Weber: Der Freischütz

Editorial Reviews
Amazon.com
Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. --Thomas May

Tracks:

Concerto for Piano, Strings and Continuo No. 1 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 1 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 1 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 4 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 4 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 4 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 5 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 5 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Piano, Strings and Continuo No. 5 in a Minor BWV ... - Dora Milanova, Sofia Soloists Chamber Ensemble
Concerto for Two Pianos, Strings and Continuo in C Major BWV 1061: ... - Julia Ganev, Konstantin Ganev, Sofia Soloists Chamber Ensemble
Concerto for Two Pianos, Strings and Continuo in C Major BWV 1061: ... - Julia Ganev, Konstantin Ganev, Sofia Soloists Chamber Ensemble
Concerto for Two Pianos, Strings and Continuo in C Major BWV 1061: ... - Julia Ganev, Konstantin Ganev, Sofia Soloists Chamber Ensemble

Tracks:

Piano Concerto No. 21 in C Major, K.467 Elvira Madigan: Allegro - Vilmos Fischer, Vienna Mozart Ensemble
Piano Concerto No. 21 in C Major, K.467 Elvira Madigan: Andante - Vilmos Fischer, Vienna Mozart Ensemble
Piano Concerto No. 21 in C Major, K.467 Elvira Madigan: Andante ... - Vilmos Fischer, Vienna Mozart Ensemble
Piano Concerto No. 17 in G Major, K.453: Allegro - Vilmos Fischer, Vienna Mozart Ensemble
Piano Concerto No. 17 in G Major, K.453: Andante - Vilmos Fischer, Vienna Mozart Ensemble
Piano Concerto No. 17 in G Major, K.453: Allegretto - Vilmos Fischer, Vienna Mozart Ensemble

Tracks:

Piano Sonata in a Major K.331: Andante Grazioso: Thema/Variation 1 - Margarete Babinsky
Piano Sonata in a Major K.331: Menuetto - Margarete Babinsky
Piano Sonata in a Major K.331: Alla Turca (Allegretto) - Margarete Babinsky
Piano Sonata in F Major K.332: Allegro - Margarete Babinsky
Piano Sonata in F Major K.332: Adagio - Margarete Babinsky
Piano Sonata in F Major K.332: Allegro Assai - Margarete Babinsky
Piano Sonata in C Major K.330: Allegro Moderato - Margarete Babinsky
Piano Sonata in C Major K.330: Andante Cantabile - Margarete Babinsky
Piano Sonata in C Major K.330: Allegretto - Margarete Babinsky
12 Variations K.265: Ah, Vous Dirai-Je, Maman: Theme/Variation ... - Margarete Babinsky

Tracks:

Concerto in C Major for Piano and Orchestra: Allegro - Capella Coloniensis, Maria Luisa Tanzini
Concerto in C Major for Piano and Orchestra: Larghetto - Capella Coloniensis, Maria Luisa Tanzini
Concerto in C Major for Piano and Orchestra: Rondo - Allegro - Capella Coloniensis, Maria Luisa Tanzini
Concerto for Piano and Orchestra No. 4 in G Major: Allegro Moderato - Nicolai Evrov, Sofia Philharmonic Orchestra
Concerto for Piano and Orchestra No. 4 in G Major: Adagio Cantabile - Nicolai Evrov, Sofia Philharmonic Orchestra
Concerto for Piano and Orchestra No. 4 in G Major: Rondo - Presto - Nicolai Evrov, Sofia Philharmonic Orchestra
Concerto in C Major for Piano and Orchestra: Allegro Con Spirito - Ivan Drenikov, Sofia Soloists Chamber Ensemble
Concerto in C Major for Piano and Orchestra: Adagio E Cantabile - Ivan Drenikov, Sofia Soloists Chamber Ensemble
Concerto in C Major for Piano and Orchestra: Presto - Ivan Drenikov, Sofia Soloists Chamber Ensemble

Tracks:

Concerto for Piano and Orchestra No. 5 in E Flat Major Op. 73 Emperor: - Anton Dikov, Sofia Philharmonic Orchestra
Concerto for Piano and Orchestra No. 5 in E Flat Major Op. 73 Emperor: - Anton Dikov, Sofia Philharmonic Orchestra
Concerto for Piano and Orchestra No. 5 in E Flat Major Op. 73 Emperor: - Anton Dikov, Sofia Philharmonic Orchestra
Overture Coriolan Op.62 - Dresdner Philharmonic
Overture Leonore No.2, Op.72 - Dresdner Philharmonic

Tracks:

Op.13, No. 8 in C Minor Pathetique: Grave - Allegro - Di Molto E ... - Istvan Szekely
Op.13, No. 8 in C Minor Pathetique: Adagio Cantabile - Istvan Szekely
Op.13, No. 8 in C Minor Pathetique: Rondo - Allegro - Istvan Szekely
Op.27, No. 14 in C Sharp Minor Moonlight: Adagio Sostenuto - Istvan Szekely
Op.27, No. 14 in C Sharp Minor Moonlight: Allegretto - Istvan Szekely
Op.27, No. 14 in C Sharp Minor Moonlight: Presto Agitato - Istvan Szekely
Op.57, No. 23 in F Minor Appassionata: Allegro Assai - Istvan Szekely
Op.57, No. 23 in F Minor Appassionata: Andante Con Moto - Istvan Szekely
Op.57, No. 23 in F Minor Appassionata: Allegro Ma Non Troppo - Presto - Istvan Szekely
Rondo a Capriccio Op.129: Die Wut er Den Verlorenen - Jennd

Tracks:

Piano Concerto No. 1 in E Minor, Op.11: Allegro Maestoso - Budapest Philharmonic Orchestra, Sandor Falvai
Piano Concerto No. 1 in E Minor, Op.11: Romanze. Larghetto - Budapest Philharmonic Orchestra, Sandor Falvai
Piano Concerto No. 1 in E Minor, Op.11: Rondo. Vivace - Budapest Philharmonic Orchestra, Sandor Falvai
Piano Concerto No. 2 in F Minor, Op.21: Maestoso - Adam Harasiewicz, Warsaw Philharmonic National Orchestra Of Poland
Piano Concerto No. 2 in F Minor, Op.21: Larghetto - Adam Harasiewicz, Warsaw Philharmonic National Orchestra Of Poland
Piano Concerto No. 2 in F Minor, Op.21: Allegro Vivace - Adam Harasiewicz, Warsaw Philharmonic National Orchestra Of Poland

Tracks:

Piano Sonata No. 2 in B Flat Minor Op.35: Grave - Doppio Movimento [Liv - Ivo Pogoreuch
Piano Sonata No. 2 in B Flat Minor Op.35: Scherzo [Live] - Ivo Pogoreuch
Piano Sonata No. 2 in B Flat Minor Op.35: Marche Fune. Lento [Live] - Ivo Pogoreuch
Piano Sonata No. 2 in B Flat Minor Op.35: Finale. Presto [Live] - Ivo Pogoreuch
Piano Sonata No. 3 in B Minor Op.58: Allegro Maestoso [Live] - Garrick Ohlsson
Piano Sonata No. 3 in B Minor Op.58: Molto Vivace [Live] - Garrick Ohlsson
Piano Sonata No. 3 in B Minor Op.58: Largo [Live] - Garrick Ohlsson
Piano Sonata No. 3 in B Minor Op.58: Presto Ma Non Tanto [Live] - Garrick Ohlsson
Mazurkas Op.59: No. 1 in a Minor [Live] - Ivo Pogoreuch
Mazurkas Op.59: No. 2 in a Flat [Live] - Ivo Pogoreuch
Mazurkas Op.59: No. 3 in F Sharp [Live] - Ivo Pogoreuch

