Giulini: The Complete Sony Recordings

I don't have this exact box, but have everything on it in the larger Asian release "big Giuliani" box. I like the delicious, charming energy of HIP, and I like the traditional grandiosity of "Big Teutonic" classical music. Giulini, however, represents a "3rd way"--focus on the flowing beautiful line, the charm, and elegant aesthetic character of the classics, but without making them gooey. Every disc deserves careful listening--preferably during a sunset while holding a glass of red wine. All of his stuff is now available in boxes at prices so low it is almost sad. I suggest you get all of them as quickly as possible.

[hint: for ease of navigation, read the review though to the end, then come back and click on the links.]Carlo Maria Giulini first came to the attention of the international record-buying public in a series of recordings that EMI made in London, beginning in 1956:  Carlo Maria Giulini Centenary Edition - The London Years Between 1969 and 1981, he transferred his attention to America, making records with the Chicago Symphony and the Los Angeles Philharmonic: Carlo Maria Giulini Centenary Edition - The Chicago Years Giulini in America  (Chicago, Part 2) Giulini in America - Complete Los Angeles Philharmonic Recordings In his late sixties, midway through the Los Angeles period, Giulini's interpretations became more serious and thoughtful.Detractors would say stodgy.His internal clock certainly slowed down.After retiring from Los Angeles, Giulini returned to the continent where he guest-conducted most of the great orchestras.Documented by Sony and Deutsche Gramophon (now Universal).Both companies are reissuing their recordings in inexpensive boxed sets.The following is a discography of Giulini's European recordings, 1975-1995, on Sony (*) ,and Deutsche Gramophon (**  Giulini In Vienna: The 100th Anniversary Tribute  ) , (*** additional DG recordings):- Bach: Mass in B Minor BWV.232 -- Bavarian Radio Symphony *- Beethoven: Symphonies 1-8, Coriolan & Egmont Overtures, Violin Concerto & Romances w/ Salvatore Accardo -- La Scala Philharmonic *- Beethoven: Symphony 9 -- Berlin Philharmonic ***- Beethoven: Piano Concerti 1,3,5 w/ Arturo Benedetti Michelangeli -- Vienna Symphony **- Brahms: 4 Symphonies, Haydn Variations, Tragic Overture, German Requiem -- Vienna Philharmonic **- Bruckner: Symphonies 7,8,9 -- Vienna Philharmonic **- Debussy: La Mer, Prelude to Afternoon of a Faun -- Amsterdam Concertgebouw Orchestra *- Dvorak: Symphonies 7,8,9 -- Amsterdam Concertgebouw Orchestra *- Einem: An die Nachgeborenen Op.42 -- Vienna Symphony **- Faure: Requiem -- Philharmonia Orchestra ***- Franck: Symphony in D Minor, Psyche et Eros -- Berlin Philharmonic ***- Franck: Symphony in D minor, Symphonic Variations w/ Paul Crossley -- Vienna Philharmonic *- Liszt: Piano Concerti w/ Lazar Berman -- Vienna Symphony **- Mahler: Das Lied von der Erde -- Berlin Philharmonic ***- Mozart: Symphonies 39,40,41, Sinfonia Concertante K.543 -- Berlin Philharmonic *- Mozart: Requiem -- Philharmonia Orchestra *- Mozart: Piano Concerto 23 w/ Vladimir Horowitz -- La Scala Philharmonic ***- Mussorgsky: Pictures at an Exhibition -- Berlin Philharmonic *- Ravel: Ma Mere l'Oye, Pavane -- Amsterdam Concertgebouw Orchestra *- Ravel: Pavane -- Philharmonia Orchestra ***- Rossini: Stabat Mater -- Philharmonia Orchestra ***- Schubert: Symphonies 4,8,9, Mass in E-flat D.950 -- Bavarian Radio Symphony *- Schumann: Piano Concerto w/ Evgeny Kissin -- Vienna Philharmonic *- Stravinsky: Firebird Suite -- Amsterdam Concertgebouw Orchestra *- Verdi: Quattro Pezzi Sacri -- Berlin Philharmonic *- Verdi: Requiem -- Berlin Philharmonic ***- Verdi: Rigoletto -- Vienna Philharmonic **- Verdi: Il Trovatore -- Santa Cecilia Orchestra ***- Vivaldi: Credo RV.591 -- Berlin Philharmonic *Most were re-recordings; but there are significant additions to his London, Chicago and Los Angeles discographies:- Bach: Mass *- Beethoven: Symphonies 1,2,4, Coriolan Overture, Romances *, Piano Concerti 1,3,5 **- Brahms: German Requiem **- Bruckner: Symphonies 7,8 **- Einem: An die Nachgeborenen **- Faure Requiem ***- Franck: Symphonic Variations *- Liszt: Piano Concerti **- Mahler: Das Lied von der Erde ***- Mozart: Symphony 39, Sinfonia Concertante *, Piano Concerto 23 **- Rossini: Stabat Mater ***- Schubert: Mass *- Verdi: Rigoletto ** , Il Trovatore ***- Vivaldi: Credo *_ * "Giulini: The Complete Sony Recordings" - the box under review._** Giulini In Vienna : Deutsche Gramophon recordings*** DG recordings not yet collected in a box - mostly Berlin Philharmonic (this would be a 9 