The Complete Recordings on Deutsche Grammophon [Box set]

Track Listings

1. Cd 1 Mozart: String Quartet K.387 / Haydn: String Quartet Op.33 No.3

2. Cd 2 Haydn: String Quartets Op.33 No.2 / Op.3 No.5 Op.76 No.2

3. Cd 3 Mendelssohn: Octet Op.20 With Smetana Quartet / Beethoven : String Quartet Op.59 No.2

4. Cd 4 Brahms: Piano Quintet Op.34 / Dvorak: Piano Quartet Op.81 With Eva Bernathova, Piano

5. Cd 5 Dvorak: String Quartets Opp.34 & 96

6. Cd 6 Dvorak: String Quartets Opp.51 No.105

7. Cd 7 Smetana: String Quartet No.1 / Janacek: String Quartet No.2

Tracks:

Concerto For Violin And Orchestra No.1 In D major, Op.6: 1. Allegro maestoso
Concerto For Violin And Orchestra No.1 In D major, Op.6: 2. Adagio
Concerto For Violin And Orchestra No.1 In D major, Op.6: 3. Rondo. Allegro spirituoso
Concerto For Violin And Orchestra No.2 In B Minor, Op.7 'La Campanella': 1. Allegro maestoso
Concerto For Violin And Orchestra No.2 In B Minor, Op.7 'La Campanella': 2. Adagio
Concerto For Violin And Orchestra No.2 In B Minor, Op.7 'La Campanella': 3. Rondo

Tracks:

Concerto For Violin And Orchestra No. 3 In E Major: 1. Introduzione. Andantino - Allegro marziale
Concerto For Violin And Orchestra No. 3 In E Major: 2. Adagio. Cantabile spianato
Concerto For Violin And Orchestra No. 3 In E Major: 3. Polacca. Andantino vivace
Concerto For Violin And Orchestra No. 4 In D Minor: 1. Allegro maestoso
Concerto For Violin And Orchestra No. 4 In D Minor: 2. Adagio flebile con sentimento - attacca
Concerto For Violin And Orchestra No. 4 In D Minor: 3. Rondo galante. Andantino gaio

Tracks:

Concerto For Violin And Orchestra No. 5 In A Minor: 1. Allegro maestoso
Concerto For Violin And Orchestra No. 5 In A Minor: 2. Andante, un poco sostenuto
Concerto For Violin And Orchestra No. 5 In A Minor: 3. Finale: Rondo. Andantino quasi Allegretto
La primavera. Sonata For Violin And Orchestra In A Major: Andante sostenuto - Larghetto - Variazione - Allegro moderato - Tema - Variazioni I-IV - Finale
Maestosa sonata sentimentale: Introduzione. Maestoso - Recitativo - Allegro agitato - Tema. Larghetto cantabile - Variazioni I-IV - Coda

Tracks:

Concerto For Violin And Orchestra In E Minor, Op. post. (No. 6): 1. Risoluto
Concerto For Violin And Orchestra In E Minor, Op. post. (No. 6): 2. Adagio
Concerto For Violin And Orchestra In E Minor, Op. post. (No. 6): 3. Rondo ossia Polonese
Sonata con variazioni: Introduzione (Adagio) - Tema (Andante moderato) - Variazioni I & II (L'istesso tempo) - Variazioni III & IV (Piu mosso) - Variazione V (Tempo I) - Coda (Presto)
Non piu mesta accanto al fuoco: Introduzione (Adagio cantabile) - Tema (Moderato) - Variazioni I-IV - Finale (Allegro - Tempo del Tema - Piu presto)
Le streghe, Op. 8: Introduzione (Maestoso - Larghetto) - Tema (Andante) - Variazioni I-III - Finale (Allegretto)

Tracks:

24 Capricci per violino solo, Op. 1: Introduzione. Adagio - Larghetto - Andantino Variato - Variazioni I-III - Finale
24 Capricci per violino solo, Op. 1: Larghetto Cantabile - Recitativo (Con Grande Espressione) - Tema. Andantino - Variazioni I-III - Coda
24 Capricci per violino solo, Op. 1: Allegro Vivace
24 Capricci per violino solo, Op. 1: Introduzione (Cappricio) - Tema. Variazioni I-VII
24 Capricci per violino solo, Op. 1: Adagio - Allegro Molto
24 Capricci per violino solo, Op. 1: Tema. Andante Sostenuto. Variazioni I-VI

Tracks:

24 Capricci Per Violino Solo Op. 1: Andante In E Major
24 Capricci Per Violino Solo Op. 1: Moderato In B Minor
24 Capricci Per Violino Solo Op. 1: Sostenuto - Presto - Sostenuto In E Minor
24 Capricci Per Violino Solo Op. 1: Maestoso In C Minor
24 Capricci Per Violino Solo Op. 1: Agitato In A Minor
24 Capricci Per Violino Solo Op. 1: Lento In G Minor
24 Capricci Per Violino Solo Op. 1: Posato In A Minor
24 Capricci Per Violino Solo Op. 1: Maestoso In E Flat Major
24 Capricci Per Violino Solo Op. 1: Allegretto In E Major
24 Capricci Per Violino Solo Op. 1: Vivace In G Minor
24 Capricci Per Violino Solo Op. 1: Andante - Presto - Tempo I In C Major
24 Capricci Per Violino Solo Op. 1: Allegro In A Flat Major
24 Capricci Per Violino Solo Op. 1: Allegro In B Flat Major
24 Capricci Per Violino Solo Op. 1: Moderato In E Flat Major
24 Capricci Per Violino Solo Op. 1: Posato In E Minor
24 Capricci Per Violino Solo Op. 1: Presto In G Minor
24 Capricci Per Violino Solo Op. 1: Sostenuto - Andante In E Flat Major
24 Capricci Per Violino Solo Op. 1: Corrente - Allegro In C Major
24 Capricci Per Violino Solo Op. 1: Lento - Allegro Assai In E Flat Major
24 Capricci Per Violino Solo Op. 1: Allegretto In D Major
24 Capricci Per Violino Solo Op. 1: Amoroso - Presto In A Major
24 Capricci Per Violino Solo Op. 1: Marcato In F Major
24 Capricci Per Violino Solo Op. 1: Posato In E Flat Major
24 Capricci Per Violino Solo Op. 1: Tema. Quasi Presto - Variazioni - Finale In A Minor

Customer Reviews:

Love it!.......2007-05-12

I really enjoy this CD set very much. Accardo is phenomenal in playing violin. I listen to thisevery morning and sometimes while I am cooking.

Accardo Is As Great As The Greats! A True Virtuoso of Paganini! Epic Performances!.......2005-10-13

Nicolo Paganini is primarily a virtuoso composer who did not compose anything other than for the violin in the early 19th century. He was a true prodigy of the instrument whose ferocious and innovative style of playing frightened many of the credulent folk into thinking he was the devil. With the increasing popularity of the waltz, he along with other romantics such as Beethoven completely revolutionized the concept of violin concertos that were still then mostly in the antiquated Roccoco menuet formulas of Mozart and Haydn. The caprices are more technical excercises for this new revolutionary style and are the cornerstones of all Romantic traditions of violin including the Romantic German and, to a much lesser extent, the Polish/Klezmer tradition of Joseph Joachim.

Salvatore Accardo is an accomplished violinist who performed many times with the most reputable groups such as I Musici di Roma and the English Chamber Orchestra. He was a long-time mentor of Anne-Sofie Mutter who performed with Karajan. Despite working often with various Baroque styles, Salvatore Accardo is primarily a specialist at Paganini and the Italian Romantic period and this is the main reason this recording is one of the best you can obtain for Paganini. Charles Dutoit is also an accomplished orchestral conductor and generally works very well with Rossini whose light romantic style in his operatic overtures have overlaps with the style in Paganini's contemporary symphonic arrangements for his violin concerti. Accardo and Dutoit were therefore a perfect match in performing Paganini and this ablum is a great example along with their other collaborations for the composer available on single CD. The music is light and joyful in its interpretation while many others tend to be heavy and sluggish. Accardo's performance is filled with vitality as he has complete mastery over the instrument and feels at ease in his performance without ever faltering. His performance brings out the fluidity and full range of Paganini's style very well. Salvatore Accardo's performance of the caprices is also legendary in which he performs all of the most difficult pieces briliantly without effort: they are truly divine in every respect!

