Does anyone like the Dante Symphony, I mean, all of it? Here’s a performance that may make you a fan. The problem usually concerns the final Purgatorio and Magnificat, which comes as a huge anticlimax after the harrowing opening Inferno. Certainly Sinopoli takes no prisoners: this is the most violent and exciting account of the first movement yet recorded (and the sonics are stunning). Yet remarkably, at a very slow tempo Sinopoli draws so much color and atmosphere from the work’s second half that it’s positively mesmerizing. Okay, those unwilling to be converted might still be bored, but then just about any other version will do that. This performance, by the way, is included in DG’s big LisztRead more Edition; but on the assumption that you don’t want dozens of CDs, you might want to try to find this performance used. It’s worth searching out.
-- David Hurwitz, ClassicsToday.com [8/2011] Read less
Studies (2), Sarabande and Cortège on Doktor Faust, Op. 51/K 282by Ferruccio Busoni
Average Customer Review: ( 1 Customer Review )
Dante: at last!May 17, 2012By Don O'Connor (Kreamer, PA)See All My Reviews"This performance simply blows the rest off the deck. The Inferno has never sounded more demoniac nor the Purgatorio more impressive. In the peroration of the latter, it sounds as if the Dresden band has about 18 bass fiddles. You also appreciate why the symphony had such a hard time making headway: the first movement must be the most violent written in the 19th century and in a bad performance, easy to misconstrue. All the more do I miss Sinopoli; he was just digging deepest into some of my favorite "big machines" Don O'Connor"Report Abuse