Review: Muti's Mostly Marvelous 91-CD Mega-box
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- เผยแพร่เมื่อ 11 ก.ค. 2021
- Hot on the heals of Warner's 90+ disc Previn set comes this Riccardo Muti collection, and it's mostly terrific. OK, his digital Beethoven symphony series wasn't terribly special, but there are some splendid cycles (Schubert, Scriabin, Tchaikovsky, Cherubini) and spectacular individual discs of music by Stravinsky, Mahler, Berlioz, Liszt, Respighi, Verdi, Rossini, Mendelssohn, Schumann, Mussorgsky, Prokofiev and quite a few others. I enjoyed getting reacquainted with these performances, and you will too.
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Firstly Dave, you are a natural educator. A quality you share with Bernstein. Secondly, these videos are a GIFT. SO THANK YOU! Had the great fortune to hear Muti conducting both the Philly & Wiener ( Beethoven 4 & Brahms 2) as part of the Maggio Musicale Fiorentino between 88-91. NIRVANA! Also, I Vespri Siciliani, William Tell, Attila at La Scala. He was, and remains, the greatest living interpreter of Verdi. The heir apparent to Toscanini. His work with the Chicago Symphony Orchestra is almost routine, to say the very least of it . Exceptions are his Otello & Verdi requiem. His earlier Romeo & Juliet (Prokofiev), Symphonie Fantastique are way better than his CSO efforts. I’m a Muti NUT! Huge admirer of his art. However, his Bruckner has never worked. Two recent Bruckner recordings, 2nd with the Weiner recorded live at Salzburg Festival and the 9th with CSO, despite glowing reviews, are simply not up to snuff. They are hardly atrocities. However, they again demonstrate his inability to connect with or “get” Bruckner’s idiom. His Mahler 1 with Philly is THRILLING, likewise Mahler 4. Ditto his Scriabin. Pletnev’s recording of Scriabin 1, 2, 3, Extase etc. , notwithstanding glowing notices, fail to engage. Several reviews claim that Pletnev has pushed Muti off the reference recording list re Scriabin. I for one don’t get it. Pletnev’s Russian National Orchestra’s are not in the same league as Philly for starters. Just forget about it! And don’t get me started on Pletnev. I could never take to his solo piano recordings. And his conducting is appalling. What a dreary, humourless conductor. In short, Pletnev is a pestilence. Lastly, Muti has always had a special relationship with the Wiener going right back to the early 70s when he made his Salzburg debut with Don Pasquale. And that special relationship is evident in just about everything he gas done with the them. He has conducted at Salzburg every year (for 40 + years ) since Karajan invited him to conduct Donizetti. . His more recent recording with the Wiener of Debussy’s Nocturnes and the Symphonie Fantastique are very good. The Berlioz is better than his CSO recording, but nowhere near as gripping as his first recording. The Nocturnes are beautifully played, but lacking in commitment on Muti’s part. Given his wonderful Mozart Symphonies with the Weiner , i cannot understand why he never conducted Haydn.
The first time I heard Muti conduct was his record of Stravinsky's Rite of Spring with the Philadelphia Orchestra, in 1979. It was the most exciting and wild classical performance i had ever heard. Such deft transitions in time signatures, the timpani rhythmically sounding more like funk than anything else. I said to myself, "Ormandy sure left his orchestra in capable hands!" Too bad the unimaginative orchestra board thought otherwise. Thanks to those maroons, we got Sawallisch. Grrrrrrr....
I bought Muti's Rite of Spring many years ago and it remains incomparable.
In early November, 1976, I was standing in line at (the legendary) Patelson's music shop across from Carnegie Hall; directly behind me was a handsome young guy with jet-black hair who was holding a stack of full scores: ALL of the Mahler Symphonies (in the critical edition), waiting to purchase them. I asked "are you a conductor?" to which he answered "Muti, yes". I felt like a jerk for not having recognized him. As I recall, he was wearing a dull, olive-colored jacket...BUT..it might be the same brownish jacket he's wearing on the cover of his Mahler 1st recording..in place of a Scarf. So that may be the jacket which he only wears when thinking about Mahler.
Has he ever performed any Mahler Symphonies other than #1? It seems like he studied all of those scores and decided #1 was the only one that appealed to him. But I know he's got all the rest of 'em, and we can only hope he decides to perform some more while he still can. LR
Extraordinary anecdote. He has also done the fourth
Wonderful review of one of the best conductors of our time! I have lived in Chicago for over 40 yrs and have been regular to the CCH, until about 10 yrs ago. I attended many concerts with Barenboim, Solti, but saw Muti only couple of times. And that’s too bad for me. Being originally from StPersburg -the center of Classical music in RU, I thought, I knew the best conductors of Tchaikovsky, including Mravinsky, Karajan, Szell. But to my surprise and astonishment, I can vote for Muti, as the best interpreter of Tchaikovsky. I could write an essay on it, but your verdict is good enough. I was also immersed into listening 4 Brahms symphonies in one setting. Another beautiful surprise! I’ve known of his exquisite Verdi records, and this time I will make room for Muti’s collection.