CD set)-----------------------------------------------------------------------------COMPLETE SONY RECORDINGS: This is Late Giulini: Slow, Serious, Thoughtful. Not Excitable.Two-thirds of the 22 CDs in this box are devoted to re-makes of music that Giulini had recorded earlier in his career (vs. one-third in DG's "Giulini in Vienna" box).Of all the re-makes, only one - the Bruckner 9th in the "Giulini in Vienna" box - would I count as an absolute improvement over his earlier recording.Maybe the Mozart Requiem in Sony's box.Unlike the DG box, which had recordings dating back to 1975, the Sony box is strictly late Giulini, 1989-1995.The Sony box does have approximately seven CDs of material new to Giulini's discography.Best of all, it doesn't cost a lot of money to introduce yourself to the special pleasures of Late Giulini.- Beethoven: Giulini was unique among conductors of his generation in never having recorded the complete Symphonies of Ludwig van Beethoven.Sony set out to remedy this omission.Earlier, between 1968 and 1981, he had recorded Symphonies 3, 5, 6 (twice), 7, 8 and 9, in London, Chicago and Los Angeles.This was middle-period Giulini. In his prime.Unlike some composers (Bruckner, Mahler) the serious, world-weary approach of Late Giulini was not always a good match for Beethoven.Exception: the 1990 re-make of the Ninth Symphony with the Berlin Philharmonic (DG).A spiritual experience,though not necessarily preferable to his more vigorous 1972 London recording.Between 1991 and 1993 Sony recorded Symphonies 1 through 8 with the La Scala Philharmonic.Presumably they planned to complete the set with the Ninth, but the project fell through.Twenty years ago, I would have described these performances as "arthritic".On second hearing, this Beethoven sounds a lot more congenial - I guess I'm getting pretty arthritic myself.I only wish he had recorded Symphonies 1, 2 and 4 earlier in his career.- Beethoven's Violin Concerto with Salvatore Accardo is more successful.The first movement (25:49) stresses lyricism over drama.Beautiful performance, if you don't mind two slow movements and a finale (I don't).- The Franck d Minor Symphony works at Giulini's slow tempo.First movement = 21:30, which brings out brings out all the doom and gloom in this manic-depressive music,even if I ultimately prefer dry-eyed Pierre Monteux's peppy performance (18:02) :  Franck: Symphony in D Minor Not to mention that speed demon Otto Klemperer (17:53) :  Otto Klemperer: Romantic Symphonies - Mozart Requiem: To my mind, Giulini's 1978 EMI recording:  Mozart: Requiem / Exsultate Jubilate  (54:44) was the best of the traditional big orchestra, big chorus performances.Preferable to Bernstein, Bohm, Karajan or Solti.This 1989 performance (60:15) may be even better. Close call.Dramatic and awe-inspiring.Great chorus, great soprano (Lynne Dawson), great bass (Simon Estes).Presentation: Everything comes in an attractive cardboard box with a nice booklet.Original jacket format with cover art on the front and track listings on the back.Minimal program notes, no texts or translations for the vocal works (standard Roman Catholic liturgy).Sound: Unlike other Sony boxes, nothing here is newly remastered. Still, the sound is quite good - most are original 20-bit masterings.I was particularly impressed with the Amsterdam Concertgebouw recordings.Gorgeous.Especially Ravel's Ma Mere l'Oye and Dvorak's New World Symphony.The brass playing in the finale of the Dvorak is enhanced by the hall's long reverberation time, but the strings are not overpowered(this probably involved some tricky microphone placement - normally something I would disapprove of, but it works here).--------------------------------------------------------------------------------------A number of Giulini's concert performances with the Berlin Philharmonic have also been issued on the Testament label.Pricey, but nice.Some feature composers new to his discography (Gabrieli, Geminiani, Webern), but most are alternate views of music he had already recorded for the major labels.On the Amazon search bar, enterMusic: Giulini TestamentSometimes this duplication got out-of-hand.There are three recordings of Mahler's "Das Lied von der Erde" to choose from - All with Brigitte Fassbaender and Francisco Araiza.- 1984: Berlin Philharmonic, DG studio recording  Mahler: Das Lied von der Erde - 1984: Berlin Philharmonic in concert, live on Testament- 1987: Vienna Philharmonic in concert, live on OrfeoOne could almost justify this if different singers were involved.To see your options, on the Amazon search bar, enterMusic: Giulini Lied von der Erde

