New York Night

1. Me 'n You

2. Roy's Joy

3. You Go to My Head

4. Leave Me

5. Prez Says

6. Lennie-Bird

New York Night,Connie Crothers & the Lenny Popkin Quartet,The Orchard,Avant-Garde,Jazz,Jazz Music,Pop,Post-Bop

Jazz

Music

jazz

Tracks:

Appalachian Spring: Very Slowly
Appalachian Spring: Allegro
Appalachian Spring: Moderato
Appalachian Spring: Fast
Appalachian Spring: Subito Allegro
Appalachian Spring: As At First (Slowly)
Appalachian Spring: Doppio movimento
Appalachian Spring: Moderato - Coda
Rodeo: Buckaroo Holiday - Allegro con spirito
Rodeo: Corral Nocturne - Moderato
Rodeo: aturday Night Waltz - Introduction - Slow Waltz
Rodeo: Hoe-Down - Allegro
Billy The Kid: Introduction. The Open Prairie
Billy The Kid: Street In A Frontier Town
Billy The Kid: Mexican Dance And Finale
Billy The Kid: Prairie Night (Card Game At Night)
Billy The Kid: Gun Battle
Billy The Kid: Celbration (After Billy's Capture)
Billy The Kid: Billy's Death
Billy The Kid: The Open Prairie Again
Fanfare for the Common Man: Molto deliberato

Amazon.com essential recording

Happy is the composer who has an advocate as passionate and talented as Leonard Bernstein. These Copland performances have been the preferred versions since they were first issued--better even than the composer's own, later recordings. Originally they were spread over two discs, but thanks to the extended playing time of the compact disc, you can now get all three great Copland ballets together, along with the ever popular Fanfare for the Common Man. Bernstein brings to this music the right sharpness of rhythm but also a typically open-hearted warmth. He coaxes a virtuoso response from the New York Philharmonic, which knows this music as well (or better) than anyone. Self- recommending. --David Hurwitz

Customer Reviews:

What more could one ask for?.......2007-06-27

Aaron Copland's masterful works are here interpreted by Bernstein. Nothing says the American sound like Copland, and there is no better interpreter than Bernstein. This recording is one of the best in my collection. I would recommend this to anyone (even non-classical music fans).

Definitive Is Right.......2007-02-27

I have the SACD version of these recordings (except for the "Fanfare" which, in this case, is the version taken from Bernstein's recording of Copland's Third Symphony) and I must agree with others here that the performances are definitive. The "Rodeo" has more energy than any other recording I know of, in fact it can almost go over the top! "Billy the Kid" is quiet and tender, dramatic and bold and "Appalachian Spring" is dead-on. The last section of this ballet is one of my very favorite pieces of music and Bernstein's tempo and phrasing here could well be called perfect.

Definitive Recordings of Copland's Popular Ballet Scores From Bernstein, NYPO.......2007-02-11

Without question, this splendid CD is my favorite recording of some of Aaron Copland's most popular orchestral ballet scores. In Leonard Bernstein he had both a good friend and a devout ally, who successfully championed Copland's music, helping to ensure his reputation as one of the greatest - if not the greatest - 20th Century American composer. Sony has done a superb job in digitally remastering this recording, offering some of the best sound I've heard from a vintage Leonard Bernstein/New York Philharmonic recording. But more importantly than the recording's superb sonic quality is the quality of these performances of Copland's scores. Bernstein leads in New York Philharmonic in these virtuoso performances, replete with lush, vibrant playing from the winds, horns and strings. His warm, truly heart-felt interpretation of "Applachian Spring" is truly mesmerizing, and the best I have heard from a recording. And yet, I am am just as impressed with his conducting of both "Rodeo" and "Billy the Kid"; the latter replete with superb solos from the orchestra's timpanist. An elegant performance of "Fanfare for the Common Man" closes out this CD recording. Fans of Aaron Copland, Leonard Bernstein, and the New York Philharmonic Orchestra shouldn't hesitate in acquiring this superb CD.

