Favorite Classical CDs by 
NickVolos 
If you made it this far down, you just discovered my favorite chart of all - a list of my favorite classical CDs. Most of these CDs are collections of multiple of the composer's works - in some cases spanning the whole lifetime of the composer - rather than individual works. The chart is sorted based on my favorite collection of a composer's work and not based on the performer(s) and/or conductor that interprets it. All selections are rated 100 as all represent the absolutely top most quality that music has to offer. Reverse this chart from 100 to 1 and the music in it remains beautifully perfect.
- Chart updated: 02/09/2015 13:15
- (Created: 11/07/2013 04:43).
- Chart size: 27 albums.
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A bargin box containing excellent recordings of the majority of Faure's chamber music - the major omission is the ensemble version of 'La Bonne Chanson' - this issue is self recommending. If the versions here are not the finest in the catalogue, they are all excellent performances which will give a great deal of pleasure.
Christian Ferras' versions of the violin sonatas are delightful though, perhaps, not quite as insightful as those by Isabelle Faust on Harmonia Mundi. Tortelier and Heidsieck give us splendid interpretations of the cello music and the Bernede Quartet a most enjoyable one of the string quartet. The latter are joined by Samson Francois in the first Piano Quartet. Jean-Phillippe Collard and Parrenin Quartet give us the second and the two Piano Quintets - all delightful, subtle, performances of this elusive music.
The final disc is given over to the Piano Trio - an excellent performance - and a selection of short solo pieces for violin and flute with piano. It ends with some music for piano four hands including the original versions of the 'Dolly Suite' and the first movement of 'Masques et Bergamasques'. The whole disc forms a delightful anthology in its own right and brings a fine anthology to a fitting conclusion.
The sound quality is generally excellent but some of the works - recorded in the cavernous Salle Wagram in Paris - are arguably more closely miked than would have been ideal. On balance this is a finer economy Faure chamber music collection than that on Brilliant Classics and one that will give great pleasure. Highly recommended. (J. Gibbons, Amazon UK Customer Review) [First added to this chart: 12/09/2013]
Christian Ferras' versions of the violin sonatas are delightful though, perhaps, not quite as insightful as those by Isabelle Faust on Harmonia Mundi. Tortelier and Heidsieck give us splendid interpretations of the cello music and the Bernede Quartet a most enjoyable one of the string quartet. The latter are joined by Samson Francois in the first Piano Quartet. Jean-Phillippe Collard and Parrenin Quartet give us the second and the two Piano Quintets - all delightful, subtle, performances of this elusive music.
The final disc is given over to the Piano Trio - an excellent performance - and a selection of short solo pieces for violin and flute with piano. It ends with some music for piano four hands including the original versions of the 'Dolly Suite' and the first movement of 'Masques et Bergamasques'. The whole disc forms a delightful anthology in its own right and brings a fine anthology to a fitting conclusion.
The sound quality is generally excellent but some of the works - recorded in the cavernous Salle Wagram in Paris - are arguably more closely miked than would have been ideal. On balance this is a finer economy Faure chamber music collection than that on Brilliant Classics and one that will give great pleasure. Highly recommended. (J. Gibbons, Amazon UK Customer Review) [First added to this chart: 12/09/2013]
Year of Release:
1979
Appears in:
Rank in 1979:
None
Rank in 1970s:
None
Average Rating:
Comments:
0
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Dowland is recognised as the true giant of late 16th- and early 17th-century lute. His music is very beautiful and although often characterised by melancholy ("Semper Dowland, semper dolens") there are also lively dances and works of limpid beauty here. Over four CDs you get the whole of Dowland's wonderful output for solo lute, and it makes a set to last a lifetime.