Tracks:

Nocturne in B Major Op.9, No. 3 [Live] - Jean Marc Luisada
Etude in G Flat Major Op.10, No. 5 [Live] - Jean Marc Luisada
Etude in B Minor Op.25, No. 1 [Live] - Jean Marc Luisada
Scherzo No. 1 in B Minor Op. 20 [Live] - Jean Marc Luisada
Scherzo No. 2 in B Flat Minor Op. 31 [Live] - Jean Marc Luisada
Waltz No. 1 in E Flat Major Op. 18 [Live] - Jean Marc Luisada
Four Mazurkas Op.24: No. 1 in G Minor [Live] - Jean Marc Luisada
Four Mazurkas Op.24: No. 2 in C Major [Live] - Jean Marc Luisada
Four Mazurkas Op.24: No. 3 in a Flat Major [Live] - Jean Marc Luisada
Four Mazurkas Op.24: No. 4 in B Flat Minor [Live] - Jean Marc Luisada
Four Mazurkas Op.30: No. 1 in C Minor [Live] - Kemal Gekic
Four Mazurkas Op.30: No. 2 in B Minor [Live] - Kemal Gekic
Four Mazurkas Op.30: No. 3 in D Flat Major [Live] - Kemal Gekic
Four Mazurkas Op.30: No. 4 in C Sharp Minor [Live] - Kemal Gekic

Tracks:

Piano Concerto in a Minor Op.54: Allegro Affettuoso - Berlin Radio Symphony Orchestra, Heidrun Holtman
Piano Concerto in a Minor Op.54: Intermezzo. Andantino Grazioso - Berlin Radio Symphony Orchestra, Heidrun Holtman
Piano Concerto in a Minor Op.54: Allegro Vivace - Berlin Radio Symphony Orchestra, Heidrun Holtman
Introduction and Allegro Appassionato Op.92 - Berlin Radio Symphony Orchestra, Heidrun Holtman
Concerto Allegro With Introduction Op.134 - Berlin Radio Symphony Orchestra, Heidrun Holtman

Tracks:

Rustle of Spring Op.32, No.6 - Jennd
Novelette in F Major Op.21, No.1 - Jennd
Songs Without Words: E Major Op.19, No.1 - Jennd
Songs Without Words: F Sharp Minor Op.30, No.6 - Jennd
Songs Without Words: Duetto in F Major Op.38, No.6 - Jennd
Songs Without Words: G Major Op.62, No.1 - Jennd
Songs Without Words: Spring Song in a Major Op.62, No.6 - Jennd
Intermezzo in a Major, Op.76, No.6 - Jennd
Intermezzo in a Minor Op.76, No.7 - Jennd
Intermezzo in a Major Op.118, No.2 - Jennd
Intermezzo in E Flat Minor Op.118, No.6 - Jennd
Lyric Pieces: Arietta Op.12, No.1 - Jennd
Lyric Pieces: Folkevise Op.12, No.5 - Jennd
Lyric Pieces: Butterfly Op.43, No.1 - Jennd
Lyric Pieces: To Spring Op.43, No.6 - Jennd
Lyric Pieces: Notturno Op.54, No.4 - Jennd
Lyric Pieces: Bryllupsdag Pa Troldhaugen Op.65, No.6 - Jennd
Saisons Op.37b, No. 6 Juin Barcarolle - Jennd
Chant Sans Paroles: Souvenir de Hapsal Op.2, No.3 - Jennd
Melody in F Op.3, No.1 - Jennd
Humoresque in G Flat Major Op.101, No.7 - Jennd

Tracks:

Impromptu in B Flat Major D.935, No.3: Theme: Andante - Jennd
Impromptu in B Flat Major D.935, No.3: Variation 1 - Jennd
Impromptu in B Flat Major D.935, No.3: Variation 2 - Jennd
Impromptu in B Flat Major D.935, No.3: Variation 3 - Jennd
Impromptu in B Flat Major D.935, No.3: Variation 4 - Jennd
Impromptu in B Flat Major D.935, No.3: Variation 5 - Jennd
Impromptu in B Flat Major D.935, No.3: Pito - Jennd
6 Moments Musicaux D.780: No. 1 in C Major - Jennd
6 Moments Musicaux D.780: No. 2 in a Flat Major - Jennd
6 Moments Musicaux D.780: No. 6 in F Minor - Jennd
4 Impromptus D.899: No. 1 in C Minor - Jennd
4 Impromptus D.899: No. 2 in E Flat Major - Jennd
4 Impromptus D.899: No. 3 in G Flat Major - Jennd
4 Impromptus D.899: No. 4 in a Flat Major - Jennd

Tracks:

Sonata in a Major D.959: Allegro - Michael Endres
Sonata in a Major D.959: Andantino - Michael Endres
Sonata in a Major D.959: Scherzo: Allegro Vivace - Michael Endres
Sonata in a Major D.959: Rondo: Allegretto - Michael Endres
Sonata in B Flat Major D.960: Molto Moderato - Michael Endres
Sonata in B Flat Major D.960: Andante Sostenuto - Michael Endres
Sonata in B Flat Major D.960: Scherzo: Allegro Vivace - Michael Endres
Sonata in B Flat Major D.960: Allegro Ma Non Troppo - Michael Endres

Tracks:

Concerto for Piano and Orchestra No. 1 in B Flat Minor Op.23: ... - Budapest Philharmonic Orchestra, Jennd
Concerto for Piano and Orchestra No. 1 in B Flat Minor Op.23: ... - Budapest Philharmonic Orchestra, Jennd
Concerto for Piano and Orchestra No. 1 in B Flat Minor Op.23: ... - Budapest Philharmonic Orchestra, Jennd
Concerto for Piano and Orchestra in a Minor Op.16: Allegro Molto ... - Daniel Gerard, Rundfunk-Sinfonieorchester Berlin
Concerto for Piano and Orchestra in a Minor Op.16: Adagio - Daniel Gerard, Rundfunk-Sinfonieorchester Berlin
Concerto for Piano and Orchestra in a Minor Op.16: Allegro Molto E ... - Daniel Gerard, Rundfunk-Sinfonieorchester Berlin

Tracks:

Piano Concerto No. 2 in B Flat Major Op.83: Allegro Non Troppo - Dimitris Sgouros, Sofia Philharmonic Orchestra
Piano Concerto No. 2 in B Flat Major Op.83: Allegro Appassionato - Dimitris Sgouros, Sofia Philharmonic Orchestra
Piano Concerto No. 2 in B Flat Major Op.83: Andante - Dimitris Sgouros, Sofia Philharmonic Orchestra
Piano Concerto No. 2 in B Flat Major Op.83: Allegro Giocoso - Dimitris Sgouros, Sofia Philharmonic Orchestra

Tracks:

Piano Concerto No. 2 in a Major Hungarian Fantasy: Adagio ... - Budapest Symphony Orchestra, Jennd
Piano Concerto No. 2 in a Major Hungarian Fantasy: Allegro Agitato ... - Budapest Symphony Orchestra, Jennd
Piano Concerto No. 2 in a Major Hungarian Fantasy: Allegro Moderato - Budapest Symphony Orchestra, Jennd
Piano Concerto No. 2 in a Major Hungarian Fantasy: Allegro Deciso - Budapest Symphony Orchestra, Jennd
Piano Concerto No. 2 in a Major Hungarian Fantasy: Marziale, Un ... - Budapest Symphony Orchestra, Jennd
Piano Concerto No. 2 in a Major Hungarian Fantasy: Allegro Animato - Budapest Symphony Orchestra, Jennd
Fantasy on Hungarian Folk-Tunes - Budapest Symphony Orchestra, Jennd
Polonaise Brillante (After Weber) - Budapest Symphony Orchestra, Jennd
Fantasy on Weber's FreischVilmos Fischer

Tracks:

Pictures at an Exhibition: Promenade. Allegro Giusto, Nel Modo ...
Pictures at an Exhibition: Gnomus. Sempre Vivo
Pictures at an Exhibition: Promenade. Moderato Commodo Assai E Con ...
Pictures at an Exhibition: Il Vechhio Castello (The Old Castle) . ...
Pictures at an Exhibition: Promenade. Moderato Non Tanto, Pesamente
Pictures at an Exhibition: Tuileries. Allegretto Non Troppo, ...
Pictures at an Exhibition: Bydlo. Sempre Moderato, Pesante
Pictures at an Exhibition: Promenade. Tranquillo
Pictures at an Exhibition: Ballet of the Chickens in Their Shells. ...
Pictures at an Exhibition: Samuel Goldenberg and Schmuyle. ...
Pictures at an Exhibition: Promenade. Allegro Giusto, Nel Modo ...
Pictures at an Exhibition: Limoges. Le MarchThe Market Place) . ...
Pictures at an Exhibition: Catacombae. Sepulcrum Romanum. Largo
Pictures at an Exhibition: Cum Mortuis in Lingua Mortua. Adante ...
Pictures at an Exhibition: The Hut on Fowls' Legs - Baba-Yaga. Allegro
Pictures at an Exhibition: The Great Gate of Kiev - Allegro Alla ...
Three Intermezzos Op.117: Intermezzo in E Flat Major. Andante Moderato
Three Intermezzos Op.117: Intermezzo in B Flat Minor. Andante Non ...
Three Intermezzos Op.117: Intermezzo in C Sharp Minor. Andante Con ...
Piano Pieces Op.118: No. 1 Intermezzo in a Minor (Allegro Non Assai)
Piano Pieces Op.118: No. 2 Intermezzo in a Major (Andante Teneramente)
Piano Pieces Op.118: No. 3 Ballad in G Minor (Allegro Energico)
Piano Pieces Op.118: No. 4 Intermezzo in F Minor (Andante - Allegretto
Piano Pieces Op.118: No. 5 Romance in F Major (Andante - ...)
Piano Pieces Op.118: No. 6 Intermezzo in E Flat Minor (Andante, ...)

Tracks:

Concerto for Piano and Orchestra No. 2 in C Minor Op.18: Moderato - Bulgarian Radio Symphony Orchestra, Ivan Drenikov
Concerto for Piano and Orchestra No. 2 in C Minor Op.18: Adagio ... - Bulgarian Radio Symphony Orchestra, Ivan Drenikov
Concerto for Piano and Orchestra No. 2 in C Minor Op.18: Allegro ... - Bulgarian Radio Symphony Orchestra, Ivan Drenikov
Concerto for Piano and Orchestra No. 4 in G Minor Op.40: Allegro ... - Bulgarian Radio Symphony Orchestra, Ivan Drenikov
Concerto for Piano and Orchestra No. 4 in G Minor Op.40: Largo - Bulgarian Radio Symphony Orchestra, Ivan Drenikov
Concerto for Piano and Orchestra No. 4 in G Minor Op.40: Allegro ... - Bulgarian Radio Symphony Orchestra, Ivan Drenikov

Tracks:

Prde Op.3, No.2 - Margarete Babinsky
Mdie Op.3, No.3 - Margarete Babinsky
Polichinelle Op.3, No.4 - Margarete Babinsky
Moment Musical Op.16, No.3 - Margarete Babinsky
Moment Musical Op.16, No.5 - Margarete Babinsky
Variations on a Theme by Corelli Op.42 - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Variations on a Theme by Corelli Op. 42 (Continued) - Margarete Babinsky
Prde Op.23, No.5 - Margarete Babinsky

Tracks:

Rhapsody in Blue - Cle Ousset, , Radio Symphony Orchestra of Stuttgart
Concerto in F for Piano and Orchestra: Allegro - Cle Ousset, , Radio Symphony Orchestra of Stuttgart
Concerto in F for Piano and Orchestra: Adagio. Andante Con Moto - Cle Ousset, , Radio Symphony Orchestra of Stuttgart
Concerto in F for Piano and Orchestra: Allegro Agitato - Cle Ousset, , Radio Symphony Orchestra of Stuttgart
American in Paris - Cle Ousset, , Radio Symphony Orchestra of Stuttgart

Album Description

This amazing 20-CD set truly is the ultimate piano collection! With over 20 hours of the greatest piano classics, from Mozart's priceless Piano Concertos and Sonatas to Gershwin's legendary Rhapsody in Blue, this set is a must have for everyone's collection. So sit back, relax and drift away on the beautiful melodic waves of classical piano at its very best.

Customer Reviews:

Ultimate music for every time of day and every mood.......2007-07-03

With 20 CDs in the collection, we have classical music for every mood and atime of day.

Would give 5 stars if sound quality where better.......2007-06-30

This Classical collection is one of great length and breadth ,and is well worth purchasing ,if you want an abundance of music at a low price.The sound quality is decent,however it is not great.This set will not provide you with the crisp,clear sound quality of a RCA,CBS or other well known label,so some classical aficionados may not appreciate it much.It all depends on what your looking for ,I guess.

Great collection for a great price.......2007-06-27

I did not expect much in buying this collection, but I was greatly surpeised. There were no reviews of the product at the time, and I bought the collection simply as a sampler of many great piano pieces. Most of the recordings are exquisite and of decent recording quality. This collection was well worth the price.

20 Fabulous Discs.......2007-06-08

I am surprised that this set has been out for 4 years and nobody reviewed it here yet. This is a lovely and occasionally amazing compilation. I was moved by many of the compositions. I really enhanced my classical music collection with this set. You have so many legends here to enjoy, from Bach to Brahms, Mozart to Beethoven, Chopin, Liszt, Rachmaninov, Gershwin, and more. If you love classical piano music and don't already have most of these works then this is a must buy for you. The price may go up, but I was fortunate to cash in on the $17.97 price. Quite a bargain for 20 fabulous discs.

