My favorite recording of 2012
352423
I find each of Charlie's performances to be a treasure, and his elegant musicianship recalls Bergonzi for me. The ensemble of collaborative artists deserves the highest praise as well.

Ever since his youtube channel (tenorgoodfella) included posts from a 2010 concert of Neapolitan songs, I've been envious of the audience who witnessed them. No more. A standout is the haunting "Scetate!" and can be seen on youtube.

A particular gift is hearing Charlie voice the English lyrics as beautifully as the Italian. May this be the first of many more intimate recordings to come.
1035125
Every once in a great while, a recording comes to your attention  even one that has been in circulation for decades!  that simply stops you in your tracks; a game and life changer; this is surely one of those.
To begin with, I have owned  and appreciated recordings of the Rachmaninov Preludes by Ashkenazy, Richter, Osborne, Lugansky, Alexeev, and the fantastic recent offering by Rustem Hayroudinoff on Chandos but none of these even approaches the shear soaring Russian artistry and visceral romantic impact of this Marietta Petkova recording!
To be completely honest, Im not a musicologist - or a classical pianist for that matter - but after listening to classical piano music for over 37 years I know when a soloist is giving something of his/herself that is far beyond the technical revelation of the notes as written on the musical page; this is very much such a performance and it took me completely and utterly by surprise!
Before I heard this remarkable recording, I had never even heard of Marietta Petkova! She has made quite a few recording for the somewhat obscure Doron and Challenge Classics labels, but not so much as a whisper of her incredibly beautiful and felicitous touch, unforgettable mastery of both pedaling and rubato and searing interpretive penetration have ever reached me.
I have heard no other recordings of the C-sharp minor, B-flat minor, G major and B minor Preludes that have simply moved me to tears and distraction as quickly and decisively as these have: phenomenally gorgeous and other-worldly in every respect.
That this recording is not more widely known and appreciated is simply criminal and speaks volumes about the true state of present perks under the table  musical criticism and the money and glamour first recording industry in general.
I have now listened to these discs 5 times through, with the greatest joy and satisfaction, and I cannot for my life understand how such an incredibly and beautifully talented Bulgarian pianist - gifted from above with musical intelligence and insight the equal of (and even surpassing!) Richter, Ashkenazy and Osborne  could come to be so neglected and even unappreciated?
You have my absolute assurance that one listen ALONE will suffice to lift this improbably triumphant tour de force to the level of first choice in your collection of illustrious Rachmaninov Prelude recordings.
Wholeheartedly recommended!
Mike D.
3203454
I was on my way to Von's the other day when I heard this song "Fuzzy" get played on KCRW.  It was so different from all the other crap I've been listening to on the radio, and so beautiful.  I called and found out it was by a guy named The Incredible Moses Leroy, so I came to Amazon to buy the record.  So far my favorite song on the record is "It's a Sunday".  It's so upbeat and quirky, and I love the lyrics.  Everytime I listen I hear a new instrument that I didn't hear before.  It's as if it was being recorded in my car while I am driving around!  Seriously!
On a sadder note, my cousin Ed is dying of cancer.  When I go visit him I play the record (Electric Pocket Radio) and it brightens his day.  His favorite song is "Beep Beep Love".  It's pretty wacky, and the girl that sings in the song has a great voice too.
If you read this review, Moses, PLEASE write to me and tell me when you are playing in the L.A. area again.  I want to bring my cousin to your show, and maybe you could dedicate a song to him.
Sincerely,
Bill Davila
2735466
Beautiful performance and very clean and dynamic recording
4840910
Yes, sounds awesome and not just loud. Best recording to date, get it!
4797844
This has to be the best recording of the four seasons that I have ever heard!
3219583
I felt so energized after listening to this performance that I sat to write this.  I read, however, that others have shared my view, thus, I will mainly add my five stars to the average and leave some notes.
This is the best 10th I have ever heard (I have dozens in my collection). A Tenth for the 21st century, as Mravinsky, Ancerl and Karajan were for the 20th.
I'll merely point out the things that impressed me.
1. The recording is absolutely incredible! Every instrument's line perfectly audible, their balance outstanding. Kudos to the engineer.
2. What a superb orchestral the RLPO has turned out to be under Petrenko.
3. Listening to the Allegro (2nd movement) while driving; I almost had to stop the car (not the music!) The drive (no pun intended) and execution of this movement is just incredible (it is supposed to represent Stalin).
4. This recording earned accolades and prizes from Gramophone, and deservedly so.
5. If you want your Shostakovich raw and earthy, go to 20th-century versions.  If you want it driven, angry, relentless, stay here.
1408058
This is my favourite recording of this piece. Levine takes a very slow tempo for the final movement but makes it work and builds towards a majestic climax. The 'posthorn' solo, played by the great, late, Adolph Herseth is beautifully balanced and Marilyn Horne is perfection in the Zarathustra setting of the fourth movement. The first movement is awesome, darker than in some other notable recordings, which makes the lighter sections shine through the forest noises with even more brightness. It is not easy to get a copy of this recording at present but I am very grateful for mine.
