Mahler: Symphony No. 3; Bach Suite

Editorial Reviews
Amazon.com
There are lots of excellent Mahler 3rds in the catalogue, and a few great ones. Chailly's is one of the great ones. He leads this all-encompassing work with mastery of structure, close attention to the score’s plentiful instructions, and brings out the orchestral details that often go missing. He also has the benefit of a great Mahler orchestras. the Royal Concertgebouw, whose playing here is beyond praise. The fabulous Dutch winds have never sounded better, investing their many solo turns with idiomatic perfection. The important brass section is weighty, the posthorn solo done with moving lyricism. The strings are simply radiant, as is the chorus and the important vocal contribution of mezzo Petra Lang. The engineers match the playing, providing sound that's thrilling in its impact and presence in both SACD and standard CD. A bonus is Chailly's expert reading of Mahler's arrangement of movements from Bach's 2nd and 3rd Suites. If you love Mahler, you must have this set, even if your shelves are bulging with other versions of the Mahler 3rd. --Dan Davis

Tracks:

Sheep May Safely Graze - Sir Neville Marriner
Serenade In G 'Eine Kleine Nachtmusik' - Sir Neville Marriner
Violin Concerto No.1 In G Minor, Op.26 - II. Adagio - Yedudi Menuhin
Nocturne No.2 In E Flat Op.9 No.2 - John Ogdon
Miserere Mei, Deus - Stephen Cleobury
Schindler's List - Tasmin Little
Traumerei - Dame Moura Lympany
Dance Of The Sylphs - Sir Neville Marriner
Water Music - Berlin Philharmonic Orchestra
Symphony No.9: II. Largo - Oslo Philharmonic Orchestra
Jean De Florette - Toots Thielemans
Concerto For Lute And Two Violins - II. Largo - Anthony Bailes
Cello Concerto In E Minor Op.85 - III. Adagio - Jacqueline De Pre
Waltz No.15 In A Flat - Dame Moura Lympany
Romance - Piers Lane
Pavane - Maurice Handford
Woodbrook - Micheal O Suilleabhain
Time To Say Goodbye - Orchestra

Tracks:

The Four Seasons - Concerto No.1 In E 'Spring' - Yehundi Menuhin
Dance Of The Blessed Spirits - New Philharmonia Orchestra
Double Violin Concerto In D Minor - II. Largo Ma Non Tanto - Yehudi Menuhin
Prelude No.7 In A Op.28 No.7 - Tzimon Barto
Cantique De Jean Racine - MONKS AND CHOIRBOYS OF DOWNSIDE ABBEY
The Lark Ascending - Hugh Bean
'Pathetique Sonata Op.13 - II. Adagio Cantabile - Leonard Pennario
Pie Jesu - Choir Of King's College, Cambridge
Salut D'Amour - Richard Hickox
La Fille Aux Cheveux De Lin (The Girl With Flaxen Hair) - Dame Moura Lympany
The Coventry Carol - Medeval Babes
Pavane For A Dead Princess - New Philharmonia Orchestra
Liebestraum No.3 In A Flat - John Ogdon
Panis Angelicus - Elisabeth Schwarzkopf
Piano Concerto No.2 In F Op.102 - II. Andante - Dmitri Alexeev
Agnus Dei - Peter Barley
Symphony No.5 In C Sharp Minor - IV. Adagietto - New Philharmonia Orchestra
My Heart Will Go On - Orchestra

Customer Reviews:

The Most Relaxing Classical Album In the World Eveer, Volume II.......2006-08-28

Good selection of music, poorly performed and badly arranged. Good album for a tag sale. Same comment applies for Volume I.

Great music listein to while you read in bed.......2005-08-21

I have listened to this CD for the last several years before going to sleep at night. I love classical music, and this is great music to help make my soul feel at peace and unwind after a taxing day.

