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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These six quartets (counting the Große Fuge) comprise Beethoven's last major, completed compositions. Although dismissed by the musicians and audiences of Beethoven's time, they are widely considered to be among the greatest musical compositions of all time. The Late String Quartets inspired many composers and musicians. Igor Stravinsky described the Große Fuge as "an absolutely contemporary piece of music that will be contemporary forever". Richard Wagner, when reflecting on Op. 131's first movement, said that it "reveals the most melancholy sentiment expressed in music". The quartets have been performed and recorded by string quartets worldwide. (wikipedia)
[First added to this chart: 11/07/2013]
Year of Release:
1993
Appears in:
Rank in 1993:
None
Rank in 1990s:
None
Average Rating:
Comments:
0
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It could be said that Schnabel was the archetype of the modern German pianist. In our day his school is represented by such pianists as Backhaus, Serkin and predominantly by Wilhelm Kempff. In all groupings of the Beethoven sonatas, Kempff defines the German school of piano playing through his scrupulous musicianship, severity, strength rather than charm, solidity rather than sensuosity, intellect rather than instinct, sobriety rather than brilliance. It is an approach that stresses planning and leaves nothing to chance. Beethoven's piano sonatas are unique in three respects. First, they represent the whole development of a genius, from his beginnings to the threshold of the late quartets. Secondly, there is not an inferior work among them-in contrast to many of the sets of variations, for example, which tend to be uneven. Thirdly, Beethoven does not repeat himself in his sonatas, each work, each movement is a new organism. In Kempff's performances of the sonatas, he defines the drama of Beethoven's sonata form more precisely, we are bound to notice that it is drama in which the character of the principal theme predominates. In the hands of Kempff, we never lose our bearings, we always know where we are. Kempff performs like an architect draws. We learn more about the architecture of Beethoven through his treatment of harmony. In Beethoven a new movement or theme in a chromatic neighbouring key is unthinkable. (Before him, however, that tireless adventurer Haydn had in his great Sonata in E flat major a slow movement in E major.) When Beethoven does make his way to a distant key-which happens only rarely, and then with logical preparation-there are far-reaching consequences for the whole work. It is not Kempff's duty to give or teach the history of Beethoven's music, history and style can be taught from reproductions; masterpieces such as the performances given by Kempff have something quite different to say.... (Raymond Vacchino M.Mus.(MT) A.Mus. L.R.S.M. Licentiate (hon.))
[First added to this chart: 11/18/2013]
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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 six string quartets opus 20 by Joseph Haydn are among the works that earned Haydn the sobriquet "the father of the string quartet." The quartets are considered a milestone in the history of composition; in them, Haydn develops compositional techniques that were to define the medium for the next 200 years.
The quartets, written in 1772, were composed at a time of tensions in Haydn's life, and also at a time when Haydn was influenced by new philosophical and political ideas that were sweeping Europe. Some analysts see the impact of these emotions and ideas in the quartets. (wikipedia) [First added to this chart: 11/07/2013]
The quartets, written in 1772, were composed at a time of tensions in Haydn's life, and also at a time when Haydn was influenced by new philosophical and political ideas that were sweeping Europe. Some analysts see the impact of these emotions and ideas in the quartets. (wikipedia) [First added to this chart: 11/07/2013]
Year of Release:
1992
Appears in:
Rank in 1992:
None
Rank in 1990s:
None
Average Rating:
Comments:
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This 4-CD set contains Mozart's most monumental (and last) quartets, including the six quartets dedicated to his dear friend and colleage Joseph Haydn, the lone "Hoffmeister quartet" and the last "Prussian" quartets. All are masterpieces of the genre, especially the "Haydn's" which Mozart (uncharacteristically) toiled long and carefully to compose out of respect and admiration for his elder friend. Upon hearing these performed, Haydn pronounced to Mozart's father the now-famous quote about young Mozart being the greatest composer he knew in person or by reputation. As the pioneer of the modern quartet, Haydn knew great quartet writing when he heard it and he was right - these turned out to be among Mozart's greatest chamber works. (the quintets perhaps being the only greater works).