Typical of late Giulini, this Sony box has recordings notable for slow tempi and formidable power, both in terms of weight and interpretation. The liturgical works are very fine, and the Schubert and Dvorak symphonies work very well, even with the slow tempi. Probably a set mostly for Giulini collectors, but for them, this is very fine.

After having heard some of the cd's of this box that had been issued before as separate cd's , I must agree with those who find this set rather disappointing : the recording is no match for the EMI now Warner and the DG recordings .Or for that matter , the Concertgebouw collection of live concerts - a huge box of some 150 cd's , worth every penny .Anyway ,in his later years the great master showed a tendency to record again works that he had recorded before .So , all in all , a disappointing issue .

ジュリーニのレパートリーは、カラヤンの様な「全部録音」と対極で、ここに収められた曲は、何度も手にかけたものばかりです。段々と、作品の深部に近づく様な、深い解釈に驚嘆できます。あれこれと手を出すよりも、一種、特定のレパートリーを掘りつくす姿に、巡礼者に近いものを感じます。齢を重ねてゆくにつれ、「こんな深い意味が潜んでいたのか！」と、聴くほどに、納得できる曲への切り込みの凄さを、しっかりと感じます。年齢的に、指揮活動の終息時期となりつつも、音楽への踏み込みの強さが感じられる成果を心から感じ取れる記録となっています。ファンでなくても、必聴の録音です。

Die große Entdeckung in dieser Box sind für mich die Beethoven-Einspielungen (Sinfonien 1-8, Ouvertüren und Weitere), die auch vom Umfang her (6 CDs) den breitesten Raum einnehmen. Es ist sehr eindrucksvoll, mit welcher Begeisterung und Entdeckerfreude Giulini und das Orchester der Mailänder Scala sich diesen Meister neu erschließen. Äußerst kraftvoll, mit geradezu glühendem Bogenstrich werden die Phrasen von den Streichern ausformuliert. Wie hier die Motive farben- nuancenreich ausgeleuchtet und auf den Punkt gebracht werden, hat für mich etwas von südlicher Klarheit. Die metaphysische Dimension ist jederzeit spürbar, ohne dass Giulini die Musik mit rauschhaften Gefühlen aufladen muss. Hierzu sei angemerkt, dass er ein an Verdi und nicht an Wagner geschulter Dirigent ist. Die Intensität der Interpretation zeugt von einer tiefen Vertrautheit zwischen Dirigent und Orchester.Auch andere großartige Orchester sind in dieser Box versammelt, die sich unter Giulini zu Höchstleistungen aufschwingen.So glänzt das Concertgebouw-Orchester mit Werken von Ravel, Debussy und Stravinsky, bei denen es Giulini auf die Seeleder Musik ankommt und nicht auf impressionistisches Raffinement. Ein ebenso prächtiges wie subtiles Klangpanorama entfalten die Amsterdamer zudem mit Dvorcaks Sinfonien 7,8,9. Höchst ausdifferenziert und zugleich mit viel Wärme erklingen Mozarts späte Sinfonien 39, 40, 41, gespielt von den Berliner Philharmonikern. Die Wiener Philharmoniker zeichnen sehr überzeugend die großen Linien der d-moll-Sinfonie von Cesar Franck nach. Als Experten für die reiche musikalische Phantasie und Gefühlstiefe von Schuberts Sinfonien 4, 7(Unvollendete) und 8 erweisen sich die Musiker des BR-Symphonieorchesters.Mozarts Requiem (Philharmonia Orchestra London), Schuberts Es-Dur-Messe und Bachs H-moll-Messe repräsentieren diesakrale Musik, die stets einen Schwerpunkt in Giulinis Schaffen bildete. In feierlich ernster Grundstimmung, die Giulini hervorzu-bringen versteht, kann sich der mystische Gehalt der Werke auf ganz selbstverständliche Weise aussprechen.Alles in allem ist diese Box ein unbedingt hörenswertes Dokument für die späte Schaffensphase eines Dirigenten, der sich bisins hohe Alter einen jugendlich neugierigen Zugang zu den großen Meisterwerken bewahrt hat.