A must buy for the non-snobbish classical music fan........2004-10-22

I bought Vol. 1 of this series and was quite satisfied, but I have to say I'm more than satisfied with this one. If you can just mellow out and enjoy some great pieces, you'll love this CD. #15 on Disc 2 is almost worth the price alone!

A bliss of spirit........2004-09-18

That's disc will open You a wonderful, beautiful world of sounds, their harmony & emotion : you'll feel your heart full of
Joy, Tears, Love.
Good LUCK!

Boring.......2004-05-11

Yes this CD will put you to sleep in minutes. Its the most boring uninspiring classical music. The first CD was very good but this Vol. 2 is like most movie sequels....AWFUL !

The Most Soothing Lullabies In The Universe

Average customer rating:

The Most Soothing Lullabies In The Universe

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

General | Children's Music | Styles | Music

Lullabies | Children's Music | Styles | Music
Similar Items:

National Geographic: Lullabies - Dream Songs from Around the World
Traditional Lullabies
Bach at Bedtime: Lullabies for the Still of the Night
Lullaby: A Collection
Lullaby Favorites: Music for Little People

ASIN: B0001NBNE8
Release Date: 2004-04-06

Tracks:

CHOPIN: Piano Concerto No. 1, Larghetto
DEBUSSY: Clair de Lune
MANFREDINI: Concerto grosso in C, I. Largo (Pastorale)
MOZART: Eine Kleine Nachtmusik, Andante
BEETHOVEN: Moonlight Sonata, Adagio
BACH: Goldberg
SIBELIUS: Swan of Tuonela
LISZT: Liebestraume
SCHUMANN: Dreaming
MASSENET: Meditation from "Thais"
VAUGHAN WILLIAMS: Greensleeves

Tracks:

HANDEL-WEINER: Sicilienne
A. CORELLI: Concerto grosso in G, Pastorale
VERDI: "When the evening becomes peaceful"
CHOPIN: Three Preludes
MOZART: Clarinet Concerto in A, II. Adagio
BRAHMS: Piano Sonata No. 3, II. Andante espressivo
TCHAIKOVSKY: Swan Lake (excerpt)
MENDELSSOHN: Three Songs Without Words
MAHLER: Symphony No. 3, IV. Sehr Langsam

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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Similar Items:

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:

Platoon: Adagio For Strings - Baltimore Symphony Orchestra/David Zinman
Elvira Madigan: Piano Concerto No.21 In C Major, K.467 - Radu Lupu/English Chamber Orchestra/Uri Segal
A Room With A View: O Mio Babbino Caro (Gianni Schicchi) - Renata Tebaldi/Orch Del Maggio Musicale Fiorentino/Lamberto Gardelli
Dangerous Moonlight: Warsaw Concerto - Cristina Ortiz/Royal Philharmonic Orchestra/Moshe Atzmon
Dances With Wolves: John Dunbar Theme - Hollywood Bowl Orchestra/John Mauceri
Raging Bull/Godfather III: Intermezzo (Cavalleria Rusticana) - National Philharmonic Orchestra/Gianandrea Gavazzeni
Brief Encounter: Piano Concerto No.2 In C Minor: Adagio Sostenuto (Excerpt) - Jean-Yves Thibaudet/The Cleveland Orchestra/Vladimir Ashkenazy
The Mission: Gabriel's Oboe - Prague Philharmonia/Nick Ingman
The Piano: The Heart Asks Pleasure First - Jean-Yves Thibaudet
The Gadfly: Romance - Alexander Kerr/Royal Concertgebouw Orchestra/Riccardo Chailly
Amadeus: Serenade In B Flat Major, K.361 'Gran Partita': Adagio - Members Of The Academy Of St. Martin In The Fields/Neville Marriner
Sunday, Bloody Sunday: Soave Sia Il Vento (Trio) (Cosi Fan Tutte) - Lucia Popp/Brgitte Fassbaender/Tom Krause/Vienna Haydn Orchestra/Istvan Kertesz
Diva: Ebben?...Ne Andro Lontana (La Wally) - Renee Fleming/London Philharmonic Orchestra/Charles Mackerras
Hannah And Her Sisters: Keyboard Concerto No.5 In F Minor, BWV 1056: Largo - Andras Schiff/Chamber Orchestra Of Europe
Immortal Beloved: Piano Sonata No.14 In C Sharp Minor 'Moonlight': Adagio Sostenuto - Vladimir Ashkenazy
Carrington: String Quintet In C Major, D956: Adagio (Excerpt) - Weller Quartet
Amadeus: Lacrimosa (Requiem) - John Alldis Choir/BBC Symphony Orchestra/Colin Davis