Average customer rating:

Fine anthology but still prefer her "Four Last Songs" recording
RIP DAME ELIZABETH (1915-2006)
SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY
¡PERFECT!
PERFECTA INTERPRETACIÓN

The Very Best of Elisabeth Schwarzkopf

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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

$9.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann
Strauss: Four Last Songs/12 Orchestral Songs
Schubert: 24 Lieder
Mozart: Opera Arias
Mozart: Lieder & Concert Arias

ASIN: B0000AF1SC
Release Date: 2003-09-02

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahler, Brahms, Bach, and Handel; her Schubert, Schumann, Wolf, and Mahler lieder were exemplary. She sang many operatic roles, far more than many people realize, and was certainly the definitive Marshallin in "Rosenkavalier" throughout the 1950's and 1960'. I saw her many times in recital in Chicago, and even at the time of her farewell (which I was fortunate enough to see), she was sublime. All of the superlative qualities of Schwarzkopf are generously demonstrated throughout these two wonder CD's. Virtually every item is magnificent (though obviously some will prefer some to others) and has the detailed Schwarzkopf imprint stamped right into the music. This CD, great as it is, represents only a very small part of the greatness of Schwarzkopf. I already own tons of her operas and recitals, from which many of the items here come from. But for the sake of completeness, I will probably add it. A person who loves great singing can never have too much of the art of Elisabeth Schwarzkopf. She's a vocal icon.

¡PERFECT!.......2005-02-10

I only want to say that you can hear, in this double cd, one of the great singers of all time. Elisabeth Schwarzkopf. Why? Because she sings all the arias and lieder with pure of tone, brilliance, perfect inflexion, modulation, excellent control breath, measured vibrato, and, all above, great emision of colours. She is master in this art.

PERFECTA INTERPRETACIÓN.......2005-02-09

La mejor recopilación de la discografía de Elisabeth Schwarzkopf. Su belleza de voz, la impecable hilación de frases, y, sobre todo, su expresiva interpretación son algunas de las sorpresas que se podrán escuchar en estos dos discos. Sin duda, UNA DE LAS MEJORES SOPRANOS DEL SIGLO XX.

Average customer rating:

Kleiber's genius is the key here
A safe choice for a recording of "Der Freischutz"
brava, Janowitz, brava, Mathis
Es ist gut...
GOTHIC GLORY

Weber: Der Freischütz

Manufacturer: Deutsche Grammophon
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ASIN: B000006145
Release Date: 1998-04-14

Tracks:

Der Freischiitz: Overture
Der Freischiitz: No. 1 Introduktion
Der Freischiitz: Was Gibt's Hier?
Der Freischiitz: No. 2 Terzett Mit Chor
Der Freischiitz: Ein Braver Mann
Der Freischiitz: No. 3 Walzer
Der Freischiitz: Rezitativ Und Arie
Der Freischiitz: Kamerad
Der Freischiitz: No. 4 Lied
Der Freischiitz: Bruderherz!
Der Freischiitz: No. 5 Arie
Der Freischiitz: No. 6 Duett
Der Freischiitz: So! Da Oben Mag Ich Den Herrn Uraltervater
Der Freischiitz: No. 7 Ariette
Der Freischiitz: Und Der Bursch Nicht Minder Schon!
Der Freischiitz: No. 8 Szene Und Arie
Der Freischiitz: Meine Agathe!
Der Freischiitz: No. 9 Terzett

Tracks:

Der Freischutz: No. 10 Finale
Der Freischutz: No11 Entr'acte
Der Freischutz: Herrliches Jagdwetter!
Der Freischutz: No. 12 Kavatine
Der Freischutz: Du Hast Dich Dazugehalten!
Der Freischutz: No13 Romanze, Razitativ Und Arie
Der Freischutz: Nun Mub Ich Aber Den Kranz Holen!
Der Freischutz: No. 14 Volkslied
Der Freischutz: No. 15 Jagerchor
Der Freischutz: Genug Der Freuden Des Mahles
Der Freischutz: No. 16 Finale
Der Freischutz: Wer Legt Auf Ihn So Strengen Bann?

Amazon.com

Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. --Thomas May

Customer Reviews:

Kleiber's genius is the key here.......2006-08-19

For most listeners, taking on faith that this legendary recording really is great, there's nothing to be disappointed by. Before Carlos Kleiber came to the score, Der Freischutz was a comfortable staple in German opera houses, to be absorbed along with strudel and beer as an accepted thing. Kleiber set the music on fire, and it's due to him that every moment is riveting. DG's 1973 sonics, to tell the truth, are a bit edgy and thin, but the new remastering is a step forward.

The detractors at Amazon have a point about the singing. If you aren't tuned in to Kleiber as the opera's driving force, picking at Peter Schreier (too thin and screechy for the role of Max), Gundula Janowitz (cool and a bit hooty as Agathe), and Theo Adam (curdled tone, dull portrayal) comes easily enough. But no rival Freischutz is perfeclty cast, and the fiendishly difficult role of Max never found its perfect exponent in Fritz Wunderlich, who died before he could record it.

Taking all the minuses into account, the singers are imperfect but very fine, and by subsuming themselves to Kleiber's vision, they give us a Freischutz unmatched on records.

A safe choice for a recording of "Der Freischutz".......2005-12-15

Source: 1973 studio recording made at VEB Deutsche Schallplaten, Berlin (in what was then very carefully designated as the DDR or German Democratic Republic.)

Sound: Good 1970s Deutsche Grammophon stereo.

Cast: Agathe - Gundula Janowitz; Annchen - Edith Mathis; Max - Peter Schreier; Kaspar - Theo Adam; Ottokar - Bernd Weikl; Kuno - Siegfried Vogel; Hermit - Franz Crass; Kilian - Gunther Leib; First Bridesmaid - Renate Hoff, Second Bridesmaid - Brigitte Pfretzschner; Third Bridesmaid - Renate Krahmer; Fourth Bridesmaid - Ingeborg Springer. Conductor - Carlos Kleiber with the Staatskapelle Dresden and the Rundfunkchor Leipzig.

Dialogue cast: Agathe - Regine Jeske; Annchen - Ingrid Hille; Max - Hans Jorn Weber; Kaspar / Samiel - Gerhard Paul; Ottokar - Otto Mellies; Kuno - Gerd Biewer; Hermit - Franz Crass; Kilian - Günther Leib; Royal Huntsman - Friedrich Wilhelm Junge; Royal Bodyguard - Achim Schmidtchen; Gamekeeper - August Hutten.

Reading Amazon reviews can sometimes be quite revelatory. In this case, before one listens to a single bar of the performance it is clear that there is something odd about the conducting. There is an air of protesting too much about the praise accorded to it. On the other hand, the singers seem to have attracted relatively little comment--potentially an ominous portent for an opera.

Well, on listening to the opera, I find that the singers aren't worth much in the way of comment. Janowitz and Adam are the best of the bunch and, truth to tell, that isn't particularly high praise. Peter Schreier is one of those acquired tastes that I have no intention of acquiring. He's not bad, not really, but who would go out of their way to hear him? He makes the egregious Hans Hopf on the old recordings conducted by Furtwangler and Erich Kleiber sound positively ... musical by comparison. The rest of the singing cast is appropriately competent, neither more nor less.

I specifically mention the singing cast because this is one of those lame productions in which some fool of a producer has decided that singers are incapable of speaking. Voice actors do the dialogue passages, a practice that virtually guarantees disaster, for the voices of the actors never match those of the singers and because such actors invariably overdo it by performing in what they fondly imagine to be an operatic style. Such casting costs this recording one star, all by itself. And the casting of a single voice actor to hold conversations with himself as Kaspar AND Samiel is simply perverse!