This is a fascinating collection of recordings. I had known some before buying this set, though only actually had one (Dvorak 8). They are distnguished readings, mostly characterised by slow tempi with 'curved' turns of phrase rather than angular. 'A combination of Klemperer and Haitink' was the thought that occurred to me several times during listening. The tempi are like Klemperer's, but there the comparison ends. Klemperer always played with plenty of thrust and very pointed rhythms, despite the usually slow pulse, but comparing the repertoire recorded here with Haitink, where applicable, one becomes aware of how Haitink 'rounds the corners' to produce a suave effect. It is this that Giulini achieves here, though at Klemperer's pace, more often than not. If you like interpretations that are well thought out and felt through, you will love everything here. If however, you like the the brisker Charles Mackerras touch or clipped period instrument style, pass on by. For me, these CDs are superior even to the 'Vienna' box on DG (where duplications occur), but the DG box does inlcude the Liszt PIano Concertos with Lazar Berman and the Brahms symphonies, wich are well worth having.

Titre en réponse à l'évaluation précédente dont le moins qu'on puisse dire est qu'elle fait part d'une opinion pour le moins à contre-courant de la grande majorité des auditeurs du maestro italien.Tempi ralentis : c'est une des caractéristiques bien connues de l'évolution de la direction de CMG au fil des années, mais n'a rien de nouveau (cela n'a pas débuté à la fin des années 80 et est un fait connu comme le loup blanc), ce n'est d'ailleurs pas un cas isolé chez les chefs (Klemperer pour n'en citer qu'un autre, lui aussi immense), et ce n'est certainement pas un défaut en soi - on pourrait reprocher à Toscanini l'exact opposé, mais là encore c'est être à côté du sujet !La même oeuvre peut "supporter" d'être jouée plus ou moins vite (ou lentement), du moment qu'il y a une vision, une architecture, une tension et une pulsation internes, une connaissance intime et l'amour de l'oeuvre (de la musique), et tout cela Giulini le possède au plus haut degré.Résultat : des interprétations de légende :- les dernières symphonies et le Requiem de Mozart- les 3e et 7e de Beethoven- les 2 dernières symphonies et la messe de Schubert- la Messe en si de Bach, qui est en effet hors du temps, ce qui est parfait pour une musique justement intemporelle- les symphonies de Dvorak (dont je ne suis pourtant pas particulièrement friand)- les Debussy et Ravel merveilleux.J'ai eu la chance de voir le maestro diriger tout au long de sa dernière décennie active, dans une répertoire varié (40e de Mozart, inoubliable, messe de Schubert, concerti et symphonies de Brahms, extraordinaire 4e entre autres, Requiem de Verdi, renversant, la Mer etc.) et les auditeurs étaient subjugués par la force émotionnelle qui se dégageait de ces interprétations, la qualité de la "pâte" sonore orchestrale, la tension permanente malgré les tempi.Ce coffret complète parfaitement ceux sortis il y a quelques mois. Reste à espérer que sortent pour 2014 (Giulini aurait eu 100 ans la semaine dernière) des DVD des nombreux enregistrements avec le LAPO ou le CSO.