Tracks:

Billy Elliot: Scene (Opening Of Act 2) (Swan Lake) - Orchestre Symphonique De Montreal/Charles Dutoit
Life Is Beautiful (La Vita E Bella): Barcarolle (The Tales Of Hoffmann) - L'Orchestra De La Suisse Romande/Richard Bonynge
Dead Poets Society/Picnic At Hanging Rock: Piano Concerto No.5 In E Flat Major, Op.73 'Emperor'... - Vladimir Ashkenazy/The Cleveland Orchestra
Hilary And Jackie: Cello Concerto, Op.85: Adagio - Moderato (Excerpt) - Julian Lloyd Webber/Royal Philharmonic Orchestra/Yehudi Menuhin
Out Of Africa: Clarinet Concerto In A Major, K.622: Adagio - Jack Brymer/London Symphony Orchestra/Colin Davis
Children Of A Lesser God: Concerto In D Minor For 2 Violins, BWV 1043: Largo, Ma Non Tanto - Henryk Szeryng/Maurice Hasson/Academy Of St. Martin In The Fields/Neville Marriner
Frankie And Johnny: Clair De Lune - Eastman-Rochester Pops Orchestra/Frederick Fennell
Cinema Paradiso: Nuovo Cinema Paradiso - Prague Philharmonia/Nick Ingman
Death In Venice: Symphony No.5: Adagietto - Chicago Symphony Orchestra/Sir Georg Solti
Seven: Suite No.3 In D Major, BWV 1068: Air - Stuttgarter Kammerorchestra/Karl Munchinger
The Shawshank Redemption: Che Soave Seffiretto (Letter Duet) (The Marriage Of Figaro) - Kiri Te Kanawa/Lucia Popp/London Philharmonic Orchestra/Sir Georg Solti
Fatal Attraction: Un Bel Di (Madama Butterfly) - Renee Fleming/London Philharmonic Orchestra/Charles Mackerras
Ordinary People: Canon In D Major - Stuttgarter Kammerorchester/Karl Munchinger
Truly, Madly, Deeply: Cello Sonata In G Minor, BWV 1029: Adagio (Excerpt) - Janos Starker/Gyorgy Sebok
Shine: Prelude In C Sharp Minor, Op.3 No.2 - Vladimir Ashkenazy
On Her Majesty's Secret Service: We Have All The Time In The World - Prague Philharmonia/Nick Ingman

Customer Reviews:

If You Love Classical Music, This CD Is For You .......2007-01-10

This compilation of movie themes is one of the most pleasurable CD's you'll ever own.