2191534
My brother introduced me to this record just after it was first released some 28 years ago. I can remember the occasion as if it were yesterday. I was sleeping late on a Saturday morning and I was awakened by music echoing through the house. Music that was haunting, expressive, flowing. Words that were insightful, thoughtful, introspective and, most of all, moving.
Eventually, I got up and went downstairs to find out what I had been listening to, and I discovered that it was Jonathan Livingstone Seagull by Neil Diamond. Well, I was captivated; truly, deeply captivated. I'd rarely heard such rich, wonderfully expressive modern music before. Yes, I knew of Neil Diamond, but this record made me see and hear him in a new light.
I bought the album and wore it out after many playings over many years. I've seen the film so many times I've lost count, but one thing still gives me shivers as I watch it is the combination of absolutely superb photography matched to the superlative soundtrack. I cannot understand how, in Britain at least, this film got relegated to art-house status and didn't get the wide release it dererves.
Even today (now I have the CD) I find that in troubled times I can darken my lounge, lie back in my favourite chair, listen to this music and feel my worries subside. It is so relaxing.
1553270
Always enjoyed this recording. I used to have the LP which I made a cassette of but since most of my music listening is in the car and we no longer own a car with a cassette player it was time to get the CD. I know I could buy a device to transfer LP's to the computer but I  gave away almost all of my LP's and 45's years ago. I'm not one for opera music but I really like this selection.
2133314
I've owned three copies of this recording of the first Brahms string sextet, the first two on LPs that I wore out from playing so often. When I saw, by chance, that it had been reissued, along with the first Brahms piano trio, on CD, my heart skipped a beat. Let me explain:
The Op. 18 Sextet was my first Brahms chamber music; I bought it in the 1950s when I was a teenager just beginning to collect LPs. A fellow student recommended this recording and when I got it I immediately fell in love--with both the piece and the performance. It didn't take me long to wear it out. I bought a second copy in the early 1960s. I probably was last able to listen to it in the late 1970s; by then playing it sounded like a a family of mice were sandpapering the inside of my speakers.
I've since owned performances of the Sextets by at least four groups--Les Musiciens; a group of Italian string players led by violinist Giuliano Carmignola; The Raphael Ensemble; and a group of Boston Symphony players (my favorite besides this one). But I was 'imprinted' on this performance. Hearing it again, I understand why. For one thing, this Prades Festival group plays it more slowly and with greater warmth; still the Scherzo and the Rondo manage to sound, as Nicolas Slonimsky once said, euphoniously euphorious. The high point, though, as always, is that dazzling set of variations on one of Brahms's most gorgeous tunes, the second movement Andante. As I was listening to it again after all these years, when they got to the cello solo variation, about two minutes from the end of the movement, I found I was suddenly in tears: Casals' ability to sing that tune in a whisper still has that effect on me. Indeed, I defy anyone to hear that passage and remained unmoved.
Let's talk about the musicians participating in the Sextet. They are names to conjure with: Isaac Stern (then only 30), Alexander Schneider (the much-loved 'Sascha,' of the Budapest Quartet and leading light of the Marlboro Festival), Milton Katims (Toscanini's favorite violist, later a wonderful conductor), Milton Thomas (Stokowski's principal violist), Madeline Foley (ah, what an unsung heroine of the cello; she, too, was a fixture at Marlboro, but her career was mostly in teaching), and finally Pau Casals, about whose playing nothing can be added. But as a musical mover and shaker, Casals is of sainted memory. It's not often recalled that early in the 20th-century Brahms wasn't highly regarded outside the German-speaking countries. Casals was one who INSISTED on playing Brahms (another such was Arthur Rubinstein), and indeed he would even sit in the orchestra and play the cello solo in third movement the Second Piano Concerto, something a world-famous soloist wouldn't ordinarily do.
About the Piano Trio, Op. 8: the musicians here are also fabled. Get this: Dame Myra Hess, piano; Isaac Stern, violin; Pau Casals, cello. Oh my. Oh my. Such music-making. And such music. Again, the opening theme of the Trio is one of Brahms most memorable. These three musicians embrace the music (and, figuratively, each other) to make the performance gem&uuml;tlich, passionate, yearningly romantic.
Both these pieces were recorded at the 1952 Prades Festival, also of fabled memory. What I wouldn't have given to have been there.
So, for those who want truly magnificent historic performances ven though in old sound, this may be the one for you. And thank goodness we can't wear out CDs!
In case, you didn't catch on, I heartily recommend this one.
Scott Morrison
3312808
The first time I heard this particular recording's Winter, 1st movement, was when I found it on Napster (back in when it was free) and it totally blew me away.  I couldn't locate any of the other movements from this recording; I wanted the whole piece but had no idea where to start.

