Customer Reviews

Liszt & Enesco Rhapsodies No. 1

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

 

 

These rhapsodies bubble over with foot-tapping dance rhythms, contagiously jovial melodies, sensuous gypsy tunes, and an incredible endless array of striking ORCHESTRAL COLOR. Liszt's flair for such intense and specific coloration with his piquant harmonies and orchestration make these pieces irresitable in the hands of ANY conductor.

However, in Dorati's hands, a ballet master, the dance truly lives in every bar. Muscular, controlled, yet allowing for the written-in zany-ness inherent in each rhapsody. Also, again his gutty strings coupled with Mercury's "front-row-seat" sound really make for thrilling experiences. (as in the opening bars of number 4 on the disc: WOW!)

Those who buy this CD for the popular Rhapsody 2 (from Tom and Jerry and other various cartoons) will be delighted to know that you will soon fall in love with EVERY rhapsody on here. They all have their own unique character, but are comprised of those same essential elements of anything so purely likable and fun. The Enesco Rhapsody which begins the CD is another one which I am thankful to be introduced to- poignant, tender, and later racous and brutishly energetic.

You will not be displeased with this. Beware the contagious nature though, you may find yourself singing and dancing to these on the inside all day!

When I want a CD to play for friends who are non-classical, I pick this one. What fun! Dorati is indeed in his element with this music, particularly the Enescu work. This is music accessible to people of all musical persuasions.

Of course, the Living Presence technique of recording only enhances the beauty of Dorati's performance. Convincing argument for the analog crowd!

When I want a CD to play for friends who are non-classical, I pick this one. What fun! Dorati is indeed in his element with this music, particularly the Enescu work. This is music accessible to people of all musical persuasions.

Of course, the Living Presence technique of recording only enhances the beauty of Dorati's performance. Convincing argument for the analog crowd!

Loved all the tracks. Listened to this music as a child. Additional tracks were great.

This must have been one of the most spectacular recordings of the early stereo period, when they were striving for effect. I don't know enough to say whether the orchestration is authentic, but the record is worth the price for the cembalom sounds alone. A friend listened to it with me and remembered getting the Second Rhapsody as a promotion as a child. It started him on a life-long love of classical music. I too remember the cover, but my entry-point was probably Offenbach and Suppe. Anybody out there remember a 78 of Suppe's Fatinitza, backed by Toselli's Rimpianto? The madeleine of music. John Keane