Lindberg plays the music superbly. Other excellent recordings exist by Paul O'Dette and Nigel North, but this remains my favourite Complete Dowland, possibly because it was the first I heard. Lindberg, to me at least, has a real empathy with the music and the excellent technique needed to express it well. These things are a matter of taste, of course, but given the astounding value represented by this reissue you can't go far wrong with this set. Very highly recommended. (Sid Nuncius, Amazon Customer Review) [First added to this chart: 11/21/2013]
Lindberg plays the music superbly. Other excellent recordings exist by Paul O'Dette and Nigel North, but this remains my favourite Complete Dowland, possibly because it was the first I heard. Lindberg, to me at least, has a real empathy with the music and the excellent technique needed to express it well. These things are a matter of taste, of course, but given the astounding value represented by this reissue you can't go far wrong with this set. Very highly recommended. (Sid Nuncius, Amazon Customer Review) [First added to this chart: 11/21/2013]
Year of Release:
2008
Appears in:
Rank in 2008:
None
Rank in 2000s:
None
Average Rating:
Comments:
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I can't praise highly enough the service to the music world that Brilliant Classics is doing by issuing the complete works of both well-known and lesser-known masters. Brilliant is perhaps best known for its complete sets of Bach, Mozart, and Beethoven, each priced at a little over $100 for close to 100 CDs in each set.
I was previously familiar with the English Thomas Tallis (1505-1585), but not with the complete spectrum of his works, which is available in this set. Most of the works are Catholic Latin choral works, highly suggestive of the sublime master of sacred polyphony, Giovanni Pierluigi da Palestrina (1514-1594), Tallis's Italian contemporary.
Palestrina remained completely Catholic, and wrote only for the Church. Tallis, as an Englishman, was caught up in that revolutionary period, when Henry VIII and his successors began introducing modified Church services in the early part of that period known as the Protestant Reformation. CD6 contains some of the music for these services, some in Latin and some in English. (English just doesn't cut it as a liturgical language; it always comes across as trite in comparison to the Latin.)
Some of Tallis's Latin settings almost equal the great Palestrina, such as "Spem in alium" for forty individual voices, which is perhaps the most familiar of Tallis's works. CD9 and CD10 contain Tallis's instrumental music, primarily on lute and harmonium, with some vocal airs.
The engineering is clear, as with all the Brilliant Classics sets, which are not reissues of older material, but new recordings. The 10-CD set is supplemented by a CD-ROM containing all linernotes and text of the vocal music. (Amazon Customer Review) [First added to this chart: 07/05/2014]
I was previously familiar with the English Thomas Tallis (1505-1585), but not with the complete spectrum of his works, which is available in this set. Most of the works are Catholic Latin choral works, highly suggestive of the sublime master of sacred polyphony, Giovanni Pierluigi da Palestrina (1514-1594), Tallis's Italian contemporary.
Palestrina remained completely Catholic, and wrote only for the Church. Tallis, as an Englishman, was caught up in that revolutionary period, when Henry VIII and his successors began introducing modified Church services in the early part of that period known as the Protestant Reformation. CD6 contains some of the music for these services, some in Latin and some in English. (English just doesn't cut it as a liturgical language; it always comes across as trite in comparison to the Latin.)
Some of Tallis's Latin settings almost equal the great Palestrina, such as "Spem in alium" for forty individual voices, which is perhaps the most familiar of Tallis's works. CD9 and CD10 contain Tallis's instrumental music, primarily on lute and harmonium, with some vocal airs.
The engineering is clear, as with all the Brilliant Classics sets, which are not reissues of older material, but new recordings. The 10-CD set is supplemented by a CD-ROM containing all linernotes and text of the vocal music. (Amazon Customer Review) [First added to this chart: 07/05/2014]
Year of Release:
2007
Appears in:
Rank in 2007:
None
Rank in 2000s:
None
Average Rating:
Comments:
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No wonder that this has won a Gramophone Editor's Choice award!
It is an exceedingly witty interpretation that retains character without sacrificing clarity. It manages to use a classical tempo to acheive a jazz swing which is impressive. The music itself is very entertaining and perky, with some exquisite slow movements. This is a rare insight into Shostakovitch's more happy side.
It is VERY easy to listen to, unlike his symphonies, and although some may criticise this for its lack of depth, I would argue that these works are not renowned for any profound meaning. Just enjoy them!
In all probability motivated by survival as much as art, the Jazz suites may be too easy to dismiss unless you are familiar with the composer's more "serious" works. However, on repeated listening, this oddly light selection of movements proves itself to be unadulterated Shostakovich. While seemingly far removed from the affecting turmoil of the symphonies, many of these pieces display the same keen wit, irony and even sarcasm one might find in, say, the second movement of the eighth, or the finale of the sixth. Dimitry is in playful mood and nobody can craft musical mischief like Dimitry in his stride. There is almost a sense of parody to some of these works, but the material is so strong that even when scoring to such a strict style, rather than composing freely, Shoshtakovich's personality, trademarks and fantastic ability shine through. Finally, these works prove, if proof were needed, that the man had a fine ear for a tune. If you were to count the number of killer hooks on this record you would soon run out of fingers and toes. Gorgeous, mind-melting melodies are paraded by thick and fast, some only meriting one or two repeats before the next jaw-dropping change of direction.