American Music at its Highest .......2007-02-04

If I was forced to recommend one CD of American music, I would feel very safe in backing this one. These interpretations have yet to be surpassed, and not even Copland himself could muster the same type of perfection that Bernstein and the New York Philharmonic did in this recording. Bernstein's way with Rodeo is unbelievable, and this alone is worth the price of the disc. The music on this recording has a lot to do with why, as Americans, we can all be proud of our place in the history of western music.

With 39 reviews under me, I will dispense with the adjectives to try and describe each interpretation of each piece on this disc, and simply say that these performances have been recommended by almost everyone (professional critics included of course) since they appeared; get it and find out why.

The best of Copland.......2007-01-09

For the Aaron Copland fan, this CD has the essentials: the most popular and easy listening of the Copland body of creations. Enjoy!

Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta

Average customer rating:

Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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The World Is Beautiful: Viennese Operetta Arias
In the Real World
Famous Opera Duets
Jerry Hadley: Vienna
When I Grow Too Old to Dream

ASIN: B000003FQQ
Release Date: 1994-08-16

Tracks:

Song of the Vagabonds
I'm Falling in Love With Someone
Streets of New York
Neapolitan Love Song
Desert Song/One Alone
Every Day Is Ladies' Day with Me
Donkey Serenade
Softly, As in a Morning Sunrise
Drinking Song
When You're Away
I Love to Go Swimmin' With Wimmin
I Might Be Your Once-In-A-While
Marianne
Serenade
Indian Summer
When I Grow Too Old to Dream
Gypsy Love Song
Golden Days - Jerry Hadley, Mario Lanza

Mussorgsky: Pictures at an Exhibition; Night on Bald Mountain

Average customer rating:

Satisfying version of 'Pictures..'; liked album on the whole
Powerful music!
Timeless
Last movement of Pictures conducted too slow
Outstanding performance

Mussorgsky: Pictures at an Exhibition; Night on Bald Mountain

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Gershwin: Rhapsody In Blue/An American In Paris
Copland: Appalachian Spring/Fanfare For The Common Man/El Salón México/Danzón Cubano
Prokofiev: Peter And The Wolf/Saint-Saëns: The Carnival Of The Animals
Holst: The Planets
Barber's Adagio

ASIN: B0000025JN
Release Date: 1990-10-25

Tracks:

Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Gnomus
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet Of The Unhatched Chicks
Pictures At An Exhibition: Samuel Goldenberg And The Schmuyle
Pictures At An Exhibition: The Market Place At Limoges
Pictures At An Exhibition: Catacombs: Roman Sepulchre
Pictures At An Exhibition: Cum mortuis in linqua mortua
Pictures At An Exhibition: The Little Hut On Chickens' Legs
Pictures At An Exhibition: The Great Gate Of Kiev
Night On Bald Mountain

Customer Reviews:

Satisfying version of 'Pictures..'; liked album on the whole.......2007-05-31

I had attended a SF Symphony performance which included "Pictures At An Exhibition" as orchestrated by Ravel. I was pleasantly suprised by how much I liked that piece taken as a whole. I have always thought highly of Bernstein's interpretation, and believed I would hear a nicely played and interpreted version of 'Pictures..' Indeed, the piece is executed as I thought it would. I like Bernstein's interpretation of 'Pictures At An Exhibition', and the album, on the whole, is worth the suggested price.

Powerful music!.......2007-01-27

I loved this CD. It is the same cover and everything as the record we had while I was growing up. In HS we actually marched to this! Wonderful memories and excellent recording.

Timeless.......2003-12-31

There are very few musical memories I have before the age of ten but "Pictures At An Exhibition" is one of them.
I was in bed putting off going to school when I saw this awsome ad for The United States Navy.
While showing scenes of eighteenth century battleships, they played this music. Nearly thirty years later, I still cant get it out of my head!