Thank you, Dave.
Thanks for the great and thorough review. I was on the fence with this, but after your review I’m in!
You are living the dream of reviewing the latest box sets David Hurwitz. Your review of another riccardo, chailly that is and the Leipzig gewandaus orchestra in the beethoven symphonies. convinced me to get these digital recordings . Speaking of riccardo muti, I have his dupont opera box set and beethoven symphonies with Philly and I have enjoyed both sets immensity.
Excellent survey David. Many thanks. Some great records I need to check out.
This video is so niche and nerdy... I love it!
Thanks a lot Dave…The Muti Beethoven Eroica, 5th, 6th and 9th on cassette were sold in large quantities in India in the 1980s and many of us who started collecting at the time were less than overwhelmed until we heard his Tchaikovsky cycle. The primary problem with this box set, in my opinion, as with many, is the issue of duplication. The original covers of course are a large attraction of course as many of his series of albums had almost generic covers when they were reissued. …Muti really was a conductor who stayed within his preferred repertoire in his discography…for once not much Bruckner or Mahler. I don’t know if his later Bruckner forays are worth hearing…Thank you again
One of the seven masses in Muti's Cherubini Mass box, the "Missa Di Chimay" is missing from the 91 CD Complete Muti box. Apparently EMI licensed the recording from Musicom, a small French label, but somebody forgot to renew the license or Musicom was asking too much. The single CD is out-of-print and pricey. The cheapest way to acquire the Missa di Chimay is to buy the Muti Cherubini Mass box (while you can).
Waltraud Meier was a great Kundry and it got in the way of her being a great anything else…except for Eboli which is also kind of a screamer.
The early Verdi requiem is absolutely glorious, and his newest one in Chicago is worth hearing as well, the Chicago brass really do the tuba Mirum better than anyone.
I imprinted on the Muti Beethoven 5 with Philly, and I do enjoy the whole cycle and frankly I enjoy it more than most of the Ormandy performances, especially in The Ninth! The chorus is far better and the soloists are one of the most underrated quartets to ever do it.
It’s a far better cycle than anyone gives credit, especially in light of the onslaught of bland performance practice and period informed crap from Gardiner, Rattle, Chailly, etc of the last 20-30 years.
Muti is one of the great treasures of our time, I’m hoping to see him in the fall when I go to Chicago for my bachelor party.
I agree about the Gavrilov Rachmaninov - really fine. I heard him do the 2nd live, and it was terrific! Also - yes please on the Dvorak violin concerto. What a wonderful, joyous piece (epecially the last mvmt)!
Another great talk. Perhaps the reason for Muti’s neglect against Abbado and Chailly might have been his lack of interest in Mahler? It really did seem to be cult listening throughout his EMI career, so he just didn’t happen to plug into the Zeitgeist? Of course posterity can treat him better!
Interesting idea. I hadn't thought of that.
The Scriabin was briefly licensed to Brilliant for those on a budget.
And a superb set, it is.
I saw Muti and the Philadelphia do Tchaikovsky 6 at a London Prom. To me it was plush beautifully played but soulless. But the Prokofiev Romeo and Juliet in part two was amazing. Staggering virtuosity but with real character. Muti could really blow hot and cold even in the same concert.
Him and everyone else...
I got interested in Classical exactly at the time of the CD rollout. I never had bought a Classical vinyl LP. I quickly imprinted on Szell and/or The Cleveland Orchestra so I bought all the Szell Sony Essential Classics,the ensuing remastered reincarnations and whatever Dohnanyi/Decca that I would see. I don’t remember a lot of EMI CDs and it seemed to be scattershot. Mostly I remember a lot of Furtwangler.I don’t even remember a lot of Klemperer. I’m just guessing that EMI just was not that well run and all the other major labels were much better at the CD rollout/period. Warner has done a much better job with the EMI back catalog than EMI ever did. That is just my memory and therefore that is my honest opinions. Thank you.
I saw Muti do Shostakovich 13 live in Chicago an it was one of the best performances I’ve seen of anything, anywhere. I’m not highly familiar with Muti’s recorded legacy despite having seen him live in Chicago multiple times, so it’s time to keep on listening. Will probably start with Qobuz rather than a 91-disc set.
