Past praise for some of the recordings that make up this set: Symphony No 1, The Nutcracker Suite Abbado's Adagio begins mysteriously, but soon becomes rapturous in a way that belies its subtitle, “Land of gloom, land of mists.“ The scherzo is not particularly playful—perhaps the fault is Tchaikovsky's, but I think a lighter approach, which I heard in Thomas and hear in Mariss Jansons's recording, would have helped this movement. The last movement is impressive in its breadth, and in the lovely sound that Abbado gets from his orchestra. I find Abbado's Nutcracker Suite delightful. I find almost any Nutcracker Suite delightful. This one is exquisitely played and recorded. Abbado approaches these pieces with exuberance and fervor, and the recording brings out the full range of his orchestra, including the sweeping accompanying figures in the March. – Michael Ullman, Fanfare Symphony No 2, The Tempest In every detail—pacing, shaping, instrumental balance—Abbado and the sumptuous-sounding orchestra bring us a marvelous realization of the exhilarating Second Symphony. I don't know of a more detailed—yet spontaneous-sounding—performance, every section of each movement flowing with a wonderful sense of continuity, with fresh, pointed, refined phrasing from the solo winds and with a rich, glowing sound from the strings. The Tempest is a fine piece deserving more frequent performances. Again, Abbado and the virtuosic orchestra are compelling, with some especially imposing playing from the brass. – Howard Kornblum, Fanfare Symphony No 3, 1812 Overture Abbado shapes and paces the music with great effect. Abbado gives us a sharply contoured, rousing version of the 1812, culminating in the now requisite display of high-caliber ordnance. – Howard Kornblum, Fanfare Symphony No 4 Abbado's Tchaikovsky Fourth is one of the outstanding recordings of recent years. – Don C. Seibert, Fanfare Symphony No 5 Here is a first-rate Tchaikovsky Fifth, most notable for its vigorous, forthright sense of continuity and its razor-sharp orchestral playing. Abbado's pacing is on the quick side for the most part, and his shaping of the music is unswervingly straightforward, producing from the orchestra alert, urgent, ardent, tonally suave playing, with the brass especially robust, sonorous, and cleanly articulated. – Howard Kornblum, Fanfare
