Customer Reviews

Carlo Maria Giulini- The Chicago Recordings

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Although he never received the publicity accorded to some more famous conductors, Carlo Maria Giulini was equal to, or better than, all such "star" conductors. In fact, Giulini was quite simply one of the half dozen or so greatest conductors of the 20th century. Although Giulini recorded with many major orchestras, some of his finest recordings were made with the Chicago Symphany Orchestra. Several of his finest recordings are contained in this outstanding collection. If you are familiar with these recordings from LPs here's your chance to get them on CD. If you are not yet familiar with this outstanding conductor, this collection is an excellent introduction to some of his finest work.

Giulini is always among my favorite conductors and this set includes some of his great recordings with CSO(1969-1976,studio,stereo) that you can not find their another editions: Beethoven 7 and Bruckner 9 ( + Mahler 1, Brahms 4, Berlioz-Romeo&Juliet, Stravinsky-Petroushka&Firebird Suites.)
CSO on its top form under the baton of Giulini...Very well recorded sounds by EMI...Wonderfull edition(not cardboard!)...Incredible price for 4 CD... Highly,highly,highly recommended...

During the period from 1969 to 1976, distinguished conductor Carlo Maria Giulini made magnificient recordings for both EMI and Deutsche Grammophon with the Chicago Symphony Orchestra, while serving as the orchestra's Principal Guest Conductor. These recordings remain among the most celebrated classical music recordings ever made, most notably his Mahler symphony recordings. In honor of the retired conductor's 90th birthday, EMI has issued most of his finest Chicago Symphony Orchestra recordings; most notably a very intensely lyrical Mahler 1st Symphony that earned a 1971 Grammy Award for best orchestral recording and a fine Brahms 4th Symphony. Often underrated as among the 20th Century's greatest conductors, I am delighted that EMI has recognized Giulini's legacy by issuing this fine 4 CD set.

Oh boy do these recordings bring back aural memories!

This was the era when I began to develop a voracious appetite for classical music. Everything was new to me, and my tastes were driven by reviews in Stereo Review and High Fidelity (The Gramophone came my life several years later, as my tastes - and acquisitions - became bit more sophisticated).

I love them all - to the point where I re-purchased several of them during that time, when EMI introduced it's ill-fated (and realistically doomed) 45 rpm ('audiophile" pressings of at least two - the Mahler 1 and The Firebird. I seem to recall that the surface noise and warpage of the 45 rpm vinyl obliterated nearly all of the "audiophile" sonic improvements of the time.

The same, of course, can not be said of this set. The sound quality goes beyond anything possible those few decades - particularly now that digital reproduction can convery string tone without the harshness of the early digital era.

Giulini's interpretaions remain benchmark performances (I claim definative status for very few performances - maybe Toscanini's 1937 recording of Beethoven's Seventh with the NYP!) The Mahler and Stravinsky still give me goosebumps, and the Bruckner remains - in my opinion - in a class by itself.

I feel Giulini brought something very special and unique to these works. I just remember listening to the original LPs (of the Mahler and Bruckner) in my darkened room and being transported. The Firebird was simply ravishing to me.

It's odd how lovers of music always argue "the best" interpretation, or the "top tier" of conductors. Regardless - either case does not always translate into popularity with the public at large. I don't understand why it's necessary to disparage Giulini's work in terms of what he could have accomplished, rather than celebrate what he did accomplish. And for me, this box documents some very amazing accomplishments indeed (particularly if you contrast them with the CSO's recordings under Solti's baton made during the same period).

EMI got this release right! Let's hope they release similar historic recordings outside of their "Recordings Of The Century" series.

Bravo!

I had several of these recordings on LP and jumped to buy this CD set when it came out. The CSO was at the time of these recordings, as ever, a magnificent orchestra, with the likes of Ray Still and Adolph Herseth in the primes. And while Giulini became well known for Mahler and Bruckner, not to mention Beethoven and Brahms, it's the Berlioz R&J that really stands out to me. This was a great conductor/orchestra relationship, and these recordings are to be treasured. I could only wish the classical record industry was still robust enough that DG would issue a similar set of their recordings from this partnership: Schubert C Major; Mahler 9, etc..