Probably Decca's best "Adagios" set.......2006-07-26

I say "probably," since it's hard to outdo its "Beethoven Adagios" set. I've only bought a few of these "Adagios" sets because, looking over the track listings of so many, there's just so much overlap. Here, you get the best single collection of the bunch. Here, I was introduced to Addinsell's "Warsaw Concerto," and for that alone it was worth the price. But let's not forget a significant number of other gorgeous classic adagios: Beethoven's "Emperor" concerto (used in a gorgeous film, "Picnic at Hanging Rock"), Bach's "Air on a G String," Mahler's Adaghietto from Symphony no. 5, some obligatory Mozart, the Barber adagio, Debussy's Claire de lune, and - oh lovely! - Schubert's String Quintet in C. Then there are much-appreciated entries (Cinema Paradiso, Gabriel's Oboe) from a personal favorite composer, Ennio Morricone, one of the actual official film composers (as distinct from long-dead composers whose music was used in film) used for this collection, along with a couple from another personal favorite, John Barry. (You'd really need to get Barry's own set of "adagios," titled "Moviola," to get his best, e.g., the title theme to "Out of Africa" and to "Somewhere in Time." For Morricone, the master of the romantic adagio in the past century, go with "Itinerary of a Genius" or individual soundtracks like "Legend of 1900," "Lolita," "Once Upon a Time in America," "Once Upon a Time in the West," and others.)

A couple drawbacks to this set: (1) The adagio from Rachmaninov's 2nd is truncated to a mere 4 minutes. For this, one is well advised to purchase a CD with the entire concerto, or get a full version of just the adagio elsewhere (Decca does include a full version on its "Romantic Adagios" collection). (2) So much from so many composers is included, that there is too little room for more Beethoven. I'd prefer the adagio from the "Pathetique" sonata to the "Moonlight" one which was included here. For Beethoven adagios, you need the "Beethoven Adagios" set as an accompaniment (where you get, among other things, adagios for the op. 130 string quartet, the 6th symphony, the violin concerto, piano concerto no. 3, the 7th symphony, and the romance for violin no. 2, op. 50). If you're a fan of Mozart music often used in the movies, there's the "Mozart Adagios" set and/or the "Amadeus" soundtrack.

I'm a "purist" as to a few works; I'd rather hear the entirety of the "Emperor" concerto than merely the adagio, for instance. In plenty of other cases, an adagio movement is heard just fine as a stand-alone work; plenty of the most beautiful music is used for adagio movements, as these sets make clear enough.

One of the best CDs you'll ever own.......2003-03-23

This is an excellent selection of music. I listen to it every chance I get. It is great just to put in your CD player on "repeat" and allow it to soothe and inspire you for a few hours, for an evening, or an for entire day.

One reason I chose it was that I was looking for music that could simply be a nice background noise for when I'm working on things that require reading and concentration. I wanted music that would not be a distraction, and this does a good job. It is also great to listen to when doing almost anything, like even cleaning the house or doing laundry. I will admit though, that listening to the selection from Swan Lake might make you want to dance around the living room.

Also, besides the obvious ones that everybody knows (Beethoven's 5th, or Canon in D, etc.) I do not know enough to distinguish specific songs from their composers, which is why I was hesitant to buy a classical CD soley of one artist because once I got it I may not have liked it or been familiar with any of the songs. That is why I picked Movie Adagios because I knew it would be a selection of some of the best classical music from the movies, which it is.

Sublime!.......2002-09-08

Of course, I'm nuts for classical music and classic movies, so this compilation of music featured in some of the most famous movies ever made is an absolutely ideal CD.

Filmmakers have been raiding the classical music files since the days of the silents in order to heighten the mood of a scene and provide a greater emotional impact. Barber's Adagio for Strings has been used not only in "Platoon", as this CD lists, but also in "The Elephant Man". While there's only a small snippet of Rachmininoff's Piano Concerto No. 2 here, it's worth remembering that the entire piece is used throughout the magnificent "Brief Encounter" to heighten the impact of the romance. Mozart's Trio (Cosi fan tutte) was brilliantly used in "Sunday, Bloody Sunday" to comment on a complex romantic triangle.

There are also 5 pieces written directly for the screen, two by Ennio Morricone (the haunting Gabriel's Oboe from "The Mission" and the exquisite Nuovo Cinema Paradiso from "Cinema Paradiso"), two by John Barry (a lovely version of We Have All the Time in the World from the James Bond classic "On Her Majesty's Secret Service" and the elegiac John Dunbar Theme from "Dances With Wolves") and one by Michael Nyman (The heart asks pleasure first from "The Piano").