This, we are informed, is Kleiber Minor's first big-time recording, and it shows it. There are passages which are indisputably very good. There are passages which are just plain strange. What there unquestionably is not is a self-consistent and convincing vision of what "Der Freischutz"is all about, the sort of thing that is so clear in the ultra-Romantic version of Wilhelm Furtwängler and in the more restrained but equally brilliant version conducted by Carlos Kleiber's father, Erich. The elder Kleiber's "Freischutz" had been broadcast in 1955. It must have been one of the older man's last major projects before his sudden death in January 1956. Carlos Kleiber must have been familiar with his father's version of the opera, leading me to speculate that at least some of the peculiarities of this recording owe their existence to generational rivalry between father and son.

"Der Freischutz" is a far better opera than its current spotty performance frequency in North America might suggest. It has a fine overture that is followed by a slightly ponderous, scenario-establishing First Scene. The opera truly takes off in the vocally spectacular Second Scene of Act I. If two really first class sopranos from the German school of singing are present, the sequence of solos and duets make it is as good as anything written anywhere by anybody. Janowitz and Mathis are good but not great, making this scene less than it might be. The heart of the opera is the ensuing Wolf's Glen scene. Here, Weber pulled out all the stops to create the first Romantic opera. A very young Richard Wagner was bowled over by this opera. It set him on his chosen career. And we all know where that led....

The Wolf's Glen scene is jolly good fun, brilliantly constructed and it certainly had enormous impact on audiences for decades after its premiere in 1821. Its lineal descendants include Fafner's den in "Siegfried," both "Salome" and Elektra," "Wozzeck" and the musical scores of every other horror movie made in Hollywood or anywhere else. That being the case, it strikes me that the Amazon reviewers who inform us "that after 200 years the Wolf's Glen scene can still make a person shudder" and of "the really terrific sense of eerie menace" are being a bit hyperbolic. For the opera as a whole, I find myself more in agreement with this comment from the discerning Amazon reviewer, Sean Coxen: "If a record collector were to purchase only one 'Freischutz' for his library, this would be a safe enough choice". A safe choice, for the sound is (more or less) modern and the singers are (more or less) acceptable. Yes, quite safe. If, however, someone out there is looking for a GOOD performance, not just a safe one, I suggest you grab a copy of either the Furtwängler version or the Erich Kleiber. Heck, they're both cheap and they're both excellent, so buy both!

A COMMENT ON CASTING: An earlier reviewer rhetorically asked where a perfect Agathe is to be found. There is a simple answer to that: Elizabeth Grummer. She was a gloriously shining star of the post-WWII era, equally brilliant as Donna Anna in "Don Giovanni" and Eva in "Die Meistersinger." As Agathe for both Furtwangler and Kleiber, she was wonderful--there is no other word for it.

A COMMENT ON IMAGERY: A complaint from an Amazon reviewer about the most recent published state of this recording, "Even the excellent (menacing!) cover art is placed askew", leads me to ask this: Can't anybody see that the cover shows a side-by-side shotgun? This is an opera about riflemen, for Pete's sake. The most famous scene in the opera involves casting seven magic rifle bullets! So, why the shotgun?

brava, Janowitz, brava, Mathis.......2005-10-20

I can't add anything that will give you more insight that the wonderful reviews already written about this recording. I simply would like to state that I am grateful that Gundula Janowita and Edith Mathis were chosen to sing the roles of Agathe and Annchen.

The critics will say that Janowitz is not an ideal Agathe. Who, then, is an ideal Agathe? This is a role that is seemingly contradictory in itself, in terms of singing. It sometimes requires pure, limpid note-spinning; at other times, Wagnerian steel. The quandary is: Whom best to choose? Do you opt for a more lyrical voice, or a dramatic one? I vote for the lyrical one. Birgit Nilsson also sang this role on record. But, evidently, she was too rough for the role. Janowitz, of course, doesn't have Nilsson's steel, but she acquits herself in the more dramatic moments. There is no ugly spread on top, as you would expect out of lyrical soprano who is "pushing." To my ears, she remains in tune. For someone who is celebrated as an interpreter of Mozart, it is incredible that she could excel, at least on record, as Agathe.

Edith Mathis is also a joy to hear. She is ideally paired with Janowitz. Too bad, though, that the woman whom they chose for the speaking voice of Annchen sounds like a wenchy barmaid.

Es ist gut..........2005-09-29

The whole opera is well done, but I felt that Agatha's arias could have been a little faster. The end of "Leise, Leise" lacked excitement.

GOTHIC GLORY.......2005-04-01

Balancing brilliant value in performance and recording against infuriating lack of commentary in the liner, I still have to give this great set the full 5 stars.

The performance is 30 years old now, but the recording at its frequent best would draw high praise even today. The quality is not quite 100% consistent - now and again passages for full orchestra lack the spaciousness and depth that are so remarkable at many other points, and there is just a hint of distortion on Janowitz's high notes in her big scena in Act II, but these are quibbles. Far more representative of the general proficiency in the recording is the wonderful romantic aura round the even more wonderful horn playing near the start, the really terrific sense of eerie menace in the wolves' glen (with the full terror of Samiel reserved for the end) and the perfect fidelity given in general to the singing, both solo and chorus. Both Janowitz and Mathis sing like angels from on high, the huntsmen in chorus are the nimblest and most accomplished such a body that I ever heard, and the orchestral tone is gorgeous too. All this demanded full justice from the recording staff, and they have done it proud.

I personally go along with Kleiber's handling of the score in practically every way. When steadiness and calm are called for we get them - the slow start to the overture could hardly be better, nor could Agathe's great cavatina in Act III, sublimely done by Janowitz. However this reading has a spring in its step, and that as much as anything is what I love about it. It helps, obviously, to have virtuoso performers, and I have already drawn attention to the chorus in that respect. For all the Gothic shivers and goings-on, this opera is full of joie de vivre, or whatever the German is for that. Like Mozart, Schubert, Chopin, Mendelssohn, Schumann and Bizet, Weber was taken away from us too soon, another sacrifice to consumption. No composer's music could be less suggestive of approaching death that his. His orchestral scoring alone, deeply admired by no less a master of that art than Berlioz, is a celebration of life by itself. His melodic gift is one of the greatest there has ever been, stronger in my view than Mendelssohn's and up there with that of Berlioz and that of Verdi himself. This is what an adequate realisation of this work must bring out, not just the picturesque horrors. On this set you will hear some genuinely spontaneous-sounding laughter for one thing, and the true and vital gusto from the peasants, huntsmen and the rest of them. Obviously `characterisation' in a lightweight and fairy-tale parallel like this to the Faust theme is broad-brush, but where this score excels is in its varied and intensely dramatic delineation of situations. This is something else the conductor must present with the utmost clarity and vividness, and I can hardly imagine it done better than it is done here. And a special mention must be made of the magnificent realisation of the scene with the hermit (der fromme Klausner for initiates) -- credit even-handedly to Kleiber and to Franz Crass.

I love dear Schumann and I love his Manfred, especially in the realisation by Beecham, but I could only sigh to think of what Weber might have done with that theme. We should be grateful for what we've got, I suppose. The entire cast cover themselves with glory, but pride of place goes to the two sopranos. Peter Schreier is what I sometimes think of as a `mezzo-tenor', something like Mark Padmore. Theo Adam is a Wotan and a Sachs that I particularly like because of my own personal interpretation of those roles, but even those who think him lightweight in Wagner surely must have no such reservations about his Kaspar. The men are all fine, but it's the women here who make the really big impression - them and the orchestra. Not to mention the chorus and the conductor. Nor do I overlook the recording personnel.