The musicianship on this particular interpretation, the sound quality also, manage to remain as lively, fresh and skilful as the music. It has the feeling of a live concert - you can almost see the expressions on their faces. (Amazon Customer Reviews) [First added to this chart: 11/08/2013]
It is an exceedingly witty interpretation that retains character without sacrificing clarity. It manages to use a classical tempo to acheive a jazz swing which is impressive. The music itself is very entertaining and perky, with some exquisite slow movements. This is a rare insight into Shostakovitch's more happy side.
It is VERY easy to listen to, unlike his symphonies, and although some may criticise this for its lack of depth, I would argue that these works are not renowned for any profound meaning. Just enjoy them!
In all probability motivated by survival as much as art, the Jazz suites may be too easy to dismiss unless you are familiar with the composer's more "serious" works. However, on repeated listening, this oddly light selection of movements proves itself to be unadulterated Shostakovich. While seemingly far removed from the affecting turmoil of the symphonies, many of these pieces display the same keen wit, irony and even sarcasm one might find in, say, the second movement of the eighth, or the finale of the sixth. Dimitry is in playful mood and nobody can craft musical mischief like Dimitry in his stride. There is almost a sense of parody to some of these works, but the material is so strong that even when scoring to such a strict style, rather than composing freely, Shoshtakovich's personality, trademarks and fantastic ability shine through. Finally, these works prove, if proof were needed, that the man had a fine ear for a tune. If you were to count the number of killer hooks on this record you would soon run out of fingers and toes. Gorgeous, mind-melting melodies are paraded by thick and fast, some only meriting one or two repeats before the next jaw-dropping change of direction.
The musicianship on this particular interpretation, the sound quality also, manage to remain as lively, fresh and skilful as the music. It has the feeling of a live concert - you can almost see the expressions on their faces. (Amazon Customer Reviews) [First added to this chart: 11/08/2013]
Year of Release:
1993
Appears in:
Rank Score:
2
Rank in 1993:
Rank in 1990s:
Average Rating:
Comments:
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Aldo Ciccolini is one of those rare pianists who can play with tremendous power and rather on the fast side, yet manage somehow not to sound vulgar or bombastic. His weak point are the more lyrical moments where he falls rather short of what a Jorge Bollet might offer you. The Consolations and the Liebesträume are rushed and insensitive, though neither of the sets is entirely without merit. Ciccolini's Tarantella, Dante Sonata and Second Ballade are probably some of the fastest on record. They do lack subtlety, but there is an exhilarating passion to compensate for that. Likewise, signor Ciccolini largelly misses the poetry of the Ballades and most of the pieces from 'Harmonies Poétiques et Religieuses', but even in its wildest moments his playing never degenerates into the mindless banging so fashionable nowadays among 'Liszt interpreters'; his rather fast tempi sound really quite refreshing, especially considering the modern vogue for slow motion which is misguidedly equalled with musicianship.
