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4,8 von 5 Sternen

am 4. August 2014
Von all den Klassik-boxen, die ich in letzter Zeit gekauft habe, das wohl vielschichtigste und bunt gemischteste. dazu oft grosser Klang und tolle Interpretation. Viel Hoerspass fuer (rel.) wenig Geld ... Ein Querschnitt durch die Musik (inkl. Oper), mit Altbekanntem und Ungewohntem.
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am 19. Juni 2013
Ich war mit dem Kauf dieser Box erst skeptisch.Nach den ersten Rezensionen habe ich mich doch durchgerungen sie zu erwerben.Diese Zusammenstellung ist wunderbar und ist jeden Euro wert.Es ist Klassik für Kenner und selbst einen Klassikmuffel kann man zum hinhören bewegen.Also alle die Klassik mögen und nicht wissen wo sie anfangen sollen,sei diese Box wärmstens emfohlen.Hier ist zu höhren daß das Label Philips in Sachen Klassik ganz weit vorne war.Bei der Pop-Musik war dieses eher weniger der Fall.Es sind durchweg sehr gute Aufnahmen im besten Stereo-Sound.Hier haben wir es mit Aufnahmen der Großen Komponisten,Dirigenten,Musiker,Tontechniker und nätürlich Liebhaber guter Musik beim Label Philips zu tun.Nur so ist es auch eine Runde Sache.Übrigens ist diese Box solange es sie noch gibt(limitiert)ein wunderbares Geschenk für jeden Klassikinteressierten.Absolute Kaufempfehlung!
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am 22. Januar 2013
At approximately €70, with free delivery in less than three days, this box, containing 55 CD’s, sets you back €1.27 for each single CD. This is considerably cheaper than any legal download, while searching for all the tracks would decidedly take more than three days. And then, quite a few are not even available on the web. The name Original Jackets Collection, however, is incorrect. None of the CD covers is “the original”; almost all are rather poor scans of the originals. It is not inconceivable that after the Seagram overtake all extant graphic material was discarded. This created, in particular, difficulties with the gold imprint that many Philips CD covers sported. It is easy to see what happened – the youngest employee started on Mozart’s Requiem and the Tchaikovsky-Sibelius violin concertos with Photoshop and submitted an approximation. Appalled by the time this had taken, the product manager ordered to make a low resolution scan of all CD covers instead, and use pictures of the LP covers, reduced to fit the CD size. This results in all gold lines looking a smudgy dark brown and in frequently blurry pictures. Also unoriginal is that all liner notes are lacking, both on the covers as in the accompanying booklet. Worse even, the covers do not feature a track listing, just a title list. The track listings can be found in the booklet, that has to be consulted rather often, and quickly falls apart in loose pages as the binding seems to consist of a piece of chewing gum. Finally, the covers make a tight fit, so tight that it is difficult to take out a CD, especially for the double CD covers where the discs can only be recovered by means of a pair of pliers. As CD’s may contain more music than LP’s, the covers of the added recordings have sometimes been printed as thumbnails of 2 x 2 cm on the back. This is done for only eight of the 45 possible ones, one of which is of the wrong recording, and two with the wrong cover. This is originality in an unanticipated sense.
As for the CD’s some duplication with your own collection seems inevitable, but I had only four duplicates, two of them LP’s, producing about 93% new program. Admittedly, that makes €1.37 per CD.
Of course a first check is on what is missing and there are no big symphony cycles or complete composers, no Brahms, Mahler or Mozart symphonies, and actually only a few works of the Complete Mozart edition. What we do have is an interesting mix of well known and lesser-known pieces, from the earliest Philips recordings to the latest, and covering practically all genres. The latter is the reason why most buyers will have little duplication. The big surprise is, however, in the listening. No matter what CD one plays, the music sounds rich, full and transparent with a clear, but never overpowering bass register, and with a wide sound stage and no distortion at even the highest sound levels. One of the most impressive recordings is that of the Liszt piano concertos by Richter, played with a musicality unheard of before. Going through the CD’s one notices quickly that we have here almost exclusively top recordings, hailed by many critics and magazines alike. Take two sopranos, Elly Ameling and Jessye Norman, in songs by Schubert, Brahms and Wolf, and the Four last songs by Strauss respectively, for a most beautiful vocal experience. In the booklet Costa Pilavachi, former director of Polygram, notes that Mozart’s Divertimento K. 563 by the Grumiaux Trio is a true desert island disc, and one can’t agree more. Or take Dmitri Hvorostovsky in Tchaikovsky and Verdi arias; I have never heard a more convincing Germont as a father to his son in ‘Di Provenza il mar’. Choral programs have a stunning impact, like in Mozart’s Requiem under Schreier, and even when you are not an oratorium lover, you will fall for Mendelssohn’s Elias under Sawallisch. Also traditional war horses like Berlioz’s Symphonie fantastique under Davis, the piano concertos by Schumann and Brahms by Davis and Bishop-Kovacevich or the violin concertos by Tchaikovsky and Sibelius by Mullova and Ozawa make the immediate impression that these must be the definitive recordings. It is surprising how listenable even the earliest recordings are, sometimes without any noticeable tape hiss, but also how robust, romantic and dynamic the music was played. Fortunately, there are also two of the relatively little known Suites by Tchaikovsky, produced by Mercury-based Harold Lawrence. His few-microphone recording technique delivers spectacular results, but at the time Philips found the procedure too time consuming and cut it short. The Suites sold very poorly, which also may have hastened Lawrence’s departure. In short, this Original Jacket Collection is a veritable treasure trove with the most beautiful music performed to perfection and recorded with impressive realism. There is one exception, however, going against the grain of so many critics, and awards bestowed to Rossini’s Barbiere under Marriner. Judging by the performers and the recording team nothing seemed to prevent a smash recording. But there are three main problems. First Rosina. There are three paragons of Rosina: Callas, de los Angeles and Bartoli, each of them quite different, but also perfect, and all totally eclipse Baltsa. The Penguin Guide talks about a viper-like character of Baltsa’s Rosina, but it is a drowsy viper indeed. Actually, only few of the soloists are truly convincing, and too few to make a big impression. Second, the sound stage is very odd. Singers who are supposed to address each other appear to be standing in opposite corners of the sound stage, singing in random directions, which is most disconcerting. Actually, there is only one section where that works well, which is ‘freddo ed immobile’, where bewildered people are standing around, but seem not very interested. In the following frenzy scene ‘ Mi par d’essere con la testa’ the best structured, well organized, trim and neat chaos can be heard of any recording, the smithy traded in for a downtown office, with no pounding hammers in sight. Finally there is the erratic choice of tempi, which may change all of a sudden for no apparent reason. It is unbelievable that no critic apparently did hear this, being discerningly seduced by the better than Mantovani quality of the strings. Why was not the Peter Grimes included, or La Juive, one of the Berlioz, Rimsky-Korsakoff or Penderecki opera’s, and if it has to be Rossini, Maometto Secondo, or the long absent Otello? As it is, Verdi’s little known and less mature Il Corsaro is included, being part of the planned complete Verdi opera cycle by Gardelli for Philips, which was cut short by the death of Gardelli and the demise of Polygram in 1998. Il Corsaro has a convoluted and highly improbable libretto, but it has an energetic drive, an amazingly strong ensemble technique and is incredibly well sung. Read the comments of the Amazon buyers on this opera, they’re so right!
Summing up, original jackets or poor copies, this is a top selection of albums that is indeed iconic, as printed on the box. Most of the CD’s are just the best choices in the repertoire, and if the packaging weren’t so dismal, five stars would be even too few.
Philips Original Jackets Collection (Limited Edition)
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am 27. Dezember 2013
Eine Sammlung hervorragender Qualität, sowohl musikalisch als auch technisch. Is ist recht spannend um alles zu entdecken dass im Kistchen liegt!
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am 28. Februar 2013
Toller Querschnitt über mehrere Dekaden Philips Classics. Die Aufnehmen verdienen es neu aufgelegt zu werden.
Praktisch kompakte Box. Schön auch die Original Covers.
Sehr zu empfehlen!
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am 28. Januar 2013
High value for a low price. The booklet als gives a good historical overview of the Philips Phonografic Industry development.
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am 3. Dezember 2012
Kompilationen sind oftmals wohlfeiles recycling, von Aufnahmen, die man gut entbehren könnte, die in Archiven schlummern,zu Recht, aber in einer Box zu neuem (Schein)Leben erweckt werden .