Great Recordings of the Century: Ljuba Welitsch

Average customer rating:

Great Recordings of the Century: Ljuba Welitsch

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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

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ASIN: B00000DNZZ
Release Date: 1987-01-01

Average customer rating:

Another Gem from Sony Essential Classics

Opera Overtures & Incidental Music
Giuseppe Verdi , Bedrich Smetana , Carl Maria von Weber , Jaromir Weinberger , Ermanno Wolf-Ferrari , Engelbert Humperdinck , Pietro Mascagni , Thomas Schippers , Eugene Ormandy , Columbia Symphony Orchestra , and Philadelphia Orchestra
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ASIN: B0000029WQ
Release Date: 1997-07-01

Tracks:

La forza del destino: Overture
The Bartered Bride: Overture
La Traviata: Prelude (Act I)
La Traviata: Prelude (Act III)
Der Freischutz: Overture
Euryanthe, Op. 81: Overture
Schwanda The Bagpiper: Polka
Schwanda The Bagpiper: Fugue
Jewels Of The Madonna: Intermezzo (Act III)
Hansel And Gretel: 'Prayer'
Cavalleria Rusticana: Intermezzo
Mignon: Overture
Mignon: Gavotte
Donna Diana: Overture

Customer Reviews:

Another Gem from Sony Essential Classics.......2003-07-07

As I have stated in many of my previous reviews, I am a huge fan of the Sony Essential Classics (SEC) budget series. Most of the recordings feature classic and often definitive performances featuring the likes of Leonard Bernstein, George Szell, Isaac Stern, Robert Casadesus, and Rudolf Serkin among others. Here we get two great conductors in Eugene Ormandy and Thomas Schippers (the latter would certainly more of a household name had he not died young) performing Overtures and Incidental Music from various operas. With only two orchestras and conductors performing the majority of works in this collection, SEC's Opera Overtures disc has a much more consistent feel overall than its Rossini Overtures set (see my review). Of course at the end of this CD two other conductors make an appearance -- Zubin Mehta on Reznicek's "Donna Diana" Overture and Antonio De Almeida (who is not listed above) on Thomas' "Mignon" Overture. In all, this is an outstanding collection, worth getting for the rarely heard artistry of Schippers alone.

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6)

Average customer rating:

One of the best Liszt CD's you can own
Where Are The Rave Reviews ? This is Incredible
Wonderful operatic transcriptions

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)
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Liszt at the Opera III

ASIN: B000002ZMJ
Release Date: 1993-11-16

Tracks:

Operatic Fantasies, Paraphrases And Transcriptions: Ouverture aus der oper der Freischutz
Operatic Fantasies, Paraphrases And Transcriptions: Reminiscences de Don Juan
Operatic Fantasies, Paraphrases And Transcriptions: Aida di Verdi - Danza Sacra e Duetto Finale
Operatic Fantasies, Paraphrases And Transcriptions: Polonaise aus Tschaikowskys oper Jewgeny Onegin
Operatic Fantasies, Paraphrases And Transcriptions: Tscherkessenmarsch aus Russlan und Ludmilla
Operatic Fantasies, Paraphrases And Transcriptions: Sarabande und Chaconne aus dem Singspiel Almira
Operatic Fantasies, Paraphrases And Transcriptions: Benediction et Sermont- Deux motifs de Benvenuto Cellini
Operatic Fantasies, Paraphrases And Transcriptions: Valse de L'Opera Faust

Tracks:

Operatic Fantasies, Paraphrases And Transcriptions: Isoldens Liebestod - Schluss-szenn aus Tristan und Isolde
Operatic Fantasies, Paraphrases And Transcriptions: Remeniscences de Lucia di Lamermoor
Operatic Fantasies, Paraphrases And Transcriptions: Marche Funebre et Cavatine de Lucia de Lamermoor
Operatic Fantasies, Paraphrases And Transcriptions: Halloh! - Jagdchor und Steyrer aus der oper Tony
Operatic Fantasies, Paraphrases And Transcriptions: Illustrations de L'Opera L'Africaine
Operatic Fantasies, Paraphrases And Transcriptions: part 2
Operatic Fantasies, Paraphrases And Transcriptions: Three Pieces on Themes by Auber (1)
Operatic Fantasies, Paraphrases And Transcriptions: 2
Operatic Fantasies, Paraphrases And Transcriptions: 3
Operatic Fantasies, Paraphrases And Transcriptions: 4
Operatic Fantasies, Paraphrases And Transcriptions: Reminiscences de Norma

Customer Reviews:

One of the best Liszt CD's you can own.......2006-08-19

I echo what the reviewer below me says and repeat, "Where ARE the rave reviews" for this? This is probably one of the greatest Liszt CD's you can have. The virtuosic performance and wonderful interpretations from Leslie Howard are worth the price alone, but the music... god this music is incredible. Liszt's genius and proficiency in composition must be admired when you hear what he does with simple melodies or themes from operas. The originality and beautifully crafted paraphrases, not to mention the meticulous transcriptions, are simply breathtaking.

Liszt takes us through dramatic storms, rousing waltzes, terrifying marches, lamenting hymns, romantic songs, and brooding worlds of music. The unique melodies that Liszt augments with the piano has to be heard. These pieces just as great and musically complex as his other piano works. Why aren't more pianists reviving these fantasies on the concert stage?

Where to start here... I have to comment on each work because there is not one piece here that should be overlooked! Each work here is exceptionally amazing and masterful. The transcription of the "Der Freischutz" overture is dramatic, powerful and memorable. "Reminiscences of Don Juan" speaks for itself, but as for the interpretation by Howard, I'm afraid it's not the best. I much prefer Bolet's. Verdi's "Aida" paraphrase is remarkably beautiful and potent in its melodies. The transcription of Tchaikovsky's "Polonaise from Eugene Onegin," is cheerful and brilliant. The march from Glinka's "Russlan and Ludmilla" is a perfect menacing concoction on the piano through Liszt's fingers with a devilishly awesome theme.

Most of all, the paraphrase of Handel's "Sarabande and Chaconne" is the most beautiful original piano work I've heard in years. That sad and mournful theme that Liszt plays with endless variations can move you to tears. Liszt picked one theme from a Handel opera and turned it into something as profound and moving as a Beethoven adagio and even more heart-felt than a Chopin nocturne. The transcription of Berlioz' "Benvenuto Cellini" is glorious and enticing; a testament to Liszt's transcribing abilities. And then Howard encores the listener on this first CD one last time with that catchy melody from the waltz in "Gounod's Faust." It's like any Mephisto Waltz Liszt ever composed and thrills the ear with its impish tempo and embellished Romantic sound.

On the second CD, the music only gets better! Howard gives one of the best executions of the Love-Death scene of "Tristan and Isolde." Those tender Wagner melodies on the piano which rise into a crescendo sound otherwordly on the piano and through Liszt's transcription. The wall of sound that builds, followed by the climax of crashes and wails on the piano sends chills up the spine. Howard plays it with such passion and touch. This is probably the only evidence one needs to realize Liszt was a genius with the piano.