Five or six years later, I heard the very same recording on the radio and I kept myself glued to the radio until the end when I was told the recording was by Gil Shaham and the Orpheus Chamber Orchestra.  I was ecstatic and immediately ordered the CD on Amazon-- I'm so glad to see that others enjoy this recording as much as I do.  Before this recording, "The Four Seasons" was just another famous classical piece that was nice but didn't do much for me.  The Winter that I (really) heard for the first time six years ago still makes me shiver when I listen to it today-- the bass lines are so strong and they seem to propel the piece along, and the solo violin dances on top effortlessly.  I don't hear such an amazing current of sound on other Vivaldi recordings.  I'm glad I was able to find this CD so I could hear for myself how they've transformed the other three seasons into a truly exciting listening experience.  This is a MUST-HAVE CD.
4630249
Though I'm a big fan of traditional Irish music, living here in the backwaters of Idaho, these young men were new to me. But this instantly became my favorite record of the year. Here are some of the reasons why:

By varying the instrumentation, they create tension that builds and resolves as different instruments are added or drop out (e.g. Roscommon Reels).  For me, this adds a great deal of interest to the music.

Mr. Drever's changing guitar right-hand rhythms and syncopations provide strong drive behind the banjo (or tenor gtr) melody, first accenting the downbeat, and then the offbeat, in an unpredictable way. And the bodhran also mixes up the rhythms very well.  This syncopation is huge to the overall feel.  I haven't heard anyone do this better. Sometimes the guitar hangs on the same chord much longer than expected, creating tension (e.g. when starting the last reel of Roscommon Reels);

Mr. Coyne (banjo & tenor gtr) uses strongly swung 1/8th notes throughout.  This means that the eighth notes are not of equal length, but consist almost of dotted couplets.  I think this is very important.  As in jazz, equal eight notes generally don't result in the strong groove you hear here.  Also, Mr. Coyne has the best sounding banjo, and he plays with impeccable timing.

Several of the tunes are in the Dorian mode, which gives them them a minor Celtic "modal" feel.  I love these darker sounding modes.

Although many Irish groups might play the reels much faster, I find the more moderate tempos much more conducive to finding the groove in the music. For the sake of good music, it can sometimes be a mistake to play too fast.  These guys just nail it, and I can't recommend this record highly enough.
2588610
I count this alongside Radiohead's "Hail to the Thief" as the two best recordings I have purchased in the last five years. I LOVE Arovane, and this CD to me is his pinnacle performance. Atol Scrap is good too, but "Instant Gods Out of the Box" has to be one of my favorite electronic tracks ever. I highly recommend this record. I've heard people say that this is what Autechre should have ended up like...

If you like this, check out Mm. Good stuff.
4909780
I love their voices and enjoy the record. I need to get an earlier record with my favorite songs they recorded.
1604676
Admittedly, I am not classical music aficionado nor a trained sound engineer.  But, I do know gorgeous music when I hear it, and this recording is overwhelmingly gorgeous, from first note to last.
Its brilliant quality is evident, perhaps foremost, in the sensitive and absolutely beautiful interpretation of the music itself; rendered by the Academy with an intuition and liquidity few other classical recordings can boast, as if the music were merely the plaything of their collective imagination.  One can so easily forget that one is listening to music when this recording is playing, because the emotional heart of it so transparently shines through.  There is no separation of the recording into its technical and other qualities.  It stands whole and pure.
That said, if one really wants to, one may bend an ear to the sound quality itself, and be just as entranced.  There is a warmth and a harmonious sheen, if you will, that simply brings joy.
I could go on, but the main point is that if you love classical music, especially Baroque, you owe it to yourself to buy this recording.  It may become your "go to" -- as it has for me -- and bring a level of beauty and serenity to your life that perhaps few other recordings could.
3956080
I own six different recordings of Tchaikovsky's 1812 Overture and this one is my absolute favorite. I wish someone would digitize it.