Although it's extremely difficult to make a judgment call between these three undisputed virtuosos of the violin and Paganini, Perlman and Heifetz would not be my first choices because they are not really masters of the Italian Romantic style as that of the German/Polish/Klezmer traditions. However technical the differences might be, they do make a significant difference and so I prefer Accardo for Paganini as he is simply the foremost expert with this composer and the Italian Romantic style which Heifetz and Perlman are not. This album is a great buy where you can get all of Paganini's passionate violin concerti and caprices at a good price. There are really few if any performances equal to this one on the market other than those of Perlman and Heifetz. Such other performances, even by child prodigies, are simply beneath them in every respect to the point that they actually sound amateurish in comparison. No matter which of the three you choose, you can't really go wrong with any of them but I would really look no further than them as everything else is far beneath their legendary talents. Enjoy!

What a man! What a Violin! What an Artist!.......2002-04-06

Salvatore Accardo has played magnificently! I am not a classical music critic; I don't know what it really means to be a great violinist, but I certainly enjoy listening to every song in this 6 cd set. I am fifteen years old, but Paganini's music has a great impact on me. My mother bought me this album for Christmas, and I couldn't have received a more wonderful collection of music. I tend to have a preference for the first recording I ever hear of certain songs, and I have heard several of these songs performed by different artists. Let me tell you, these recordings are fantastic. My favorites are the 21st Caprice, the second movement of the 6th concerto, and the entire 4th concerto. Accardo's tone is rich and robust, and the orchestra behind him compliments him perfectly.
Utterly Satisfied,
Bobby

P.S. The title for my review was what Franz Liszt (classical pianist and composer) exclaimed when he heard Paganini perform.:)

Definitive Recordings of Paganini's Violin Music.......2001-10-16

Salvatore Accardo performs Paganini's scores with much elegant grace and warmth. Deutsche Grammophon has successfully assembled all of Accardo's recordings of Paganini's music. Undoubtedly, the highlights are Accardo's riveting accounts of Paganini's violin concerti. Charles Dutoit and the London Philharmonic Orchestra give splendid, warm performances of their own, without overwhelming Accardo's playing. Yet Accardo also shines in Paganini's solo works, such as the Caprices. This is absolutely an essential set of CDs for those who are unfamiliar with Paganini's music. Is it a surprise that these performances are still regarded as definitive in classical CD guides issued by Grammophone and Penguin?

Magnificent for collectors.......2001-02-01

This is a really masterpiece for collector. For the people that love the "virtuoso-violin", this is yours. If you are a fanatic of Paganini's music like me, this is your collection, because you will find the Maestosa sonata sentimentale, the Duo Merveille, "God save the King", in a perfect interpretation, only by Accardo, that are very difficult to find. The 6 Concertos, are amazing, if it is your first time hearing Paganini, you will find absolutely incredible, and remember, is only one violin performing those sounds. Double-Stops, Harmonics, Double-Harmonics, and the most colorful bowing performance. Paganini is very romantic and sentimental, the six, second movements are a jewel in your collection. I recomend you that adquire this for your personal collection, the case is beautiful, and the sound is powerful, like the recorders of the Deutsche Grammophon, Accardo plays Paganini transmiting to the listener the feeling of his performance. The 24 Caprices are interesting, and Accardo plays very clear, if you are playing the caprices, this is a good guide, please try to listen the sound of Accardo, you could find many tips in his performance. If you like the music in general, these concertos will give you a different vision and nature of the power of a violin with the London Philarmonic Orchesta. PROs - Excelent Violinist (Accardo), Excelent Presentation (CDs, book and case),Excelent Recorder, each CD has a number, the people take your time making this CD - Each Piece has a good explanation CONs - No are biography of Salvadore Accardo.