The "Reminiscences of Lucia de Lammermoor" is another example of Liszt's prolific ability to make the piano speak and sing. More significantly, Liszt summons such darkness and tension in the marche funebre part; you're hearing a phenomenal piano composition here. Ernst's "Tony" is another stunning transcription by Liszt; the dynamics and craft of this transcription makes for an excellent piano piece. One of the greatest pieces on here though must go to the Paraphrases on Meyerbeer's "L'Africaine." The first one, especially, is beyond anything I've heard on the piano. Those first tragic chords from hell make way for a gentle melody of heaven. The entire piece rises and falls into a sea of heroic and virtuosic music; it simply speaks for itself of how good it is. The second paraphrase is original and uplifting, and of a whole different emotion than the previous one. By now, after you hear all of these fantasies and transcriptions you begin to realize how much the piano was like a bodily organ to Liszt; just as we can speak with our tongue in many gradations and accents, so can Liszt demonstrate any emotion, any subtle feeling or idea onto the piano.

Lastly, the Three pieces on Themes by Auber are not that noteworthy, but have their elegant and beautiful moments. The last piece on the second CD, the Reminiscences of Norma is another masterpiece beside the Reminiscences of Don Juan. However, I again prefer Bolet's more impassioned and thoughtful performance; Howard is ok, but not the best at exposing the magnificence and spirituality of this piece.

Bottom line: Any Liszt lover who has not heard these or does not own this must get it now! This is some of the best music of Liszt and it astounds me that this music has almost been dormant until Howard's discovery. It is superior music that proves Liszt was the most musical and original composer of his time. VERY HIGHLY RECOMMENDED

Where Are The Rave Reviews ? This is Incredible.......2005-04-28

This is a treat for opera fans and fans of classical piano. Franz Liszt loved the opera- a medium which is at heart musical and he felt inspired to transcribe operatic music for piano, probably out of his personal passion for opera and as a way for the middle-class folk of Europe who could play piano (and men and women did those days) to entertain in their homes. This is a vast collection of his best opera-to-piano transcriptions. The pianist last name Howard is a virtuoso, too bad he is'nt that well-known. He is playing piano music which is really quite difficult to execute. Liszt made the piano into an orchestra in itself and composed symphonic transcriptions of Beethoven and Berlioz. This is a rare and miraculous recording album and I feel that every fan of classical music and opera ought to own it.

The excerpts here, with some variations by Liszt's part, include Mozart's Don Giovanni, Verdi's Aida (the Finale) Webber's Die Freeschutz, Tchaikovsky's Eugene Onegin- the Polonaise, Wagner's Tristan and Isolde, Isolde's Liebestod, Berlioz' Benvenuto Cellini, music of Auber, Gounod's Faust (the Waltz) and Bellini's Norma among others. This is worth the price. The music is clear, crisp, beautiful and transcendent. Do not miss your chance of owning this glorious music, which if you are musically inclined, you can play on your own home. Opera on piano is great recital music.

Wonderful operatic transcriptions.......1999-09-17

Liszt at the opera--would he never left. Don Juan is a stand-out, as is the Weber, and the Tchaikovsky, and the...

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Information for Furtwangler collectors
colossal performances
Just buy it!

Recordings 1942-1944, Vol. 1

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Recordings 1942-1944, Vol. 2
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Wilhelm Furtwängler: Live Recordings 1944-1953
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf

ASIN: B00005ONMK
Release Date: 2002-10-08

Customer Reviews:

Information for Furtwangler collectors.......2005-05-29

If you are looking at this item, you probably do not need to be convinced of the musical worth of these performances. So I'll refrain from commenting on the quality of the recordings here, and instead try to list details about them which might help you check for overlaps with other CDs.

Please note that the Coriolan and the Beethoven Symphonies here are the same performances present on the Music and Arts 4CD set [ASIN: B00001W09Z]. I'm not sure how the quality of this remastering compares with that one.

1. Symphony no 39 in E flat major, K 543
27m : 54s Staatsoper, Berlin 2/8/1944

2. Coriolan Overture in C minor, Op. 62
8m : 57s Alte Philharmonie, Berlin 6/30/1943

3. Symphony no 4 in B flat major, Op. 60
35m : 29s Alte Philharmonie, Berlin 6/30/1943

4. Symphony no 5 in C minor, Op. 67
33m : 8s Alte Philharmonie, Berlin 6/30/1943

5. Symphony no 7 in A major, Op. 92
37m : 34s Alte Philharmonie, Berlin 11/3/1943

6. Concerto for Violin in D major, Op. 61
43m : 26s Alte Philharmonie, Berlin 1/12/1944

7. Concerto grosso (12), Op. 6: no 10 in D minor, HWV 328
17m : 29s Staatsoper, Berlin 2/8/1944

8. Symphony no 9 in C major, D 944 "Great"
50m : 16s Alte Philharmonie, Berlin 12/8/1942

9. Der Freischutz, J 277: Overture
10m : 51s Staatsoper, Berlin 3/21/1944

colossal performances.......2004-06-29

the performances in this box present music making in the highest and most sublime sense. This is music making for all seasons and for all music lovers. These performances, alongside those in another DG Furtwangler box-set of the war period, are among the most heartfelt interpretations of great masters I have ever listened to. These are not exercises in mere aesthetics or searches for a beautiful sound for its own sake.In these recordings music is presented naked, as the deepest expression of the human mind and human feelings. A must not only for Furtwangler collectors, but for all music lovers.

Just buy it!.......2004-06-17

I don't have the words to describe the beauty and lyricism of these recordings. Just buy it.
There were four great conductors in the 20th century: Bernstein, Karajan, Toscanini, and well, hands down, our tragic friend Wilhelm was the greatest of them all! He let the music speak, live and breathe like no one else before or since.

Arturo Toscanini Collection, Volume 51: Overtures

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Interesting Overtures
An Amazing Collection of Unique Overture Performances!

Arturo Toscanini Collection, Volume 51: Overtures

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Toscanini Conducts Verdi: Two Sacred Works: Requiem Mass & Te Deum
Arturo Toscanini: The Complete Philadelphia Orchestra Recordings 1941-42

ASIN: B000003EY4
Release Date: 1992-09-15

Tracks:

Zampa: Ov
Hansel Und Gretel: Prld
Colas Breugnon: Ov
Die Zauberflote: Ov
William Tell: Ov
The Bartered Bride: Ov/Die Verkaufte Braut
Mignon: Ov
La Forza Del Destino: Ov
Der Freischutz: Ov

Customer Reviews:

Interesting Overtures.......2006-02-01

This RCA Victor compilation is indeed quite interesting. While it includes some familiar recordings that had been included on various RCA LPs, including the Victrola series in the late 1960s, there are a few recordings that had previously only been available on the original 78-rpm issues. Generally, the performances are all top-notch.

Anyone who has listened to recordings of Toscanini's rehearsals (let alone witnessed them) can attest to how hard he worked even on shorter workers. A particularly good example is Naxos' release of the rehearsal of Debussy's rarely heard "Scottish March" from 1940; Toscanini spent a great deal of time on refining the NBC Symphony's performance, possibly because the work was less familiar to the musicians. Relatively few people have ever heard that remarkable, delightful work; however, it is treated with great precision in Toscanini's hands.

Conductor Charles Gerhardt, who was present at many Toscanini performances and recording sessions, cited the Maestro's performance of the overture to Herold's "Zampa." This is a frequently performed work, even if the opera itself is largely neglected. Toscanini managed to bring out the most exciting, lively, and brilliant playing from the NBC musicians in this 1952 "studio" recording from Carnegie Hall. It is a good example of how Toscanini strived for the best in ALL of the music he conducted.