Hi Alex, I just got Muti's recording of the 13th, and it's terrific.
There’s an RAI recording of Muti doing the Italian premiere, it’s in Italian obviously, but my god do they really sell the work, they knew what was happening historically, and there’s a real sense of occasion behind it, and Raimondi sings the solos.
Not the Shostakovich 13 to listen to every time you want to hear over and over again, sound is poor and like I said it’s in Italian, but my god this is one that everyone who loves the piece has to hear at least once.
@@djquinn4212 thank you for the tip! I actually find the idea of the Shost. 13th in Italian intriguing.
@@AlexMadorsky You can hear Muti's Italian version on You-Tube. Yes, Muti's 13th in Chicago was awe-inspiring; he knew EXACTLY where to emphasize every musical/emotional "event" in the score. He's the only conductor I've heard who takes the composer at his word for the slow tempo in the fourth movement ("Fears"), which I've always considered the Symphony's weakest portion...that is, until I heard Muti's performance live in the hall. Gripping in its austere, bleak intensity and power. LR
Re: The Prokofiev Sinfonietta, op. 5 (that Dave mentions as filler on the "Ivan the Terrible" cds). Muti did it as the 1st half of his Shostakovich 13th concert, which looked good on paper. But the Sinfonietta is, IMO, such a weak, trivial work..and it's too bad Muti couldn't have found something stronger for this very prestigious occasion (this concert was the Season OPENER...thus the Proko op. 5 was the very first work of the CSO's season). It's also odd that Prokofiev thought very highly of his Sinfonietta, a student work; he continually talks about it in his diaries, and ultimately got around to revising it as his op. 43. But, considering his unyielding, harsh opinion of most every other composer's music, I'm surprised that he had such a blind spot about his op.5. LR
my first time noticing the phrase: "Abnormal is fine. Stupid is not." - words 2 live by, for sure
Great review, as usual. One question: who would you go for purchase between Ormandy box and this one?
Don't make me choose. I love this one, but would say that the Ormandy is the more important simply because so much of it has been unavailable for so long, and for what it tells us about both the conductor and the orchestra.
@@DavesClassicalGuide definitely the relationship between Ormandy and his orchestra cannot be underestimated
I subscribed to the Philadelphia's series in Washington in the early 1980s. Overall, the concerts were marvelous, but for some reason, everyone was out of sync when they did Beethoven 7. It shows that anyone can have a bad night.
In his recording of Beethoven's 7th, Muti removed the rests all over the place! Perhaps that's why!
Would you consider doing a review of Zubin Mehta's Complete Columbia box? It’s still around and looks juicy!
And I already did it.
Hi Bit confused on your comment about Prokofiev's Ivan the Terrible film music, that it will be familiar with anyone who knows Alexander Nevsky - kind suggests they use the same thematic material but they don't? Cheers
Nope, but the style is similar. Two works needn't share themes to be recognizably the work of the same composer, after all.
@@DavesClassicalGuide Fair enough. Thanks for clarifying
Great review, David. Too bad Warner doesn't want to invest in fresh remasterings. Now, they need to release a Klemperer box, and a Beecham box.
Actually the French branch of Warner is still investing in fresh remastings - the upcoming box of Furtwangler's Complete Studio Recordings is remastered by Art & Sons, Annecy in 2021. Curious that the French are in charge of this box, not the Germans. There is a promotional video on TH-cam. Look up "Furtwangler Warner"
Right at the beginning of the CD era, EMI as was, began reissues to CD with a huge selection of Klemperer recordings, all individual releases, in the pre-box years, each disc at full price. Remember those?
If I had my druthers, I would like to see these boxed sets packaged differently…devote a section of the booklet for the original jacket design allocating the front page for the art, and the liner notes on the backside of the page. Since the booklet is the same size as the cd slipcase, the small font will be the same, not worse. Then one can do some creative, or obvious, couplings on each disc to have them at seventy+ minutes or so. This would reduce the disc count and even the box size by a bit….
That's all lovely, but you have to remember that the labels are basically giving this stuff away anyway. While I understand the storage argument, I am happy to have, say, The Rite of Spring on a single disc. What would I listen to afterwards? Or before? I may or may not agree with the way it's coupled, and often I like being able to take out the work I want play it all by itself. And I am also happy to pay any reasonable price for the product. Classical music fans too often regard record labels as the enemy and the product itself as an entitlement (I am not suggesting that you are one of those) They aren't, and it isn't. The labels have MADE these recordings, and they have rights too. They invested the money and this is their property. I am as annoyed with stupid packaging and presentation as anyone (as you all know), but if someone can shove 90+ discs representing a major artist's entire career into a reasonably compact and attractive box and charge about $2 a disc for it, I'm pretty much satisfied. Go find a better deal, anywhere.
