- Audio CD (25 Oct 1990)
- Number of Discs: 1
- Label: Decca
- ASIN: B0000041OT
- Other Editions: MP3 Download
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
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206,913 in Music (See Top 100 in Music)
- #74 in Music > Classical Instrumental > Orchestral > Tone Poems
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:Audio CD
i'm laying myself open here, but in my opinion while this recording is clearly very, very fine there are just one or two niggles that prevent me from giving a five-star rating:
(1) the general recording level seems too low
(2) the nightingale is practically inaudible (and a much sweeter nightingale recording is used for the seiji ozawa recording with the boston symphony orchestra on DG)
(3) the appian way march, to me anyway, seems a little muted - the rising strings at 2:43 sound especially reticent and the brass a little less than convincing at times and the speed just a little too fast (again osawa i think has the tempo just right)
nevertheless, these are just MY opinions and i'm sure others will disagree. this is still a wonderful recording and worthy of anyone's CD/mp3 collection.
(1) the general recording level seems too low
(2) the nightingale is practically inaudible (and a much sweeter nightingale recording is used for the seiji ozawa recording with the boston symphony orchestra on DG)
(3) the appian way march, to me anyway, seems a little muted - the rising strings at 2:43 sound especially reticent and the brass a little less than convincing at times and the speed just a little too fast (again osawa i think has the tempo just right)
nevertheless, these are just MY opinions and i'm sure others will disagree. this is still a wonderful recording and worthy of anyone's CD/mp3 collection.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
15 reviews
38 of 38 people found the following review helpful
Pini di Roma - An Incredible Technical and Artistic Triumph
13 Sep 2002
Format:Audio CD
People will not always have the same impressions of music performances because we have different preferences, experiences and musical backgrounds which shape those impressions. I happen to be a musician with performance, teaching and conducting experience, but I have never attempted to write criticism. Music can be such a subjective thing, and many others' opinions are just as or more valid than mine. However, I cannot imagine there can be any disagreement that Decca, Dutoit and the MSO have the finest performance of "The Pines of the Appian Way" ever recorded. This CD is a virtual test disc for audio equipment, and the performance is a model for all musicians to emulate.
As everyone knows, the Appian Way begins quietly and builds progressively to the finish, somewhat in the fashion of Ravel's "Bolero," but much more so. Recording engineers are challenged in trying to capture such pieces as these, where the dynamic range is extreme and a lot of exotic percussion is scored. Orchestras have trouble playing as loudly as Respighi demands without losing balance, control and clarity. In this recording, nothing registers except success. Even when the ensemble is pegging the decibel meter needles, the orchestra's sound is still transparent. You can hear horns, clarinets, violins. You never lose the lines each instrument group plays, even when 30 or so brass and percussion players are doing their best to blow out the back wall of the hall. Early on you will actually feel the bass drum (if your reproduction equipment, especially your loudspeakers, is good enough) as much as hear it. There is never any distortion, and there is always perfect definition of the sound. It is a unique and remarkable recording. Those engineers should have won some sort of award for this one.
The accomplishment of the engineers would gone for nothing, though, if the performance they captured had not been good. This performance of the Appian Way is beyond good; it is amazing. Maestro Dutoit's tempo is not stodgy. He does not let melodic elements get buried by the weight of the accompaniment. This is no easy feat, because the accompaniment gets plenty ponderous. When instruments enter, Dutoit measures each entrance so that the players do not immediately dominate the ensemble. As the instrumental texture and dynamic grows, the balance remains even and disciplined. When the orchestra reaches and passes the point of double forte, Dutoit and the ensemble cross the threshold into the extraordinary. The playing is not just loud and brilliant, becoming more loud and brilliant until the last cymbal crash; none of the musical elements are never lost. Each ascending phrase in the winds builds subtly in each eight-bar incrument. The piece does not become static. Yes, the sound gets huge, like it's supposed to, but Dutoit never allows the sound to collapse into brassiness or shrillness. When this piece really cranks up, the brass are just about blowing the seat of their pants through their horns, the srings come dangerously close to breaking their instruments in half with the force of their bows, and the percussionists are risking putting their mallets right through the heads of the drums and whatever else they are beating (and the woodwinds are wishing they started on some other instrument). That they all retain such musicality while doing this is evidence of very fine talent on the part of the players (and maturity on their parts, as well, the woodwinds will say). The sound is big, but not forced.