I love this CD, to relax with, to read with, and just immerse myself in the spectacular sounds of genius.

GREAT MUSIC.......2001-12-03

This is a great classical piece for the lovers of classical, as well as the ones who may hate it. These Adagios CDs get beter and better each time there is a new release. I must warn you there some good as well as some bad ones. There is a certain Adagio flavor for everyones. At the present I have others, but the ones I truly enjoy are Violin Adagios, The Piano Adagios and this one. This compilation is great for reading. Furthermore this CD can be great evening music... for sleeping.

Those of you who have not got on board with the ADAGIOS, please get on board the next time you go to your favorite music store. You may be surprised at how you have enriched yourselves with great music for your listening pleasure.

You may want to check other reviews here at Amazon under my section in the customers reviews.

Thanks

TRIPP

Mahler 3 [Hybrid SACD]
Average customer rating:

Best overall Mahler 3rd of any

Best Mahler 3 on SACD

Dull, Dull, Dull

Chailly, RCGBO & Mahler: Finally, the heights (sound+perfor)

Mahler 3 [Hybrid SACD]

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001RBVLY
Release Date: 2004-06-15

Amazon.com

There are lots of excellent Mahler 3rds in the catalogue, and a few great ones. Chailly's is one of the great ones. He leads this all-encompassing work with mastery of structure, close attention to the score's plentiful instructions, and brings out the orchestral details that often go missing. He also has the benefit of a great Mahler orchestras. the Royal Concertgebouw, whose playing here is beyond praise. The fabulous Dutch winds have never sounded better, investing their many solo turns with idiomatic perfection. The important brass section is weighty, the posthorn solo done with moving lyricism. The strings are simply radiant, as is the chorus and the important vocal contribution of mezzo Petra Lang. The engineers match the playing, providing sound that's thrilling in its impact and presence in both SACD and standard CD. A bonus is Chailly's expert reading of Mahler's arrangement of movements from Bach's 2nd and 3rd Suites. If you love Mahler, you must have this set, even if your shelves are bulging with other versions of the Mahler 3rd. --Dan Davis

Customer Reviews:

Best overall Mahler 3rd of any.......2006-12-27

If, like me, you consider a recording of something as huge and all encompassing as Mahler's 3rd to always be something of a compromise - a gesamtkunstwerk of conducting, orchestral execution, singing, and sound quality - then you might come to the same conclusion as I: this is the best overall M3 to date. Yes, there are things that could have been just a tad better - the mezzo being one of them (Petra Lang). But you won't hear better or more detailed accompaniment underneath the mezzo either. In fact, I've never heard an M3 where what the mezzo was doing, and what the orchestra was doing, was so well integrated as here. Maybe that's because Decca's fine recording quality brings things into sharper perspective, I don't know. Also, the coda to the third movement (scherzo) could be a bit more grand in scope. But everything else about the scherzo is darn near perfect, including the distance and pacing of the offstage trumpet solos - the so-called "posthorn". Just listen to how fabulous the Concertgebouw woodwinds sound at the start of the scherzo - it doesn't get any better than this. Chailly's first movement is a huge tour-de-force, capturing just a collosal amount of dynamic range and orchestral detail. Nope, there's no need to hype this recording - the evidence is all there. All six movements are really well done, which is rare. In the finale, Chailly progressively lengthens each of the symphony's final three chords. That's such an obvious thing to do! - why hasn't anyone thought to do that before? Yep, it's not perfect. As always, some minor details could still be better yet. But I also can't think of any other recording that gets so little "wrong" (nothing, really), and so much right. If you're going to get this, regardless of how you're playing it back, get it in the DSD upgrade, which is the SACD/CD hybrid version, . Decca has priced it the same as the regular version.