You make excellent points..I guess I need to realize that my "druthers" is based on my limited storage capacity..my apartment, with all of the cds, books and what-not is becoming an homage to the Collyer Brothers way of life...
Dave, are you ever going to talk about Szell's Bruckner? (I mean the 3rd & 8th, the 7th is terribly recorded...yuck!) Or is it rather redundant, especially when one has the Dohnanyi 3 & 8?
I think it is rather redundant, although 3 is better than 8--it's a great performance.
Shockingly expensive - especially when it seems that many of the (91??!!) CDs are so poorly filled (why not put Le Sacre and Petrushka on the same CD? - it seems more about the lovely original covers than much else - featuring Muti's pretty face on numerous occasions, of course!). Who has the ROOM these days for all these massive boxes?
I'd imagine, too that there'd be so much duplication. However, I'll be looking out for the Scriabin set, admittedly, that's mouth-watering, and the Tchaik symphony box is terrific. And now I've just got the lovely Sony 'Italian Masters' box - fantastic value. A shame he did relatively little 20th century repertoire beyond the obvious crowd-pleasers, but this box, filled with Busoni, Casella, Rota alongside Verdi, Puccini and Ponchielli, goes some way to addressing that. The Cherubini box is legendary - or should be!
It's still a a huge bargain, even with some short playing times. They are only asking about $2 a disc for product originally issued at $15 a disc. If that's not a steal, then nothing is.
$125 on Amazon, currently.
Unless I have lost it along the video, again these are not the "complete" Muti EMI (well, Warner) recordings, as the two Nino Rota concerti are not included.
Nope, they aren't, and I love that disc. I was wondering if those are Ricordi discs as well. I'll go back and check.
@@DavesClassicalGuide , perhaps the reason they are not included...
I checked my copy. The rights are held by Musicom, not Warner, so like some of the Cherubini material it could not be included (or was not for either financial or other logistical reasons).
@@DavesClassicalGuide , thanks for the information!!!
I just don't understand these mega boxes. I get that they don't cost much to make. But how many people are going to buy 30-100 disc sets? So then, of course, they'll go out of print. And so, instead of "it's nice to have it all available", it won't be available, including individual discs, for which there will be no incentive to reissue. What am I missing?
I take it the box does not include Muti's Philharmonia Carmina Burana, my favorite thing he's ever done.
It does, and I said so.
I downloaded the Philharmonia Verdi Requiem on the strength of this review, and what a revelation! It's a humdinger of a performance, far superior to the La Scala recording.
I wasn't kidding!
I had this requiem on vinyl and loved it, I prefer it to the famous Giulini, marvellous as that is. I acquired the cds in Warner's Verdi box, and will have a duplicate with this - such is life, an embarrassment of riches!
When Eugene Ormandy died, Muti gave me a ticket ( not available simply to subscribers) to the memorial concert consisting of the incomparable Verdi Requiem.
While a bit untidy it was terribly exciting.
As one commentator reacted Yes Indeed Riccardo Muti could in fact blow hot and cold ! But when he was freaking hot, he was wonderful
Where are the many operas he recorded for EMI?
Elsewhere. This is billed as the "symphonic" recordings (as I indicated in the video).
@@DavesClassicalGuide so I see in the subtitles... thanks.
Did they miss the Prokofiev 1 and Fiery Angel, or did I lose concentration during your review?
You mean the Third Symphony, yes? And they were on Philips (now Decca), not EMI (now Warner).
Mendelssohn’s symphony is called Scottish because no one say Scotch outside of the US unless they’re referring to the drinking.
Actually, "Scotch" was British originally, not American. You can find it in English language discussion of the work on both sides of the Atlantic up until the mid 20th century, roughly.
@@DavesClassicalGuide oh ok because I’m a musician in England and I’ve only ever known the work as the Scottish symphony. Also the only times I ever here people referring to Scottish culture or ethnicity as “scotch” are Americans and I usually mock it jokingly.
@@peteradaniel So do I.
@@DavesClassicalGuide 😂😂
Btw I am searching for a Falstaff recording by Muti either the Live from La Scala with Dessi, Pons and Vargas or the live from Chicago with Maestri, Buratto, Feola and Salsi.
The box is not-quite-complete, as none of Muti's complete opera sets for the label are included--Aida, Ballo in Maschera, Ernani, Don Carlo, La Forza del Destino, Don Pasquale, and Cavalleria Rusticana/Pagliacci, and some Mozart operas.
It specifies (as did I) "symphonic recordings." You can't criticize it for what it does not try to be.