Brahms Piano Concerto No 1 Ballades
Berlioz. Vaughan Williams. Schubert and Schumann. Mozart after the Jupiter Symphony, Bach beyond the Brandenburg Concertos, opera after The Magic Flute. In his informed and indispensible guide with over 157,000 copies in print, National Public Radio’s Ted Libbey takes listeners by the hand through the classical repertory to build a music library. For the second edition, with five years of new performances to consider, five years of new releases to review, and five years of reissues to re-evaluate-the author has wholly revised and modified the book. While sticking to the necessary 300 works, there are now one-third new selections and reviews, and a 50% change in discography to keep all suggested CDs up to date. The NPR Guide tp Building a Classical CD Collection will make each music lover’s core collection complete.
From the Back CoverWhere Do You Go After Mozart’s Jupiter? After Bach’s Brandenburg Concertos? After Beethoven’s Third? In this informed and essential guide, now in a second edition featuring a hundred new recordings, National Public Radio’s Ted Libbey takes you by the hand through the classical repertory and helps you build an necessary CD collection. Not just another rating book, this is a foremost expert’s thoughtful and agreeably diverting appreciation–work by work, performer by performer, recording by recording–of the symphonies, concertos, chamber pieces, keyboard works, sacred works, and operas that belong in each music lover’s library. It includes the core 20 works for starting out, recommendations specially suitable for young listeners, and an appendix listing further and added works, beyond those covered in the introductory edition, that the author feels most ardent about. PRAISE FOR THE FIRST EDITION: “I have been lost in this book for a week…Libbey(‘s) comparings are wonders of lucidity, differentiation, and those ‘open ears’ Rostropovich spoke of.” –Chicago Tribune “An broad guide and perfective associate to the basic classical repertory.” –Digby Diehl, Playboy Magazine
About the AuthorTed Libbey is one of America’s most highly regarded music critics. A former music critic for The New York Times, he is known to millions of NPR listeners as curator of the Basic Radio Library on “Performance Today.” Mr. Libbey is now Director of Media Arts of the National Endowment for the Arts. He lives in Rockville, Maryland.
Excerpt. © Reprinted by permission. All rights reserved.Samuel Barber Adagio for Strings On the programs of American symphony orchestras, the American composer whose music is most oftentimes encountered is not Aaron Copland, Leonard Bernstein, or George Gershwin, but Samuel Barber (1910-1981). For galore years, Barber’s Adagio for Strings has been the most often performed concert work by an American composer. This intense, elegiac piece was in the first place the opening portion of the second motion of Barber’s String Quartet, Op. 11; the composer then scored it for string orchestra at the request of conductor Arturo Toscanini, who gave the firstborn performance of the arrangement in 1938 with the NBC Symphony Orchestra. The music begins quietly with a sentiment of subdued but deep sadness, builds to a searing climax of uttermost poignancy, and subsides again into the stark, melancholy mood of it is opening. Though intimate from repeated playings (and from use in Oliver Stone’s film Platoon), the Adagio for Strings remains one of the most moving and pretty elegies ever conceived, an great example of Barber’s remarkable lyric gift. Recommended Recordings New York Philharmonic/Thomas Schippers. Sony Classical “Masterworks Heritage” MHK 62837 [with other works by Barber, Menotti, Berg, and D'Indy] Saint Louis Symphony Orchestra/Leonard Slatkin. EMI CDC 49463 [with Overture to The School for Scandal, Essays Nos. 1-3 for Orchestra, and Medea's Meditation and Dance of Vengeance] The most finelooking recording ever made of the Adagio for Strings is at last on CD, thoughtfully coupled with numerous of the other recordings the young Thomas Schippers made for Columbia Masterworks-of the music of Barber and others-between 1960 and 1965, at the begin of his all-to-brief career. Although he was never on close personal terms with Barber, Schippers had the capacity to put Barber’s music all over in just the right way, with the perfective blend of energy and lyricism, toughness and warmth, and, above all, with the sentiment that it is sentiment was real, but ineffably contained. The playing of the New York Philharmonic (in the Adagio, as well as in the Second Essay for orchestra, the Overture to The School for Scandal, Andromache’s Farewell, and Medea’s Dance of Vengeance) is aglow with inspiration, and the sound is specially vivid, with a palpable sense of presence and space. For the necessary orchestral pieces of Barber, EMI’s compilation with Slatkin and the Saint Louis Symphony is the best presently available. Slatkin’s reading of the Adagio is beautifully built, incisively on the mark. The Essays-works of splendid crafstmanship in which Barber unerringly balanced the sorrowful with the triumphant-are powerfully stated, and Medea’s Meditation and Dance of Vengeance emerges as an orchestral tour de force. The recordings are full, spacious, superbly atmospheric.
