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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2. (=)
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The idea of a "perfect recording" is, of course, chimerical. But Trevor Pinnock's "Brandenburg Concertos" and "Orchestral Suites" come pretty close to the mark. There are two factors which put this 3-CD set in the category "very special": One is the sheer musicianship of the young English Concert team. Every soloist seems to want to outdo the others in technical skill, tonal clarity and emotional verve. Listen to Pinnock himself on the harpsichord in the Brandenburg Concert No. 5; listen to Lisa Beznosiuk accompanying him on the traverse flute; listen to Simon Standage, Philip Pickett and Rachel Beckett in Concert No. 4 ... and so the list goes on. This is an unending sequence of instrumental delights, and only someone who dislikes Baroque period instruments on principle will fail to experience heights of enjoyment of this exquisite sound. Which brings me to the second factor: Seldom have I heard such a brilliant recording! Deutsche Grammophon is generally known for superior sound, but this 1982 piece of digital engineering (Brandenburg Concertos) surpasses anything I have ever heard even from this label: Purity, clarity, spaciousness and presence are uniquely combined to provide a listening experience which could hardly be topped. The Orchestral Suite sound (analogue recording from 1979/1980) is only slightly less brilliant and also deserves great praise. I have listened to a number of rival recordings, but nothing captivates me quite like the the English Concert discs. The only slight question mark could perhaps be put behind the Sixth Brandenburg Concerto, which in its Adagio slow movement seems to lack a little fire. Generally, Pinnock has chosen tempi that are moderate, and although musicologists and interpreters since this recording (Goebel; Rampe) have argued cogently for faster rhythms, their efforts sound decidedly contrived in comparison with Pinnock's easy, flowing version which caresses the ear without betraying any of Bach's depth or humour...(Leslie Richford, Amazon Customer Review)
[First added to this chart: 11/07/2013]
0
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I absolutely love this collection of Concertos, this recording was performed by one of the finest chamber orchestras - The English Concert, conducted by Trevor Pinnock from the harpsichord and organ. This is a 5 CD set released in 1988 on the Archiv label. This group covers over three decades of Vivaldi's career from the winter of 1708 until one month before his death in 1741. The format is 'alla rustica' - the musical instuments include violin, viola, violoncello, double bass, transverse flute, archlute, chamber organ, harpsichord, bassoon, theorbo, mandolin, chalumeau, recorder, and oboe and are from the period. This set will give you nearly a day of Vivaldi without interruption. When I have a long stretch of intensive study or writing this is a favorite...Baroque music invigorates the mind like nothing else, bringing out your creativity and mental endurance. Sometimes I will simply watch the sun set to it, enjoying a glass of merlot or hot tea depending on the agenda for the evening. (Hobbitears "Carol Cassedy", Amazon Customer Review)
Note: this is actually a 2001 release but contents are the same. [First added to this chart: 11/07/2013]
Note: this is actually a 2001 release but contents are the same. [First added to this chart: 11/07/2013]
Year of Release:
2001
Appears in:
Rank in 2001:
None
Rank in 2000s:
None
Average Rating:
Comments:
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Antonio Vivaldi wrote several settings of the choral composition Gloria. RV 589 is the most familiar and popular piece of sacred music by Vivaldi; however, he was known to have written at least three Gloria settings. Only two survive (RV 588 and RV 589) whilst the other (RV 590) is presumably lost and is only mentioned in the Kreuzherren catalogue. The two were written at about the same time (it is disputed which came first) in the early 18th century.
RV 589
This is the better known setting of the Gloria, simply known as the Vivaldi "Gloria" due to its outstanding popularity. This piece, along with its mother composition RV 588, was composed at the same time during Vivaldi's employment at the Pieta. Two introduzioni exist as explained in the aforementioned article.
As in RV 588, there exists evidence of influence by RV Anh. 23: the first movement's chorus shares similar key modulations to that of the first movement of RV 588, only modified to fit a duple meter instead of the triple meter of RV 588. Motivic material present in the orchestral parts of either piece are also shared, including octave jumps in the opening motives of the piece. The second movement is significantly more chromatic in RV 589, but nonetheless is texturally similar to the setting present in RV Anh. 23, with the use of repeating rhythmic figures underneath harmonic motion. The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23). The last movement, "Cum Sancto Spiritu," is essentially an "updated" version of movement present in both RV Anh. 23 and RV 588, except extensively harmonically modified, becoming more chromatic than its predecessors, reflecting a maturity in Vivaldi's output and the emerging style of the late Italian Baroque. (wikipedia)
I hope... that when I eventually get to Heaven, assuming that Heaven will be my destination, it sounds just like this!! (L. Worthington, Amazon Customer Review) [First added to this chart: 11/08/2013]
RV 589
This is the better known setting of the Gloria, simply known as the Vivaldi "Gloria" due to its outstanding popularity. This piece, along with its mother composition RV 588, was composed at the same time during Vivaldi's employment at the Pieta. Two introduzioni exist as explained in the aforementioned article.