I do not mean to slight any of the other works on this disc. Everything is played marvelously well and with precision. But this Appian Way is simply the best performance recorded to date of an intrinsicly difficult piece to perform, conduct or record, and should not be missed.
32 of 35 people found the following review helpful
LIGHT AND SHADOW
13 Dec 2000
Format:Audio CD
Respighi (1879-1936), whose major "claims to fame" are thrilling orchestral "impressions," is a composer whose works require just the right finesse, just the right coaxing, just the right balance ...because in the wrong hands they can become boisterous, overly similar and coarse. Under the tutelage of a master conductor, however, a conductor whose depth of understanding and persuasion reveals detail that we never realized existed... we hear afresh.
Such is the case with Dutoit at the podium: every nuance comes clear, every pictorial thrill emerges as if out of hiding, every new vision titillates us, haunts us.
In these performances, Dutoit is a magician of light and shadow.
Listen, for example, to the sunny, brilliant opening "Pini di Villa Borghese" of THE PINES OF ROME... which flows ever so subtly into the catacomb darkness of the following second movement "Pini preso."
Listen further to the agony wrought in the FESTE ROMANE "Circenses," the anguished, pleading cries of Christians being thrown to lions in the arena of the Circus Maximus... as Roman trumpets bray their obvious hubris. This is a performance to make your skin crawl!
Then seque back to the fourth movement "Pini della Via Appia," of THE PINES OF ROME, as the Roman army parades along with incredibly brilliant flourishes--- victorious and prideful.
Light and shadow... and shades in-between, as well, as you have never heard before. Listen to the interplay of clarity and mystery Dutoit weaves throughout Respighi's FOUNTAINS OF ROME. We hear daylight come to the fountains at Giulia Valley, morning at the Triton Fountain, midday at Trevi and, as the bells toll, the sun finally sets at the Villa Medici.
Dutoit gives us absolutely inspired readings, and the OSM incisive playing, with gloriously vibrant sound to equal their combined vision.
For those of us jaded by lukewarm Respighi, this CD is quite the antidote!
[Running time: 60:24]
Such is the case with Dutoit at the podium: every nuance comes clear, every pictorial thrill emerges as if out of hiding, every new vision titillates us, haunts us.
In these performances, Dutoit is a magician of light and shadow.
Listen, for example, to the sunny, brilliant opening "Pini di Villa Borghese" of THE PINES OF ROME... which flows ever so subtly into the catacomb darkness of the following second movement "Pini preso."
Listen further to the agony wrought in the FESTE ROMANE "Circenses," the anguished, pleading cries of Christians being thrown to lions in the arena of the Circus Maximus... as Roman trumpets bray their obvious hubris. This is a performance to make your skin crawl!
Then seque back to the fourth movement "Pini della Via Appia," of THE PINES OF ROME, as the Roman army parades along with incredibly brilliant flourishes--- victorious and prideful.
Light and shadow... and shades in-between, as well, as you have never heard before. Listen to the interplay of clarity and mystery Dutoit weaves throughout Respighi's FOUNTAINS OF ROME. We hear daylight come to the fountains at Giulia Valley, morning at the Triton Fountain, midday at Trevi and, as the bells toll, the sun finally sets at the Villa Medici.
Dutoit gives us absolutely inspired readings, and the OSM incisive playing, with gloriously vibrant sound to equal their combined vision.
For those of us jaded by lukewarm Respighi, this CD is quite the antidote!
[Running time: 60:24]
15 of 15 people found the following review helpful
The Total Experience
10 May 2000
Format:Audio CD
Charles Dutoit and the Montreal Symphony Orchestra usually give a flawless version of whatever they attempt and this recording is no exception. Lovers of Respighi's "Pines of Rome" will find this recording stacks higher in terms of power and clarity than the almighty versions of von Karajan and the Philharmonia Orchestra, long thought to be untouchably awesome. Following the performances with the orchestral scores will reveal to the eye the virtual perfection of balance and dynamic range that the ear can already hear. If anyone rates a performance of "Roman Festivals" higher than this one in terms of excitement, please let me know. Anyone who has seen and admired Ridley Scott's epic film "Gladiator" should get to know these wonderful scores of Otterino Respighi, a true Roman composer who had the flair and feel for the beauty and savagery of this ancient civilisation, as well as the genius to translate it into musical terms. Hollywood film composers bow down low in humility before the name Respighi as well they should. A superb and timeless version of the marvellous Roman trilogy of orchestral panoramas awaits you on this CD.
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