Moussorgsky: Night on Bald Mountain/Pictures at an Exhibition

Modest Mussorgsky (Composer), Lorin Maazel (Conductor), Cleveland Orchestra (Orchestra), Nikolai Rimsky-Korsakov (Orchestra)

Product Details

• Orchestra: Cleveland Orchestra, Nikolai Rimsky-Korsakov
• Conductor: Lorin Maazel
• Composer: Modest Mussorgsky
• Audio CD (October 25, 1990)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Telarc
• ASIN: B000003CSH
• In-Print Editions: MP3 Download
• Average Customer Review: 4.4 out of 5 stars  See all reviews (20 customer reviews)
• Amazon.com Sales Rank: #22,385 in Music (See Bestsellers in Music)

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  #3 in	Music > Classical > Featured Performers, A-Z > ( M ) > Maazel, Lorin
  #21 in	Music > Classical > Featured Composers, A-Z > ( M ) > Mussorgsky, Modest
  #21 in	Music > Classical > Featured Performers, A-Z > ( C ) > Cleveland Orchestra

Editorial Reviews

Amazon.com essential recording

This was one of the recordings that put Telarc on the musical map, and first revealed the potential of digital recording technology to millions of music lovers and stereo buffs. It's still one of the very finest recordings of "Pictures" around, both as sound and performance. Lorin Maazel maintained the high standards of execution that George Szell inculcated during his quarter century in Cleveland, and for sheer hair-trigger precision, the playing is simply unbeatable. In addition, Telarc captured the performance in what was then and remains demonstration-quality sound, with the famous bass drum thwacks putting a practically subsonic foundation on the whole enterprise. Still a classic. --David Hurwitz

Customer Reviews

Most Helpful Customer Reviews

39 of 41 people found the following review helpful:

5.0 out of 5 stars A great one, but there should be more music in here, December 14, 2000

By	Mark Kolakowski (Fair Haven, NJ United States) - See all my reviews (REAL NAME)

I agree with Mr. Hurwitz and the customers below who rave about this performance and its sound quality. "Pictures" remains my favorite classical composition, and I've collected 6 versions of it (this one plus readings by Szell, Reiner, Ormandy and Dorati, the latter paired on Mercury with Byron Janis' brilliant rendition of the original piano version). I put this one and Szell's at the head of the class. My one quibble with this disc is that it's rather overpriced for a mere 40 minutes of music. The Szell disc, on Sony Essential Classics, gives you over an hour's worth of playing time for only half the price, and includes absolutely crackling performances of Hary Janos (Szell wasn't bashful about putting the cimbalon front and center, to great effect) and Lt. Kije. All in all, the Szell disc is a much better value, although you still might consider Maazel's recording if you really want a top-notch Bald Mountain. There's also a technical detail that makes this CD a bit annoying for those who might want to skip around the vignettes, for whatever reason: "Pictures" is on a single track, rather than parsed into 15 tracks, as is the norm.

21 of 22 people found the following review helpful:

5.0 out of 5 stars A definitive look at Lorin Maazel's capabilities., July 14, 2003

By	Bob Zeidler (Charlton, MA United States) - See all my reviews (TOP 500 REVIEWER)

With Lorin Maazel recently installed as the music director of the New York Philharmonic Orchestra, there arises the question "What can we expect from this relationship?"

As a partial answer to the question, I have gone through my own library of Maazel recordings, covering a period of nearly 40 years and several orchestras and labels, as well as a fairly wide range of repertoire, to select this all-Mussorgsky album as one of the finest he has done to date. The album has been in my library for nearly a quarter-century in LP form, and then the CD release was added very early in the market launch of CDs in the U.S. nearly 20 years ago. The passage of time has not diminished in the slightest either the superb performances or the equally superb sonics of this Telarc recording, made with the Cleveland Orchestra.

Maazel's relationship with the musicians of the Cleveland Orchestra was nothing if not "stormy"; as a result, his tenure there was fairly short-lived. But - in his favor - he is both a superb "orchestra builder" and a conductor not known for waywardness. (As an aside, anyone looking for a "wayward," unidiomatic performance of the Mussorgsky/Ravel "Pictures at an Exhibition" need look no further than Sergiu Celibidache's performance, on EMI, with the Munich Philharmonic. If nothing else, that Celibidache recording will provide one with an appreciation of this Maazel recording.)

Both Mussorgsky works on this recording are testimony to a number of interrelated factors: the warm acoustics of Severance Hall in Cleveland, the recording techniques of Telarc (using minmal microphone set-ups in ideal locations as pioneered by Robert Fine of Mercury Records), the muscianship of the orchestra, and the interpretive insights of Maazel. The ensemble work throughout is razor-sharp, with ultra-clean entrances and perfect balance of orchestral choirs. The recording provides a heightened sense of realism, in which the ability of Maazel to draw out the inner lines of the music is supported by the technical genius of Bob Woods and Jack Renner and their Telarc team in providing the acoustical ambience for appreciating the work of conductor and orchestra.

Nowhere is this combination made clearer than in the closing pages of "The Great Gate of Kiev" in "Pictures at an Exhibition." The final perorations of the brass choir, in the concluding coda, are simply stunning in their top-to-bottom fullness and clarity. To this day, I still marvel at the ability to hear every single instrumental line in this brass peroration; it is as if I could "focus" on any individual instrument of my choice. Surely, despite its age, this recording remains as one of the benchmarks for audio quality not soon to be surpassed.

By today's standards, this CD is rather "small measure" in terms of listening time (although it certainly wasn't in its original LP guise, or in the very earliest days of CDs). And, as much as I enjoy the Ravel transcription of "Pictures at an Exhibition," I also like to listen to both the Stokowski transcription and the Gortchakov one (the favorite of Kurt Masur, Maazel's predecessor at the NYPO) as well. But Maazel's reading of the Mussorgsky/Ravel remains the definitive one for me.

This CD is both a piece of "audio history" and a pair of stunning performances with the Cleveland Orchestra performing and sounding at its very highest level. Yes, definitely one of Maazel's best.

Bob Zeidler

18 of 20 people found the following review helpful:

5.0 out of 5 stars The Best Mussorgsky I've Heard, April 23, 2001

By	John Kwok (New York, NY USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

This classic recording of Mussorgorsky's most popular orchestral works deserves its critical acclaim. Not only is the sound quality in this early digital recording exemplary, but the performances are first rate. Both the Penguin Guide to classical CD music and Grammophone's guide list Maazel's interpretation of "Pictures at an Exhibition" as definitive. The Cleveland Orchestra gives a lush, warm performance akin to those I've heard from the Berlin Philharmonic under the batons of Karajan and Giulini, but under Maazel's conducting the Cleveland Orchestra plays better. And their performance of "Night..." is first rate too. The Cleveland Orchestra plays both pieces with precision as well as warmth. I wouldn't be surprised if this was one of the finest recordings made during Maazel's stormy tenure as the Cleveland Orchestra's music director. I agree with those who have complained that Telarc should have listed more tracks for "Pictures at an Exhibition", but this is a minor nuisance. A more valid criticism is the CD's cost with regards to the length of these performances. Yet if you're interested in acquiring two of the best performances of Mussorgsky's work then buy this CD. I guarantee you won't be disappointed.