As in RV 588, there exists evidence of influence by RV Anh. 23: the first movement's chorus shares similar key modulations to that of the first movement of RV 588, only modified to fit a duple meter instead of the triple meter of RV 588. Motivic material present in the orchestral parts of either piece are also shared, including octave jumps in the opening motives of the piece. The second movement is significantly more chromatic in RV 589, but nonetheless is texturally similar to the setting present in RV Anh. 23, with the use of repeating rhythmic figures underneath harmonic motion. The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23). The last movement, "Cum Sancto Spiritu," is essentially an "updated" version of movement present in both RV Anh. 23 and RV 588, except extensively harmonically modified, becoming more chromatic than its predecessors, reflecting a maturity in Vivaldi's output and the emerging style of the late Italian Baroque. (wikipedia)
I hope... that when I eventually get to Heaven, assuming that Heaven will be my destination, it sounds just like this!! (L. Worthington, Amazon Customer Review) [First added to this chart: 11/08/2013]
Year of Release:
1997
Appears in:
Rank in 1997:
None
Rank in 1990s:
None
Average Rating:
Comments:
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The recording is superb, the playing excellent, and the quartets themselves are magnificent. Remember, Beethoven, his contemporary, said that Cherubini was the greatest living composer! Brahms revered him. (Bruce W. Moss, Amazon Customer Review)
Going on a sort of weeks-long Cherubini string quartet "binge", comparing complete sets of the composer's multi-movement numbered quartets, in the three integral performances of all of these works on record, gives rise to some observations about the music itself and the recorded renditions thereof. The works are enchanting and never-failing in inventiveness; it is hard to get those many quirky melodies, harmonies, incredible rhythmic vitality (in all of the parts, Cherubini's part-writing being so wonderfully vital and interesting for every instrument), tangy and/or odd harmonies, and clever (sometimes wonderfully strange yet utterly convincing!) modulations out of the head. Luigi Cherubini's string quartets, for those unfamiliar with works composed for Paris in the "quatuor concertant" manner, are quite distinct in style from the more familiar Viennese quartets of the composer's contemporaries Haydn, Mozart, Beethoven, and Hummel. These works of Luigi Cherubini above all emphasise wit, rhythmic verve, and virtuousity alike in string playing and difficult ensemble unity; indeed, Cherubini composed all of his works for string quartet and for string quintet to feature the virtuoso quartet playing of the greatly skilled string players of Paris' best chamber ensembles of the first half of the 19th century. (Gerald Parker, Amazon Customer Review) [First added to this chart: 11/13/2013]
Going on a sort of weeks-long Cherubini string quartet "binge", comparing complete sets of the composer's multi-movement numbered quartets, in the three integral performances of all of these works on record, gives rise to some observations about the music itself and the recorded renditions thereof. The works are enchanting and never-failing in inventiveness; it is hard to get those many quirky melodies, harmonies, incredible rhythmic vitality (in all of the parts, Cherubini's part-writing being so wonderfully vital and interesting for every instrument), tangy and/or odd harmonies, and clever (sometimes wonderfully strange yet utterly convincing!) modulations out of the head. Luigi Cherubini's string quartets, for those unfamiliar with works composed for Paris in the "quatuor concertant" manner, are quite distinct in style from the more familiar Viennese quartets of the composer's contemporaries Haydn, Mozart, Beethoven, and Hummel. These works of Luigi Cherubini above all emphasise wit, rhythmic verve, and virtuousity alike in string playing and difficult ensemble unity; indeed, Cherubini composed all of his works for string quartet and for string quintet to feature the virtuoso quartet playing of the greatly skilled string players of Paris' best chamber ensembles of the first half of the 19th century. (Gerald Parker, Amazon Customer Review) [First added to this chart: 11/13/2013]
Year of Release:
2003
Appears in:
Rank in 2003:
None
Rank in 2000s:
None
Average Rating:
Comments:
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The Handel organ concertos Op 4, HWV 289–294, refer to the six organ concertos for chamber organ and orchestra composed by George Frideric Handel in London between 1735 and 1736 and published in 1738 by the printing company of John Walsh. Written as interludes in performances of oratorios in Covent Garden, they were the first works of their kind for this combination of instruments and served as a model for later composers.
The Handel organ concertos Op 7, HWV 306–311, refer to the six organ concertos for organ and orchestra composed by George Frideric Handel in London between 1740 and 1751, published posthumously in 1761 by the printing company of John Walsh. They were written for performance during Handel's oratorios, contain almost entirely original material, including some of his most popular and inspired movements.
