The Cleveland Orchestra is little short of miraculous… the recording is one of Decca’s most spectacular, searingly detailed but atmospheric too.”

This Gershwin collection is divided into two CDs; the first has many of his more popular pieces from Broadway productions, and the second has a selection of his symphonic works. Some of the songs on the first CD are performed by singers such as Billie Holliday, Ella Fitzgerald, Sarah Vaughan, Nina Simone, Dinah Washington and sound absolutely spectacular.

Decca/London introduced Phase 4 Stereo in 1961. For classical music, the Phase 4 approach was based on miking every orchestra section individually, along with mics for selected instruments – up to a maximum of 20 channels, which were then mixed via a recording console. This resulted in a dynamic, in your face sound with relatively little hall ambience. The quality of the sound mostly depended on how skillfully the recording engineer balanced each channel – and the results were not always consistent. Thus, the Phase 4 sound was the antithesis of the minimally miked, “simplicity is wisdom” approach of the RCA’s early Living Stereo and Mercury’s Living Presence recordings, along with Telarc’s early digital recordings.

Limited edition 100 CD box set on the premiere classical label Deutsch Grammophon. Subtitled from Gregorian Chant to Gorecki. For some it will be the ultimate reference tool. For others a big place to start on something they always wanted to know about. Either way, the idea is to present a comprehensive history of Classical Music from its origins to the present day, covering all periods, including all major composers.

To be sure, there are some great performances in this 10-disc set, André Previn: The Great Recordings. Previn's insouciant wit is evident in his effervescent reading of Gershwin's Rhapsody in Blue, and there is deep affection in his sensuous account of highlights from Prokofiev's Romeo and Juliet. His explosive rendering of Orff's Carmina Burana has barbaric splendor, and there is thrilling excitement in his orgasmic interpretation of Rachmaninov's Second Symphony. But it can't be denied that Previn's superficial readings of Holst's The Planets and Debussy's Images are little more than musical travelogs, and that his dreary accounts of Shostakovich's Eighth and Elgar's Enigma Variations are musty musical picture galleries. His extravagantly colorful renderings of Messiaen's Turangalîla Symphony and Walton's Belshazzar's Feast come across as lurid musical history lessons.