Last movement of Pictures conducted too slow.......2002-05-21

Hello,
I feel that Bernstein conducted the last movement of Pictures too slowly. It has a majesty and grace all it's own but in Bernstein's hands it slows to a jaunted crawl and looses some of the awe effect. Also the percussion is ever so slightly too loud in the end. I don't thing the tubular bells or gong were meant to be heard as much felt. Kind of a let down, but there's another version I'm used to hearing that set me up for this. Not sure what version that is, but I'll let ya know if I find out. The rest of "Pictures" is decent, and "Night" is great.
Phillip

Outstanding performance.......2001-05-03

Bernstein really captures the spirit of the music, from the light feel of the Unhatched chicks and the Market Place at Limoges, to the pure brawn of Bydlo, to the mysteriousness of the catacombs and the cum mortuis in liqua mortua, finishing it triumphantly with the great gate of Kiev. I've really enjoyed this production, and listen to it frequently.

Average customer rating:

Great to Hear All those great Voices from the Past
A Good One!

Greatest Hits: Broadway

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Best Of Broadway (Cast Recording Anthology)
Only Broadway CD You'll Ever Need
Greatest Songs from the Musicals
The Best of Broadway - The American Musical (PBS Series)
Very Best Of Broadway Musicals

ASIN: B0000029PM
Release Date: 1996-10-29

Tracks:

Oklahoma!: Oh, What A Beautiful Mornin' - John Raitt/Franz Allers
On The Town: New York, New York - Michael Kermoyan/Adolph Green/John Reardon/Cris Alexander & Chorus/Leonard Bernstein
Annie Get Your Gun: I Got The Sun In The Morning - Doris Day/Franz Allers
Fiddler On The Roof: If I Were A Rich Man - Topol/Gareth Davies
West Side Story: Tonight - Larry Kert/Carol Lawrence/Max Goberman
The Sound Of Music: The Sound Of Music - Mary Martin/Frederick Dvonch
My Fair Lady: On The Street Where You Live - Jerry Lanning/Theodore Saidenberg
Annie: Tomorrow - Andrea McArdle/Peter Howard
The Music Man: Seventy-Six Trombones - The Boston Pops Orchestra/John Williams
Anything Goes: You're The Top - Eileen Rodgers/Hal Linden/Julian Stein
Bye Bye Birdie: Put On A Happy Face - Dick Van Dyke/Elliot Lawrence
Mame: Open A New Window - Angela Lansbury & Cast/Don Pippin
Strike Up The Band: Strike Up The Band - The Chestnut Brass Co.
Sweet Charity: Hey, Big Spender - Helen Gallagher/Thelma Oliver/Fan-Dango Girls/Fred Werner
Bells Are Ringing: Just In Time - Judy Holliday/Sydney Chaplin/Milton Rosenstock
Gypst: Together, Wherever We Go - Ethel Merman/Jack Klugman/Sandra Church/Milton Rosenstock
Cabaret: Cabaret - Jill Haworth/Harold Hastings
Phantom Of The Opera: The Music Of The Night - The Boston Pops Orchestra/John Williams
Show Boat: Ol' Man River - William Warfield/Franz Allers
A Chorus Line: What I Did For Love - Priscilla Lopez & Cast/Don Pippin
A Little Night Music: Send In The Clowns - Glynis Johns/Harold Hastings

Customer Reviews:

Great to Hear All those great Voices from the Past.......2007-07-05

I just wanted to confirm what the first reviewer had to say about this CD. To hear Ethyl Merman, Mary Martin, Andrea McCardle etc. singing their trademark songs brought a lot of memories from the mid-centry musical theater back again. The last song by Glynis Johns is especially poignant.
You certainly can't beat the price!

A Good One!.......2006-11-10

This is a very good CD, mostly because it's the original artists. I've had some that were re-recorded by no name artists that were ghastly. This one is a really good one--including the sound quality. If I had one wish, I would wish it were longer!