Nicht so diese Box. Ich zähle nur einige Aufnahmen auf, die wirklich anhörenswert sind:
Elly Ameling singt Lieder von Schubert, Brahms, Wolf
Brahms: Klavierkonzert Nr. 2;Händel-Variationen (Arrau, Concertgebouw Orchestra, Haitink
Beethoven: Violinkonzert op. 61;Symphonie Nr. 6 (Zehetmair, Age of Enlightenment Orchestra, Brüggen
Rossini: Stabat Mater (Bartoli, Vaness, Araiza, Bayr. RSO, Bychkov
Faure: Requiem op. 48;Pavane op. 50Vierne: 4 Pieces de fantaisie op. 54 (Ameling, Kruysen, Chorzempa, Rotterdam PO, Fournet
Verdi: Requiem (Orgonasova, Otter, Miles, Monteverdi Choir, Orchestre Revolutionnaire et Romantique, Gardiner
Mozart: Klavierkonzerte Nr. 20 & 24 (Haskil, Concert Lamoureux Orchestre, Markevitch
Rossini: Il Barbiere di Siviglia (Allen, Baltsa, Academy St. Martin, Marriner
Tschaikowsky: Violinkonzert,Sibelius,Mullova,Ozawa,Boston Orch.
Liszt: Klavierkonzerte Nr. 1 & 2;Beethoven: Klaviersonaten Nr. 10, 19, 20 (Richter, London SO, Kondrashin)
Mozart: Violinkonzert Nr. 3;Violinsonaten KV 454 & 481 (Szeryng, Haebler, New PO, Gibson)

das sind gar nicht alle.

Natürlich finden sich auch ältere Aufnahmen dort, die nicht in die erste Reihe gehören, aber soviele ausgezeichnete Aufnahme für wenig mehr als einen E. ist sehr bemerkens-wert.

Also: Empfehlung!
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