Taken as a whole, this set is superbly recorded and spectacularly played. Annees de Pelerinage is the highlight in both aspects: the sound has amazing depth and clarity for recording from the early 1960s (and for EMI at that) and Ciccolini's devil-may-care virtuosity is just about irresistible. I have yet to hear more powerful and more profound renditions of 'Chapelle de Guillaume Tell' and 'Orage' - even Bolet and Berman couldn't match Ciccolini's grandeur here. The two Legendes come pretty close to that level and so do most of the operatic transcriptions, most notably the famous Waltz from Gounod's 'Faust', Isolde's Libestod from Wagner's 'Tristan und Isolde' and especially Liszt's amazing paraphrases of themes from Verdi's 'Aida' and 'Il Trovatore'. These are almost literaly hair-raising recordings. But very musical too. ( Alexander Arsov, Amazon Customer Review) [First added to this chart: 11/16/2013]
Taken as a whole, this set is superbly recorded and spectacularly played. Annees de Pelerinage is the highlight in both aspects: the sound has amazing depth and clarity for recording from the early 1960s (and for EMI at that) and Ciccolini's devil-may-care virtuosity is just about irresistible. I have yet to hear more powerful and more profound renditions of 'Chapelle de Guillaume Tell' and 'Orage' - even Bolet and Berman couldn't match Ciccolini's grandeur here. The two Legendes come pretty close to that level and so do most of the operatic transcriptions, most notably the famous Waltz from Gounod's 'Faust', Isolde's Libestod from Wagner's 'Tristan und Isolde' and especially Liszt's amazing paraphrases of themes from Verdi's 'Aida' and 'Il Trovatore'. These are almost literaly hair-raising recordings. But very musical too. ( Alexander Arsov, Amazon Customer Review) [First added to this chart: 11/16/2013]
Year of Release:
2006
Appears in:
Rank in 2006:
None
Rank in 2000s:
None
Average Rating:
Comments:
26. (=)
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[First added to this chart: 06/27/2014]
Year of Release:
1972
Appears in:
Rank in 1972:
None
Rank in 1970s:
None
Average Rating:
Comments:
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Originally issued on five full-priced CDs, Aldo Ciccolini’s 1991 EMI Debussy cycle breezed in and out of the catalog in a flash. The discs are now gathered together in a budget boxed set. For less than the cost of dinner and a movie, Ciccolini’s Debussy provides ample food for thought. His hard-nosed sonority is pungent rather than perfumed, which doesn’t quite jibe with the composer’s “hammerless piano” ideal. Sometimes Ciccolini avoids sensuality where it’s most needed, like La puerta del vino (in Preludes Book II) or his slow and static Hommage à Rameau (Images Book I). But more often than not, Ciccolini’s forceful, masculine approach to the Preludes, Images, Estampes, Pour le Piano, Children’s Corner, and sundry short works provide a refeshing corrective to spineless, watery pianism that passes for “impressionism”. Actually the word “expressionism” best describes the pianist’s blunt, Prokofievian recreations of the 12 Etudes.
In addition to the standard canon of solo works, Ciccolini includes the piano reduction of Debussy’s ballet La Boite à joujoux, plus the composer’s two-hand arrangement of his Six Epigraphes antiques for piano duet. You also have a chance to hear the Etude Retrouvée, Debussy’s strikingly different first version of the Etude pour les arpèges composés. Among pianists who’ve recorded Debussy in toto, only Martin Jones’ admirable Nimbus set offers palpable budget-price competition, and the addition of the orchestral work Jeux in a piano transcription. EMI’s notes are in French only. (Jed Distler, Classics Today, http://www.classicstoday.com/review/review-5697/)
In addition to the standard canon of solo works, Ciccolini includes the piano reduction of Debussy’s ballet La Boite à joujoux, plus the composer’s two-hand arrangement of his Six Epigraphes antiques for piano duet. You also have a chance to hear the Etude Retrouvée, Debussy’s strikingly different first version of the Etude pour les arpèges composés. Among pianists who’ve recorded Debussy in toto, only Martin Jones’ admirable Nimbus set offers palpable budget-price competition, and the addition of the orchestral work Jeux in a piano transcription. EMI’s notes are in French only. (Jed Distler, Classics Today, http://www.classicstoday.com/review/review-5697/)
Year of Release:
2000
Appears in:
Rank in 2000:
None
Rank in 2000s:
None
Average Rating:
Comments:
Total albums: 27. Page 3 of 3
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Favorite Classical CDs composition
| Decade | Albums | % | |
|---|---|---|---|
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| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 1 | 4% | |
| 1960s | 0 | 0% | |
| 1970s | 3 | 11% | |
| 1980s | 3 | 11% | |
| 1990s | 8 | 30% | |
| 2000s | 12 | 44% | |
| 2010s | 0 | 0% | |
| 2020s | 0 | 0% |
| Country | Albums | % | |
|---|---|---|---|
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9 | 33% | |
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3 | 11% | |
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3 | 11% | |
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2 | 7% | |
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2 | 7% | |
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2 | 7% | |
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1 | 4% | |
| Show all | |||
Favorite Classical CDs chart changes
| New entries |
|---|
 Debussy: L'Oeuvre Pour Pianoby Aldo Ciccolini |
Favorite Classical CDs similarity to your chart(s)
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