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Ludwig van Beethoven
The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Give My Regards To Broadway- Joel Grey
Swanee- Al Jolson
When The Moon Shines On The Moonshine- Bert Williams
A Pretty Girl Is Like A Melody- John Steel
My Man- Fanny Brice
Fascinating Rhythm- Fred Astaire, Adele Astaire
If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
Someone To Watch Over Me- Gertrude Lawrence
Bill- 78 rpm Version Helen Morgan
Ol' Man River- Paul Robeson
Ain't Misbehavin'- Louis Armstrong & His Orchestra
Ten Cents A Dance- Ruth Etting
Body And Soul- Libby Holman
Brother, Can You Spare A Dime- Bing Crosby
Night And Day- Fred Astaire
Heat Wave- Ethel Waters
Smoke Gets in Your Eyes- Tamara
You're The Top- Ethel Merman
Summertime- Anne Brown
September Song- Walter Huston
My Heart Belongs To Daddy- Mary Martin
It Never Entered My Mind- Shirley Ross
Bewitched, Bothered, Bewildered- Vivienne Segal
Oh, How I Hate To Get Up In The Morning- Irving Berlin
Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

New York, New York- Cris Alexander,Adolph Green,John Reardon
If I Loved You- John Raitt,Jan Clayton
Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
There's No Business Like Show Business- Ensemble
How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
Once In Love With Amy- Ray Bolger
Wunderbar- Alfred Drake,Patricia Morison
Some Enchanted Evening- Ezio Pinza
Lost In The Stars- Todd Duncan
Diamonds Are A Girl's Best Friend- Carol Channing
Luck Be A Lady- Robert Alda,Guys
Getting To Know You- Gertrude Lawrence
Who Cares?- Jack Carson,Betty Oakes
Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
Ballad Of Mack The Knife- Gerald Price
Hey There- from "The Pajama Game" John Raitt
Whatever Lola Wants- Gwen Verdon
I Could Have Danced All Night- Julie Andrews
Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
The Party's Over- Judy Holliday
Glitter And Be Gay- Barbara Cook
Tonight- Larry Kert, Carol Lawrence

Tracks:

Seventy-Six Trombones- Robert Preston
I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
Everything's Coming Up Roses- Ethel Merman
My Favorite Things- from "The Sound Of Music" Mary Martin
Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
Try To Remember- Jerry Orbach
Camelot- from "Camelot" Richard Burton
Love Makes The World Go 'Round- Anna Maria Alberghetti
I Believe In You- Robert Morse And Co.
The Sweetest Sounds- Diahann Carroll,Richard Kiley
Comedy Tonight- Zero Mostel
What Kind Of Fool Am I?- Anthony Newley
As Long As He Needs Me- Georgia Brown
Hello, Dolly!- Carol Channing,Cast
People- Barbra Streisand
Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
If I Were A Rich Man- Zero Mostel
Night Song- Sammy Davis, Jr.
The Impossible Dream- Richard Kiley
If My Friends Could See Me Now- Gwen Verdon
Open a New Window- from Mame Voice

Tracks:

Willkommen- from "Cabaret" Joel Grey
Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
The Ladies Who Lunch- from "Company" Elaine Stritch
Tea For Two- Roger Rathburn,Susan Watson
I'm Still Here- Yvonne De Carlo
I Don't Know How To Love Him- Yvonne Elliman
We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
Corner Of The Sky- John Rubinstein
Send In The Clowns- Glynis Johns
Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
One- from "A Chorus Line" Cast
All That Jazz- Chita Rivera,Ensemble
Tomorrow- Andrea Mcardle
Don't Cry For Me Argentina- Patti Lupone
Come Follow The Band
Lullaby Of Broadway- Jerry Orbach
And I'm Telling You I'm Not Going- Jennifer Holliday
The Bells Of St. Sebastian- Raul Julia

Tracks:

Memory- Betty Buckley
I Am What I Am- George Hearn
Move On- Bernadette Peters,Mandy Patinkin
Do You Hear The People Sing?- Michael Maguire,Cast
The Music Of The Night- Michael Crawford
You're Nothing Without Me- James Naughton,Gregg Edelman
The American Dream- Jonathan Pryce,Cast
Doctor Jazz- Gregory Hines,Company
With One Look- Glenn Close
On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
Le Jazz Hot- Julie Andrews,Ensemble
Seasons Of Love-
Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
I Wanna Be A Producer- Matthew Broderick,Ensemble
Dancing Queen- Louise Plowright,Jenny Galloway
Good Morning Baltimore- Marissa Jaret Winokur
Movin' Out- Michael Cavanaugh,Band
I Go To Rio- Hugh Jackman,Company
Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