The Austrian Alban Berg Quartet executes these quartets with their characteristic and supreme suppleness, precision and elegance. "Polished" is a common description I see concerning their style. The music here sounds really, really great - for the perfectly honed compositions of Mozart to the impeccable performances of the Berg to the clear, vibrant sound quality. I normally favor the Quatuor Mosaiques for quartets, but here for Mozart's quartets, I think The Alban Berg Quartet is hard to beat. Indeed, this is what Penguin Guide concluded who awarded this set with a "Recommended Recording" and described it as "one of the most distinguised sets of the late quartets that has not been surpassed." What also makes this set so valuable is that it contains the last three quartets in addition to the Haydn Quartets - an obvious but not so common coupling. So, all the above factors make this set highly desirable and a fabulous value. (Alan Lekan, Amazon Customer Review) [First added to this chart: 11/12/2013]
The Austrian Alban Berg Quartet executes these quartets with their characteristic and supreme suppleness, precision and elegance. "Polished" is a common description I see concerning their style. The music here sounds really, really great - for the perfectly honed compositions of Mozart to the impeccable performances of the Berg to the clear, vibrant sound quality. I normally favor the Quatuor Mosaiques for quartets, but here for Mozart's quartets, I think The Alban Berg Quartet is hard to beat. Indeed, this is what Penguin Guide concluded who awarded this set with a "Recommended Recording" and described it as "one of the most distinguised sets of the late quartets that has not been surpassed." What also makes this set so valuable is that it contains the last three quartets in addition to the Haydn Quartets - an obvious but not so common coupling. So, all the above factors make this set highly desirable and a fabulous value. (Alan Lekan, Amazon Customer Review) [First added to this chart: 11/12/2013]
Year of Release:
1991
Appears in:
Rank in 1991:
None
Rank in 1990s:
None
Average Rating:
Comments:
15. (=)
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This is a really good double CD of some of Albinoni's best music, very well performed by the invariably excellent Academy of Ancient Music under the Christopher Hogwood. This is rather underrated music, I think. It's certainly much more than the pleasant baroque wallpaper which many people think Albinoni to be. The adagio of Op.9 No.2, for example, is one of the loveliest movements I know in a baroque concerto. These are very fine performances, too, which bring out the verve, joy and sheer beauty of these concertos. Andrew Manze is always brilliant, but the oboists are also excellent. Frank de Bruine in particular has a lovely, flowing, effortless sound and I find that I prefer this set to my old CM90/Standage set with Anthony Robson, who by comparison seems a little plodding in his articulation and phrasing. It isn't surprising that Andrew Manze and Christopher Hogwood, two real giants of Baroque performance, should bring something special to these concerti and the playing of Frank de Bruine is a real bonus. It's a lovely set and very warmly recommended. (Sid Nuncius, Amazon Customer Review)
The quality of performance from Hogwood and company are flawless and near perfecton as usual. I can fully recomend this recording to fans of Albinoni or Baroque music in general. Andrew Manze is amazing and I hope these guys continue to record all the major works of Albinoni on period instruments. One thing besides the praise of this album is that both Op.7 and Op.9 have been recorded by Simon Standage and the Collegium Musicum 90 several years ago. Their performances are just as good and deserve just as much credit. Critics probably forgot to mention that this territory was in fact previously charted. (David Ohai, Amazon Customer Review) [First added to this chart: 11/10/2013]
The quality of performance from Hogwood and company are flawless and near perfecton as usual. I can fully recomend this recording to fans of Albinoni or Baroque music in general. Andrew Manze is amazing and I hope these guys continue to record all the major works of Albinoni on period instruments. One thing besides the praise of this album is that both Op.7 and Op.9 have been recorded by Simon Standage and the Collegium Musicum 90 several years ago. Their performances are just as good and deserve just as much credit. Critics probably forgot to mention that this territory was in fact previously charted. (David Ohai, Amazon Customer Review) [First added to this chart: 11/10/2013]
Year of Release:
1999
Appears in:
Rank in 1999:
None
Rank in 1990s:
None
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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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:
Total albums: 8. 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% | |
| Tokyo String Quartet | 1 | 4% | |
| Prager Streichquartett | 1 | 4% | |
| Pro Cantione Antiqua / Bruno Turner | 1 | 4% | |
| Artur Rubinstein | 1 | 4% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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9 | 33% | |
| |
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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