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Most helpful customer reviews
163 of 167 people found the following review helpful.
 Brilliant reviews on orchestral works and concertos
By Patricia A. Powell
The NPR Guide to Building a Classical CD Collection is a good start but, it has its limitations. Ted Libbey gave himself a daunting task in putting this guide together. He did an excellent job on the two chapters on orchestral works and concertos, which comprise about half the book. These chapters alone make this book worth the money. His commentary is concise without losing important detail. The reasons that he selected the recommended recordings are clearly laid out. He gives the audiophile a genuine opportunity to understand what is good in a specific recording and what is missing. In many cases he provides more than one choice and explains the differences between the recordings. Based on his commentary, I am obsessively trying to find the Elan recording of Santiago Rodriguez playing Prokofiev’s Piano Concerto No. 3.
As the guide progresses, however, the author seems to lose interest. His chapter on chamber music is adequate. Then, he zips through solo keyboard works and sacred music. By the time he gets to the last chapter on Opera he has given up. It is ridiculously short. The entire subject is covered in 60 pages! It is not well edited. At one point he states that Leontyne Price is the “great Aida of our time”; then he does not mention her recording of this Verdi masterpiece. His recommendation of Mirella Freni’s Aida is a surprise. It is in this chapter that the author has decided not to give any reasons for his recommendations. And so, we are left puzzled. What is wrong with Leontyne Price’s Aida? All of Marilyn Horne’s opera recordings are overlooked. He correctly lists the brilliant Victoria de los Angeles and Jussi Bjorling recording of La Boheme, but fails to note that this is a mono recording.
Perhaps Ted Libbey should have co authored this book with someone interested in vocal music, or represented this as the essential guide to orchestral works and concertos. It is certainly worth having. But the true classical CD collector will need other guides for help in finding those special vocal and solo instrument recordings. I recommend this with some reservation.
94 of 98 people found the following review helpful.
Deeply flawed but great
By Joshua L Wright
I love this book. It has been the sole guide my wife and I have used to flesh out our collection of art music recordings for close to a year now. However the book has major problems.
While everyone certainly has their favorite composers and genres of music, the amount of space dedicated to Jean Sibelius defies all logic. While he was certainly great and wrote much better stuff than I could ever write, the amount of space devoted toward this relatively obscure composer is indefensible in light of all the composers left out, even in his 2nd list of 350 in the back. No works by Telemann, C.P.E. Bach, Corelli, Poulenc, Satie, or Couperin (what does he have against the French?).
What is even more glaring is the neglect some of the greatest composers of all time recieve. Libby spotlights Handel as a “major maestro” and then lists a paltry three of his works. They are his greatest to be sure, but if one is going to include him alongside Beethoven, Brahms, Mozart, Tchaikovsky, J.S. Bach and Haydn one needs to list more than three pieces. Even worse is poor Schubert who, not only unlucky enough to be overshadowed by Beethoven his whole life, now must be grossly under represented here and not even given “major maestro” status. His lieder are inexplicably lumped in with the chamber music vividly illustrating Libby’s neglect of vocal and choral music. That none of Vivaldi’s highly influencial sacred music is not included is also a crime. He seems lucky to get the Four Seasons in.
That, more than Libby’s love for Sibelius, is the greatest flaw of this book. Choral and vocal music are given short shrift time and time again as shown by the tiny chapters on opera and sacred music and the lack of any discussion of secular non-operatic music or solo vocal sacred works (Schubert gets it again).
I don’t want to give the impression that I don’t like this book. I love it. There is really nothing else out there like it and Libby’s writing is easy to understand, informative and even entertaining (especially in the margins)! This book could be greatly impoved however. I would recommend using it in conjunction with the reviews on Amazon (taken with a grain of salt) or with some other source like your local classical radio station (if you have one).
Despite its flaws, buy it!
58 of 64 people found the following review helpful.
 Recommendations from the experts
By A
An outstanding guide to building a classical CD collection.As a classical music collector and a listener of public radio, I find this guide to be very essential,even for those who already have a CD collection.The book is in six chapters:Chapter one tells about music for orchestra,chapter two about concertos,chapter three on chamber music, chapter four on solo keyboard work on chapters five and six Mr.Libbey tells about vocal works,including, sacred music, secular choral music,and opera by various composers of different times.Mr.Libbey also offers great details about each work that he tells about. The book also has funny illustrations about composers and performers and about circumstances sorrounding certain compositions.My favourite is the illustration of the violinist where Mr.Libbey explains about Beethoven`s Razumosvsky quartet #1 on page 305,the chapter about chamber music. The book also shows pictures of composers, performers,and conductors.This book is of great value and help for classical music lovers everywhere.Mr.Libbey you did a marvelous job. Thanks for this great guide.A five stars indeed!
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