Complete Recordings on Deutsche Grammophon

Average customer rating:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ
Horowitz: A Digital Legacy

Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

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Rondos | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

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Release Date: 2003-10-14

Customer Reviews:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ.......2007-07-13

If you have any Horowitz music in your collection. THEN YOU MUST GET THE COMPLETE RECORDINGS ON DEUTSCHE GRAMMOPHON. Quality of recording is superb.

Horowitz: A Digital Legacy.......2004-11-15

This set includes all of the recordings Vladimir Horowitz did for Deutsche Grammophon in the 1980s, including his historical concert in Moscow.

While the context of his return in Moscow is moving, the studio recordings are simply wonderful. The sound quality is impeccable. The Steinway piano sounds warm but yet crisp and sharp. Horowitz still has plenty of power, and if you don't have a good sound system, you will notice that your speakers will literally fail, due to the overwhelming wall of sound that Horowitz creates in the intense parts.

The tender moments are just as exciting, as they are enhanced by the very quiet and clear digital recording process. Liszt's Standchen and Mozart's Piano Concerto No 23 are only two of a myriad of highlights contained on this boxed set. Having these high quality digital recordings of this piano legend is a blessing that you can't afford to miss. And at this price, it's simply irresistible.

Customer Reviews:

Hindemith conducts Hindemith.......2006-11-10

The musician's musician, the most versatile, skilled and knowledgeable composer of the 20th Century can be heard with delight in this excellently remastered Deutsche Grammophon recording of him conducting the Berlin Phiharmonic Orchestra in definitive renditions of some of his own masterpieces. Hindemith by and large was the best interpreter of his own works. Under his direction pure, unadulterated, joyfull music-making of great vitality prevails, thoroughly unpedantic, yet devoid of vanity, pretentious display or exaggeration. The rendition of the Mathis Symphony is, of course, definitive and the nowadays most frequently perfomed Symphonic Metamorphosis is done with gusto. But we would like to call special attention to such an inexplicably neglected masterpiece as the thoroughly delightful, but substantial Symphonic Dances and the unique and profound Konzermusik for piano, brass & harp. What neo-Baroque, roaring twenties exhuberance displayed in the Concerto for Orchestra and what a gem of human insight "The Four Temperaments",
here definitively rendered! ER

Hindemith continues the musical traditions of the Germanic schools.......2006-08-19

Hindemith is a far too overlooked composer, and I daresay that in decades to come people will realize the greatness of his compositions, a Hindemith renaissance will take place. I for one enjoy his music greatly and this box set is a perfect introduction to his music. Contrapuntally Hindemith stands apart from most 20th composers, indeed his music speaks the 20th century idiom, however as one will recognize immediately Hindemith speaks his own language. In fact this composer is one of the most original of his time. Contrapuntally he continues and adds to the great traditions harkening back to the Renaissance. His conducting is no nonsense and gets to the heart of his music. I find this music to be riveting, exciting, intellectual and heartfelt. Hindemith has his place in Music history.

Phenomenal performances.......2006-03-07

Hindemith may not have been a Schoenberg or Stravinsky, but at his most inspired he was certainly way up there near the top of the heap, among the greatest composers of the late lamented 20th Century. What these recordings tell us, however, and to me this comes as something of a shock, is that he was also a truly great conductor. All the performances in this set are in my opinion truly extraordinary, among the very best orchestral performances I've ever heard -- of any music by any composer of any period.

Everything one would expect of a superlative performance is here, the tempi, the balances, the shadings, accents, nuance, intonation, attention to detail, attention to overall structure, sweep, authority, intensity, even expressiveness (YES, expressiveness!) and passion (yes, passion too).