Fabulous for any Broadway-lover.......2007-01-30

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

Top Shelf.......2007-01-04

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

TERRIFIC CD'S.......2006-03-23

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway

Average customer rating:

Groundbreaking but partly outdated
Outstanding Mahler Compilation
Bernstein or Tennstedt: read on....
Comparing the two Bernstein Mahler cycles
Mahler complete symphonies.

Mahler: The Complete Symphonies
Dame Janet Baker , Jennie Tourel , Lili Chookasian , Martha Lipton , Israel Philharmonic Orchestra , New York Philharmonic , Hans Vollenweider , Adele Addison , Dame Gwyneth Jones , Erna Spoorenberg , Lee Venora , Lucine Amara , Reri Grist , John Mitchinson , and Richard Tucker
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Mendelssohn: 5 Symphonies; 7 Overtures
Schubert: 8 Symphonies
Bruckner: The Complete Symphonies
Johannes Brahms: The Symphonies
Dvorák: The Symphonies

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan

Tracks:

Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...

Tracks:

Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...

Tracks:

Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
Three Ruckert Songs: Um Mitternacht - Jennie Tourel
Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
Kindertotenlieder: In Diesem Wetter! - Jennie Tourel

Tracks:

Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
Sym No.4 in G: Movt I: Tempo I - Reri Grist
Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
Sym No.4 in G: Movt III: Andante - Reri Grist
Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein

Tracks:

Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein

Tracks:

Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein

Tracks:

Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
Kindertotenlieder: In Diesem Wetter! - Janet Baker
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein

Amazon.com

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde

Customer Reviews:

Groundbreaking but partly outdated.......2007-03-26

Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.

How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.

The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.

The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.

If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.

Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.

Outstanding Mahler Compilation.......2007-01-29

I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.

Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.

Great price, great compilation. Lot of Mahler.

Bernstein or Tennstedt: read on...........2006-07-12

If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:

No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.

Comparing the two Bernstein Mahler cycles.......2006-06-27

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

Mahler complete symphonies........2006-02-24

"Mahler was an altogether great man" -One who also knows a thing or two.

A Christmas Celebration: Kathleen Battle

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A Christmas Celebration: Kathleen Battle
One of the most beautiful Christmas albums
A Christmas Collection For The Ages
Kathleen Battle, My Madam Christmas
Pure Joy

A Christmas Celebration: Kathleen Battle
Kathleen Battle , traditional/various , Leonard Slatkin , and Orchestra of St. Luke's with New York Choral Artists & Harlem Boys' Choir
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Christian & Gospel | Styles | Music

General | Opera & Vocal | Styles | Music

Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music

Battle, Kathleen | Divas | Opera & Vocal | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

Opera & Vocal | Holiday | Miscellaneous | Styles | Music

General Christmas | Holiday Music | Special Features | Music

Opera & Vocal | Holiday Music | Special Features | Music
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ASIN: B000002ROL
Release Date: 1990-10-25

Tracks:

O Come All Ye Faithful
O Holy Night
Bring A Torch, Jeannette Isabelle
Fum, Fum, Fum!
Lo, How A Rose E'er Blooming
Ave Maria
Gesu Bambino
Medley: I Saw Three Ships; The First Nowell; The Holly And The Ivy
Away In A Manger
Silent Night
Hark! The Herald Angels Sing
Mary's Cradle Song
Zither Carol
I Wonder As I Wander
Mary Had A Baby
Rise Up, Shepherd
What Child Is This?
Ave Maria
Finale and Reprise: Veni, Veni, Emmanuel; It Came Upon A Midnight Clear; O Little Town Of Bethlehem; Silent Night; O Come All Ye Faithful

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