"A fine and delicate touch, a volant finger, and a ready delivery of passages the most difficult, are the praise of inferior artists: they were not noticed in Handel, whose excellencies were of a far superior kind; and his amazing command of the instrument, the fullness of his harmony, the grandeur and dignity of his style, the copiousness of his imagination, and the fertility of his invention were qualities that absorbed every inferior attainment. When he gave a concerto, his method in general was to introduce it with a voluntary movement on the diapasons, which stole on the ear in a slow and solemn progression; the harmony close wrought, and as full as could possibly be expressed; the passages concatenated with stupendous art, the whole at the same time being perfectly intelligible, and carrying the appearance of great simplicity. This kind of prelude was succeeded by the concerto itself, which he executed with a degree of spirit and firmness that no one ever pretended to equal." (Sir John Hawkins, General History of the Science and Practice of Music. 1776) (wikipedia) [First added to this chart: 11/08/2013]
The Handel organ concertos Op 7, HWV 306–311, refer to the six organ concertos for organ and orchestra composed by George Frideric Handel in London between 1740 and 1751, published posthumously in 1761 by the printing company of John Walsh. They were written for performance during Handel's oratorios, contain almost entirely original material, including some of his most popular and inspired movements.
"A fine and delicate touch, a volant finger, and a ready delivery of passages the most difficult, are the praise of inferior artists: they were not noticed in Handel, whose excellencies were of a far superior kind; and his amazing command of the instrument, the fullness of his harmony, the grandeur and dignity of his style, the copiousness of his imagination, and the fertility of his invention were qualities that absorbed every inferior attainment. When he gave a concerto, his method in general was to introduce it with a voluntary movement on the diapasons, which stole on the ear in a slow and solemn progression; the harmony close wrought, and as full as could possibly be expressed; the passages concatenated with stupendous art, the whole at the same time being perfectly intelligible, and carrying the appearance of great simplicity. This kind of prelude was succeeded by the concerto itself, which he executed with a degree of spirit and firmness that no one ever pretended to equal." (Sir John Hawkins, General History of the Science and Practice of Music. 1776) (wikipedia) [First added to this chart: 11/08/2013]
Year of Release:
1984
Appears in:
Rank Score:
2
Rank in 1984:
Rank in 1980s:
Average Rating:
Comments:
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A persuasive interpretation of Felix Mendelssohn's complete string quartet repertoire is provided by the Coull Quartet. These renditions are energetic, full of romantic charm and still maintains appropriate depth. Attention to fine detail with awareness of harmonic texture and development are also attributes. A tonally well balanced digital sound reproduction is supplied throughout, which is resonant and consistently lifelike. A highly significant and engaging release all round. (Mrs T Brown "Teresa", Amazon.co.uk Customer Review)
[First added to this chart: 11/10/2013]
Year of Release:
1994
Appears in:
Rank in 1994:
None
Rank in 1990s:
None
Average Rating:
Comments:
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Most musicologists consider Paganini to be the greatest violinist the world has ever known. He essentially created techniques for his instrument that were unheard of before him, and to this day, his compositions define the technical limitations of the violin. In essence, he was the first virtuoso of any instrument. He made Liszt want to make the piano sound like his violin and made others so jealous of his abilities that they said he was possesed. Paganini is a paragon of the 19th century Romantic virtuoso. Unfortunately, his violin concertos have not received the same attention as his brilliant technical gifts and his famous cappricios. What one finds on these 3 cd's is perhaps some of the most wonderful, and dramatically challenging pieces ever written for the violin. In fact, Schubert admired Paganini's compositional abilities so much that he once said that Paganini's compositions made the violin sing like an angel. These cd's show that Paganini was more than just a technical wizard. He created beautiful violin concertos that stand up musically on their own. The pure joy and brilliance of these pieces will astonish you. Salvatore Accardo's playing is flawless and simply mind boggling! I have found myself enjoying and playing these 6 concerti far more often than violin concerti by Beethoven, Mozart, etc., etc. It was only until the 1970's when any of Paganini's 6 violin concerti were recorded on a major label! Paganini is slowy gaining more popularity and is destined to get the respect he deserves in musical history as a first rate composer thanks to releases like this one. Now, when will the concert halls of Europe and America wake up and start performing Paganini's music? I predict that once you here these recordings, you will realize that it is just a matter of time. After all, this music once completely dazzled and entranced audiances all across Europe and made Paganini famous and much respeted.-----NO CLASSICAL LIBRARY SHOULD BE WITHOUT THIS RECORDING. (A Customer, Amazon Customer Review)
[First added to this chart: 12/27/2013]
Year of Release:
1986
Appears in:
Rank in 1986:
None
Rank in 1980s:
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:
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:
Total albums: 9. Page 1 of 1
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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% |
| Artist | Albums | % | |
|---|---|---|---|
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| Trevor Pinnock / The English Concert | 3 | 11% | |
| Aldo Ciccolini | 2 | 7% | |
| Musica Amphion / Pieter-Jan Belder | 2 | 7% | |
| Alban Berg Quartett | 1 | 4% | |
| Chapelle Du Roi & Alistair Dixon | 1 | 4% | |
| Hausmusik London | 1 | 4% | |
| Ronald Brautigam / Riccardo Chailly | 1 | 4% | |
| Show all | |||
| 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 |
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 Debussy: L'Oeuvre Pour Pianoby Aldo Ciccolini |
Favorite Classical CDs similarity to your chart(s)
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