Best Mahler 3 on SACD.......2004-11-18

Move to the head of the class. The performance here by Chailly and the RCOA overshadows recent SACDs from Boulez, MTT, and Zander. This is the real deal. FINALLY!

Everything is so carefully thought out in this performance, and the playing is highly idiomatic. The bass drum will have cups moving on your coffee tables. Certain parts of the interpretation are exactly as called for in the score, and I am so thrilled that they were caught so vividly on this SACD. These are orchestral effects like glissandos, mutes, brass trills, dynamic effects, "Schalltrichter in die Hoehe" or "Schalltricther auf" (really comes through!!!!!), etc.

The brass are very nicely captured. The winds come out like a nice wind choir. The orchestral quality is very European and balanced with a lot of transparency, which is not typical of American orchestras and these days, even the VPO and the BPO don't have this quality very much any more. This has been so well recorded, that you will really be able to hear every part, just like you can in a concert hall.

In the 4th Movement, Petra Lang does a very nice job in her song, and the brass and bassoons have a wonderful ominous sound. In the 5th Movement, the women's chorus is very well captured and it moves along very nicely with wonderful energy.

The last movement, the jewel of the symphony (next to the first movement), is ravishing. You will not want it to end. The quiet sections are so lovingly shaped and filled with yearning. You can hear the vibrato of individual violin players at times. The dramatic and bitter utterances are very jarring and then soothed by the main theme with great sensitivity and Chailly gives the transitions a lot of space. The final chorale builds to a very satisfying climax. Chailly holds out the final note of the symphony just like Mahler wanted (a fermata, and with notations to not allow the sound to diminish at all, and not to have an abrupt release) and the effect is beautiful. At 22min, the final movement is, timing-wise, faster than most, but it has great lyrical weight and speaks very much in that time.

I'm thrilled about this performance and this SACD! Although Chailly's Mahler cycle hasn't always had such great performances (the 8th, despite an awesome cast, was a huge disappointment), this one is really an achievement. If you don't know this piece, this performance will be an excellent introduction; and if you don't know Mahler very well, or have been a Mahler-naysayer, give this one a shot, because this is Mahler done "right". Up next, the 9th, and Chailly's cycle will be complete.

HIGHLY RECOMMENDED without reservation. It's also priced much cheaper than the competition (and it's own Redbook-only version) so not only is it a great performance, it's a bargain, too.

Dull, Dull, Dull.......2004-07-27

Except for Petra Lang's arrestingly sexy singing in the fourth movement - not necessarily what Mahler had in mind, but it will certainly make you pay attention! - this is a musical dead zone. Gorgeous playing, lovely sound, all to naught. There's no sign that i was able to hear that Chailly is involved in or even cares about the music. The first reviewer heard it differently, but i can't imagine how.
The best modern M3s now available are the Barbirolli, even if he miscalculates and rushes at the very end, and Lopez Cobos, and there are very close rivals from Boulez and Tilson Thomas. I used to like the Horenstein more than i do now. It hasn't worn well in places that need momentum or lightness.
A gorgeous wonderful symphony, not that you'd guess it from this reading. Probably the best way to learn this work and learn about it is to get the VAI DVD called What the Universe Tells Me, a series of film essays about this piece backed by a terrific reading by Glen Cortese and the fully professional sounding Manhattan School of Music Orchestra.