I bought this set based largely on the glowing reviews I read on here. I have to wonder at the quality of their playback equipment.

I am only familiar with the Stravinsky works from a vinyl recording years ago. I remember the recording to have a warmer, smoother, soundstage. Here, the remastering has developed a brightness and edge that is not wholely unpleasant or out-of-character for the two suites, but is not what I remember on my turntable.

As to the rest of the recordings, there is a harshness and edge to the sound that I found really unpleasant; particularly with the brass section (was the trumpet section using rotary-valve trumpets). I found the listening experience so negative, I listened to some more than once to be sure it wasn't the medium causing my negative reaction (headphones vs. speakers). No, it was the same each time. Didn't anybody notice, and found objectionable, the principle trumpet in the Bruckner 9th? After all, those passages were not for trumpet solo. He was so totally, glaringly, out-of-balance with the rest of the orchestra (not to mention the brass section); it was almost to the point of being obnoxious. The Berlioz which should have a delicacy of touch and a smoothness and refinement but instead was played by the Chicago Symphony like the perverbial "bull in a china shop". I have a recording on Decca Gold of the Brahms 4th with Max Rudolf conducting the "original" CSO on well-worn vinyl with much better sound then what is heard on this CD.

I really need to hear the vinyl pressings of these to be sure that the problem wasn't the re-mastering process. If it was the re-mastering, then the technician should have his union card revoked. But, if it wasn't the re-mastering...

I am surprised to say this but this is one ugly set. I was going to buy Giulini's other American recordings on DG; I remember Giulini's Mahler 9th with Chicago on vinyl to be especially nice. But after hearing these, I'm beginning to have doubts.

I was going to give this set 1 star, but out of respect for Giulini, I'm giving it 2; and that is generous.

I have always been a fan of Giulini's conducting since I began listening to Classical. In this case, I bought this disk for four reasons 1. You can never have too many recordings of Bruckner or Mahler. 2. It's Giulini for God's Sake. 3. I was curious to hear a remastering of his sensational Brahms 4. 4. I could finally get his fantastic Firebird Suite on CD. Mission accomplished...however the Brahms and Stravinsky are the highlights on this disk and I already had those recordings (although it was nice to get an upgrade to CD). The Mahler is clearly outclassed by competition from Kubelik and Horenstein. The Bruckner bested by Jochum or Tintner on Naxos. I don't regret buying the disk, however, while I have multiple recordings of the Brahms and Stravinskky...Giulini's readings will always have a special place for me.

The reviewer who says that these are among the most celebrated of classical recordings is exaggerating. Giulini's Chicago recordings for EMI were mostly commercial failures and quickly vanished from sight after a brief life on LP. After a spectacular early stretch with Don Giovanni, the Marriage of Figaro, and the Verdi Requiem, Giulini should have shot to the top tier of recording artists.

But as one hears on this excellent but not great collection, Giulini's Mahler is not as exciting as Bernstein's, his Berlioz not as gripping as Colin Davis's, his Brahms not as full of integrity as Klemperer's or Karajan's. He stood well below those great condcutors for much of his career, and yet Giulini was undoubtedly special. He just continued throughout his career to be spotty. His Bruckner Seventh on a live BBC recording is spectacular, even better than his inward, mystical recordings of the Burckner Eighth and Ninth for DG. I greatly admire his DG Schumann Rhenish Sym., his Erocia and Beethoven Fifth, and a live War Requiem and Schubert Ninth, both on BBC--while also acknowledging that he made many other recordings that didn't touch greatness.

I think Giulini had greatness in him, but there was some inner chemistry that had to fire, and even he didn't know when that would happen. In this regard he was like Klaus Tennstedt, who was even more erratic.

Giulini should have given us a great Mahelr Ninth and Das Lied von der Erde, but he didn't. HIs Missa Solemnis and Beethoven Ninth should have been towering spiritual achievements, but they are actually almost routine by great conductor standards. Sadly, he had no sublime autumn to his career; the late recordings on Sony and DG are distressingly slack and ponderous, often parodying his famous spirituality on the podium.

I think eveyrthing in this bargain set is of a high standard, not Giulini at his very peak but close.