To get a sense of how remarkable a conductor Hindemith is, listen carefully to the slow movement of Mathis. With tempi this slow (and this is the slowest I've heard for this piece, extremely slow), it's very difficult to maintain interest, not to mention control. However, in the hands of Hindemith and this remarkable orchestra, with whom he's obviously established an extraordinary rapport, the tempo works beautifully and the piece takes on an almost Mahlerian intensity I'd never heard before.

As if this weren't enough, the set contains one of the most remarkable pianistic performances I've ever heard, from Hindemith's composition student, Hans Otte. The "Four Temperaments" begins in typical middle period Hindemithian style, with a statement of the rather steady, bland and predictable theme, but with the entry of the piano for the first variation, all is transformed -- and suddenly we are back in the world of early Hindemith, one of the most inventive and masterful composers since Bach himself. The pianism is simply beyond belief here, just stunning in its verve, precision, virtuosity, nuance and phrasing. With the entry of the piano the piece just takes off, soars into the stratosphere, thanks to composer and pianist both. Otte was hand picked by Hindemith for this performance so possibly what we hear is at least in part due to careful coaching. But it's hard to understand how mere coaching could produce such marvels of nuance and such complete control of the instrument and total musical involvement in passage after passage. If you ever want to inspire a young performer with the possibilities of his art, you would do well to play your student this recording.

As for the more mundane details, even they are all good. The sonics are fantastic for a recording of this vintage, clear, even vibrant, with lots of body and power when called for. The orchestra itself is superb and in perfect rapport with its director. Even the piano selected for these recordings is a marvel, simply one of the finest instruments of its kind I've ever heard.

I know, it's easy to be skeptical in the face of all these superlatives, but I assure you I'm not usually this enthusiastic. These recordings truly are gems, trust me. HAH!

Lean, clean and unadorned, as Hindemith intended.......2006-02-04

Hindemith jumped at the chance to record his major works with Deutsche Grammophon when it was offered in the early 1950s.

First, was his theory of conducting. He felt the conductor should, as much as possible, be "transparent" and not add anything to the music, i.e., through not gesticulating (especially wildly), etc.

Second, he had seen and heard conductors do just that to his works. And he had heard this result in what he considered overconducting.

Now, that doesn't mean that Hindemith wanted some "native" style of conducting, or even people conducting his works as sight-reading exercises. He expected a piece to be properly understood so that such overconducting was unnecessary.

The result is to be heard here. Now, by "lean and clean," we're not not talking Boulez. But, compared to his day and age, to the Furtwaenglers and others, we are talking something almost that spare.

When you hear these CDs, you'll immediately understand why Hindemith thought that other composers made his music sound too muddy.

These are mono recordings, but in studio in the early and mid 1950s with the Berlin Philharmonic, the baseline sound quality was quite good and the CDs have been well-engineered.

This is an outstanding buy of a great 20th-century composer.

Hindemith Himself.......2005-02-24

"Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon" is another essential release in Universal's "Original Masters" series. This 3CD set features the composer himself conducting some of his best known works, including his two Symphonies, Symphonic Metamorphosis, Concerto for Orchestra, and Konzertmusik with Monique Haas on piano. All of the recordings hail from 1954-57 and while they are in mono, the DG sound is clear as a bell. Previously I owned a dozen or so CDs featuring various Hindemith works (performed by conductors Abbado, Bernstein, Blomstedt, Goossens, Kletzki, Kubelik, Szell, etc.), but only one with Hindemith himself conducting his own music (the Violin Concerto with David Oistrakh -- see my review). Well if you like a composer and have the ability to hear them conduct their own music, then you should do it, whatever the cost. I mean what would you give to have the opportunity to hear Beethoven or Mozart perform! Luckily in this case you don't have to fantasize, you just have to buy this affordable, budget-priced box set.