Chailly, RCGBO & Mahler: Finally, the heights (sound+perfor).......2004-07-05

Finally. I have had considerable doubts about many of the previous recordings in this ongoing Mahler complete symphony series. Often, to me and my ears, Chailly sounds like he is glossing over, and sometimes even compressing or truncating, many of the many specific expressive indications that Mahler took great pains to write into his scores. The foreshortening of dynamic ranges, for example, often bothers me quite a bit. Mahler is famous for writing extremes into his phrasing, ranging from triple or quadruple soft (pppp) to triple or quadruple forte/loud (ffff). While this can be easily dismissed by carelessness on the conductor's part, or by the inabilities of a given band to carry the range as indicated; the fact is, if Mahler is going to express himself, he needs careful and scrupulous observance of his markings. This is particularly true when such detailed dynamics as are marked are cross-happening throughout different departments of the huge orchestra. Mahler knew what he wanted musicians to play, and as a conductor he had decades of experience with high-level bands that he usually left playing at an even higher level. If you observe the markings, in my view, you can get away with quite a few other variations in your approach, including tempo. Some Andante movements are slower or faster than others, but nonetheless express genuine Mahlerian style and narration.

In the past recordings, these are the points where I have felt let down by Chailly. The Concertgebouw has a fabulous and honestly-earned Mahler tradition, dating all the way to Willem Mengelberg and Otto Klemperer. And as regards the Haitink-led versions, I think the orchestra mostly carried the conductor to whatever success he achieved in those recordings. With Chailly, however, it often seemed to me that he was overriding the orchestra's knowledge of how exacting Mahler might sound, in favor of a sort of operatic, generalized interpretation.

Well, no more. In this one, Chailly has finally allowed himself to settle into the deep and abiding performance practices of the Mahler traditions that this world-class orchestra has long embodied. He does contribute something to their understanding, in the way of a certain operatic and songful flow. But in this case, his operatic sensitivities do not preclude being much more faithful to observe Mahler's myriad expressive markings. The success of this performance also includes a clarity of the polyphony .... whether chamber-like in texture, or grand full orchestra ... that is indispensable in great Mahler.

The soloist Petra Lang carries the Nietzsche movement off at a high level of vocal and interpretive insight. It is a difficult thing to sing this night-music, I imagine. First of all, you are almost completely exposed as a singer, and if you do not have the vocal resources to manage, or you do not know how to marshal your voice to the expressive line, your lack is obvious to all listeners. Secondly, although Mahler writes wonderful music for his Wunderhorn songs, they cross over to instrumental phrasing and expression, as the orchestra plays with you. Petra Lang continues her artistry in the next movement, joined by the children's chorus and the women. All are exquisitely bell-like and raucous, managing to suggest a rather lively and country-wided view of heaven and its redemption of humankind as common folk, not nobility.

Then the orchestra takes over in the famous culmination of the final movement. With string tone that must be the envy of many a player in big-name orchestras all over the world, the RCGBO puts us on immediate notice that this last movement of the Third Symphony will be the mystical fulfillment of Mahler's comprehensive vision. ("The symphony must be a whole world," Mahler said.) Each instrumental department gradually joins in, as Mahler expertly weaves and interweaves materials from prior movements, at the same time demonstrating so joyously to the human ear how masterfully he could transform what (at first hearing) appear only to be innocuous and mischievous folk themes.

My measure of the Third Symphony has long been the revered recording by Jascha Horenstein with the London Symphony Orchestra. I almost never find other versions its full equal, although I have added Boulez, Solti, Abbado, Neumann, and Bertini to the nearby shelf. Now, I believe a very close second has arrived. Chailly still cannot match the dark, malevolent detail of the Jascha Horenstein; but he matches its overall grandeur of musical vision, at last successfully bringing his songful ear to the rich and pervasive Mahlerian genius of this great orchestra. If only earlier recordings of other symphonies had been so blessed as is this one.

No one who listens to this recording can fail to mention the SACD high resolution surround sound. Perhaps those other, earlier Chailly versions of Mahler symphonies are lacking, because they are not yet available via this incredible, vivid sound. More successfully than it is possible to describe, you are placed in the Grotesaal of the Amsterdam home of these wonderful players. The sheer tonal presence of their genius is captured and recreated by the quality of recording. A giant coup is delivered in the surround sound mix, neither too close nor too distant. You can tangibly sense the hall without being bombarded by echoes and reflections that interfere with paying attention to the main event of the RCGBO playing in front of you.