The overture to Humperdinck's "Hansel und Gretel," also taken from a 1952 recording session in Carngie Hall, is another treasure. This music, too, is quite familiar and is given a fresh approach in Toscanini's hands. He truly brings out the Wagnerian influences in the music so that the spectacular use of brass is magnificent. The softer, tender passages, including the famous prayer, are handled with great sensitivity.

The first time I heard Toscanini's recording of Dmitri Kabalevsky's overture to his opera "Colas Breugnon," I was absolutely amazed. This is very challenging music; it requires great precision and energy from the musicians and, fortunately, Toscanini succeeded remarkably. The music is extremely syncopated, too. This piece was frequently played on his 1950 American tour with the NBC Symphony and was undoubtedly a delight for all who heard it.

The broadcast concert performance of the overture to Mozart's final opera, "The Magic Flute," is especially wonderful. It is a good demonstration of Toscanini's great love for the music of Mozart. There is an energy and enthusiasm that one rarely hears in this very familiar music. It is one of the better-sounding recordings taken from a broadcast in Studio 8-H.

Toscanini's 1953 recording of the famed overture to Rossini's "William Tell" became the gold standard for all conductors and orchestras who played it. Certainly Toscanini recognized that many associated the finale with "The Lone Ranger" on radio and television. (One reads of Toscanini's delight in sitting close to his television set and marveling at the early programs he watched with family and friends. He would shout "look!" whenever something caught his attention.) However, RCA included his 1939 Studio 8-H broadcast on this disc; as with many of his earlier recordings, this one truly excels with the precise, exciting playing of the storm and the chase music, while the introduction and the calm after the storm are again played with incredible sensitivity.

Smetana's "The Bartered Bride" is best known for its overture and dances. Toscanini's performance is particularly showy and delightful. There is a relentless energy in this performance.

The recording of Thomas' overture to "Mignon" originally appeared on a single 12-inch 78-rpm disc. It was recorded in Carnegie Hall, since producer Charles O'Connell felt it was a better venue for commercial recordings than Studio 8-H. The overture is a medley of familiar tunes from the opera, including the particularly difficult soprano solo. The NBC strings especially excel in this recording.

There are several recordings of the overture to Verdi's "La Forza Del Destino," including the OWI film that Toscanini made with the NBC Symphony in Studio 8-H in 1943 (one of the rare opportunities to SEE Toscanini conducting). This version, which was originally issued on a 78-rpm disc, is one of the best. There is more energy and excitement than in the later recording that was first issued on LPs.

Finally, there is a vibrant performance of the overture to "Der Freischutz." Although the sound is not up to the more familiar 1952 recording, this is certainly a very fine rendition. It is yet another chance to hear the NBC strings at their best. One person who had attended NBC broadcast concerts said that Toscanini, who had been a cellist, was especially good in building a strong string section and this is quite true. The wind section also excels in this recording.

An Amazing Collection of Unique Overture Performances!.......1998-11-17

Only Toscanini at his most intense could inspire an orchestra to such an outpouring of passion as can be heard here in evergreens like the "William Tell" overture, the Verdi "Forza del Destino" overture, and Herold's "Zampa".

Many of the recordings were re-done by Maestro in the early fifties: here the forties' 78s are included, though the earliest (William Tell, 1939) still sounds quite fine in the decent monaural transfers.

These would not all be my favorites of the versions conducted by Maestro that have appeared on LP and CD: the "Mignon" of Thomas makes a greater impact in the high-fidelity recording of 1952, as does the "Freischuetz" Overture. The Kabalevsky "Colas Breugnon" Overture, recorded here on a 78 rpm disk in 1946, does not have the passion, panache, and lively spirit of a broadcast of that same year, available on Dell'Arte. And I take issue with the inclusion of a rather scrappy, poorly played, and scratchy transcription disk from 1946 of the Smetana "Bartered Bride" Overture; an earlier NBC concert performance from 1939 (about to be issued by Naxos but not in the U. S.) has better sound and cleaner playing. One wonders why the Maestro approved this later and inferior performance.

Tracks:

Overture 'Der Freischutz'
Overture 'Oberon'
Overture 'Euryanthe'
Aufforderung zum Tanz, Op. 65: Invitation To The Dance
Konzerstuck In F minor, Op. 79
Symphony No. 1 In C, Op.19: 1. Allegro con fuoco
Symphony No. 1 In C, Op.19: 2. Andante
Symphony No. 1 In C, Op.19: 3. Scherzo. Presto
Symphony No. 1 In C, Op.19: 4. Finale. Presto

Tracks:

Overture 'Abu Hassan'
Clarinet Concerto No. 1 In F Minor, Op. 73: 1. Allegro
Clarinet Concerto No. 1 In F Minor, Op. 73: 2. Adagio ma non troppo
Clarinet Concerto No. 1 In F Minor, Op. 73: 3. Rondo. Allegretto
Clarinet Concerto No. 2 In E Flat, Op. 74: 1. Allegro
Clarinet Concerto No. 2 In E Flat, Op. 74: 2. Romanza. Andante
Clarinet Concerto No. 2 In E Flat, Op. 74: 3. Alla Polacca
Clarinet Quintet In B Flat, Op. 34: 1. Allegro
Clarinet Quintet In B Flat, Op. 34: 2. Fantasia. Adagio non troppo
Clarinet Quintet In B Flat, Op. 34: 3. Menuetto. Caoricio presto
Clarinet Quintet In B Flat, Op. 34: 4. Rondo. Allegro giocoso

Customer Reviews:

Ultimate Weber: And Not Andrew Lloyd Webber!.......2005-09-24

Carl Maria Von Weber would himself enjoy this collection of his most famous and brilliant compositions. Released on the Phillips label, this 2 disc cd contains music of a composer who was largely considered to be the first composer of German Romantic opera in the 19th century which would quickly become the vogue of influential composers such as the young Richard Wagner. Von Weber (pronounced "Von-Vay-bur") lived and composed at the time of Beethoven, though the two probably never crossed paths and Von Weber outlived Beethoven by a couple of years. The post-classical, early Romantic style of music which was prevalent at the time is clearly stamped into this beautiful music. This cd is the best introduction to his music and if you're already a fan, it is a supremely delightful collection.

The disc begins with three overtures to Weber's Romantic operas, which were trend-setters at the time: his most famous work, Die Freischutz, Oberon and Euryanthe. These energetic and musically perfected overtures are conducted by the remarkable conductor, Antal Dorati and his Concertgebuow Orchestra of Amsterdam. Invitation to the Dance, one of Weber's popular piece, is conducted by Sir Charles Mackerras and the London Symphony Orchestra. Nikit Magaloff is the solo pianist in the Konzert in F with Sir Colin Davis conducting. This is a truly breathtaking piano concerto one unlike I've ever heard. It is not quite Beethovenesque, nor Mozartian, but it is compelling and maintains a very elegant charm all the way. His First Symphony is on here, and sounds excellent. Also here is the rare opera Abu Hasan Overture as well as music Weber wrote for Clarinet. All in all this is a fine collection of his most beautiful and popular music.

Impressed Clarinet Student.......2000-02-04

I recently played the Weber Concerto 1 in a competition and bought the recording to help me with it. Weber is an incredible composer and I have found this CD to be inspiring and entertaining! It's a great set.