La Sony Classical ha deciso di celebrare il centesimo compleanno del nostro Carlo Maria Giulini (tanti ne avrebbe avuti se non ci avesse lasciati nel 2005) con questa bellissima raccolta. In questo box, che costa davvero pochissimo e che ha il pregio di mostrare la copertina originale di ciascun CD alla sua prima uscita sul mercato, sono riunite tutte le registrazioni che Giulini fece nei suoi ultimi anni di attività.Si inizia con le ultime tre sinfonie di Mozart, alla testa dei Berliner Philarmoniker: il passo dell'esecuzione è lento e l'impostazione genrela è quella "classica" ma il suono che esce da questi CD è di una bellezza sconvolgente per il senso di misura "aurea" che il vecchio Giulini riesce a trovare in Mozart. E questo vale anche per la bella esecuzione del Requiem di Mozart, inciso alla testa della Philarmonia di Londra e con un quartetto vocale pregevole.E poi... la "quasi integrale" delle sinfonie di Beethoven, dalla 1 alla 8, con l'Orchestra della Scala.A riascoltarle oggi, specialmente paragonate a quelle incisioni tanto osannate per la loro "ieraticità" del coetaneo Jochum, io trovo che siano tutte, e tutte dico senza eccezione, esecuzioni straordinarie, che testimoniano fra l'altro, l'altissimo livello dell'orchestra milanese, dopo la "cura" di Abbado e di Muti.Leit motiv delle interpretazioni del vecchio Giulini è il tempo particolarmente lento tenuto, ma senza che sia avvertito mai come "molle o strascicato". In qualche modo Giulini riesce, proprio come Klemperer, a mantenere sempre alta la tensione emotiva, tanto che a volte sembra quasi non avvertirsi la lentezza del metronomo adottato.... Peccato manchi la nona, mai incisa da Giulini con l'orchestra della Scala (forse anche perchè l'aveva incisa da pochi anni con i Berliner Philarmoniker e doveva rispettare il contratto con la DG...). Compensa questa mancanza uno straordinario concerto di Beethoven per violinoe orchestra, con Accardo sublime protagonista: ho avuto modo di dire che questa incisione è una delle mie tra preferite in assoluto di questo concerto.E ancora assolutamente da non perdere lo Schubert di Giulini, in particolare la quarta sinfonia,, l'ottava ncompiuta e la nona, la grande, eseguite con l'orchestra della Radio Bavarese. Queste esecuzioni rimangono a mio avviso memorabili, e sono da sempre nella mia "top ten" personale insieme a quelle di Abbado, quelle di Muti e quelle di Bernstein.Altra CD memorabile, fra l'altro scomparso presto dal commercio, è il concerto per piano ed orchestra di Schumann, con il giovane Kissin accompagnato dai Wiener Philarmoniker: è una esecuzione rapinosa e bellissima, ulteriore testimonianza, come se ce ne fosse bisogno, della capacità straordinaria di Giulini di essere in perfetta sintonia con il solista (che tiene tempi molto accelerati, in assoluto...). Questa incisione del concerto d Schumann è, insieme a quella di Pollini e Abbado e quella di Perahia sempre con Abbado, fra le mie tre preferite.Molto bella l'interpretazione dei Quadri di Mussorgky, altro cavallo di battaglia già inciso con la Chicago Symphony, qui in una esecuzione meditata e solenne con il Cocertgebow.Così come già incisi per la DG e con orchestre americane (così come per la EMI con la Philarmonia negli anni '60) altri cavalli di battaglia di Giulini quali La Mer di Debussy, Ma mere l"Oye di Ravel, e l'Oiseau di Stravisnky.Numerosi i CD incisi alla testa del Cocertgebow di Amsterdam, fra cui spiccano le ultime tre sinfonie di Dvorak: diverso è l'approccio del vecchio Giulini rispetto alle sue prove "giovanili" con la Philarmonia negli anni '60. Ma la maturità ha giovato anche in queste interpretazioni, che sono testimonianza preziosa di una concezione musicale che vede in Giulini uno degli ultimi esponenti: Giulini infatti portava in sè la tradizione squisitamente Italiana (era nato in Puglia), ma temperata da quella tedesca (era cresciuto e aveva studiato a Bolzano). Il tutto unito ad una umiltà ed una modestia che lo avvicinano di molto al carattere di Abbado.A differenza di Abbado però Giulini aveva una fervida religiosità nella Chiesa di Roma, e questo suo sentimento religioso fa sì che le sue interpretazioni di musica sacra siano permeate da un pathos reale. Ecco che la Messa D 950 di Schubert emerge in una dimensione prospettica inaudita, e diventa potente quasi come la Missa Solemnisimdi Beethoven sotto la bacchetta di Giulini. E così i quattro pezzi sacri di Verdi (autore di cui Giulini è stato esegeta esemplare) acquistano una preziosità unica, pari soltanto alle esecuzioni di Abbado e di Muti.Chiude questa straordinaria raccolta la Messa in Si Minore di Bach, eseguita con concezione "non filologica" ma non per questo meno bella e meno appropriata. Anzi il sentimento di intima affettuosità "smussa" certi momenti in cui la grandiosità potrebbe sembrare quasi "ubris", e mantiene la musica di Bach sul piano della pietas.La tecnica di registrazione messa allora in campo dalla Sony si attesta ai massimi livelli: tutte registrazioni digitali e in DDD, tutte almeno buone, alcune davvero eccellenti e degne di impianti Hi-Fi di altoo lignaggio (ma godibili anche per ascolti con cuffie o auricolari..).Un onore sentirsi italiani, quando si pensa a livello artistico raggiunto Giulini e dalla fama mondiale giustamente conseguita e per cui oggi la Sony lo celebra....auguri Maestro!Buon ascolto a tutte e tutti voi...