Schubert, Mendelssohn, Schumann: Complete Recordings on Deutsche Grammophon

Average customer rating:

Some Of Bernstein's Most Memorable Deutsche Grammophon Recordings

Schubert, Mendelssohn, Schumann: Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Customer Reviews:

Some Of Bernstein's Most Memorable Deutsche Grammophon Recordings.......2007-05-21

Fans of Leonard Bernstein's conducting have much to enjoy in this fine commemorative box set which includes all of his recordings of several Schubert, Mendelssohn and Schumann orchestral works for Deutsche Grammophon in the 1980s. More importantly, this set contains some of his best recordings. Among my favorites are his Schubert symphony recordings made with the Concertgebouw Orchestra. Of these, his electrifying, swift account of the Schubert 9th Symphony remains among the finest recorded, blessed by superlative playing from the Concertgebouw Orchestra, especially its winds and strings. Bernstein doesn't seek emotional pyrotechnics from the orchestra, relying instead on swift tempi. His recordings of the Schubert 5th and 8th symphonies are also highly recommended, featuring exceptional playing from the Concertgebouw Orchestra. In stark contrast, his celebrated Schumann symphony cycle with the Wiener Philharmoniker (which has been available separately as a two CD set) is replete with emotion, and what could be charitably described as Bernstein's unique, quite mannered interpretations of these scores. Without question, this box set is yet another reason showing Bernstein's excellence as one of the great conductors of the 20th Century, and one which should be popular with his fans and others interested in his legendary career.

Average customer rating:

A long overdue collection by one of the English masters of the clarinet.
Great Collection

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I. Allegro
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I. Allegro
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I. Allegro Con Brio - Mieczyslaw Horszowski
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III. Tema. 'Pria Ch'Io L'Impegno'. Allegretto-Allegro - Mieczyslaw Horszowski
I. Andante - Mieczyslaw Horszowski
II. Menuetto - Mieczyslaw Horszowski
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I. Zart Und Mit Ausdruck
II. Lebhaft, Leicht-Coda: Nach Und Nach Ruhiger
III. Rasch Und Mit Feuer-Coda-Schneller

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I. Allegro Con Fuoco
II. Andante Con Moto
III. Rondo. Allegro
I. Allegro
II. Adagio
III. Andantino-Presto Non Assai, Ma Con Sentimento
IV. Con Moto-Un Poco Meno Mosso
I. Allegro - Mieczyslaw Horszowski
II. Adagio - Mieczyslaw Horszowski
III. Andantino Grazioso - Mieczyslaw Horszowski
IV. Allegro - Mieczyslaw Horszowski

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II. Modal Blues: Tempo Di Blues - Brooks Smith
III. In Rhythm: Moderato - Brooks Smith
I. Allegro Non Troppo - Brooks Smith
II. Larghetto - Brooks Smith
III. Allegro - Brooks Smith

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Premiere Rhapsodie For Clarinet And Piano
I. Massig Bewegt
II. Lebhaft
III. Sehr Langsam
V. Kleines Rondo, Gemachlich
I. Sempre Piano E Molto Tranquillo
II. MM=168
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I. Verbunkos (Recruiting Dance). Moderato, Ben Ritmato
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III. Sebes (Fast Dance). Allegro
La Plus Que Lente
La Fille Aux Cheveux De Lin
Reverie
Le Petit Berger
Ecstasy
The Pied Piper
Blue Haze
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II. Divertissement. Anime
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Caprice Viennoois Op.2
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Liebesfreud
Stars In My Eyes
Schon Rosmarin

Customer Reviews:

A long overdue collection by one of the English masters of the clarinet........2007-01-05

The Yorkshireman Reg Kell became famous for using vibrato in the classical world when it was unfashionable. He used it tastefully, and other artists such as Jack Brymer and Emma Johnson have continued to use it. He also had a series of tutorials with Benny Goodman (for Goodman's benefit) which led to Goodman changing his embouchure from the upper teeth on mouthpiece to the upper lip - as well as lower, -on mouthpiece, which perhaps in Goodmans's case was not a good move, as he had it right the first time!.

However these recordings originally came out a very long time ago in the early days of vinyl, and a re-issue is long overdue. Kell's excursion in to light music is interesting, though he stops well short of anything resembling jazz, although he had earlier recorded one record with Bert Ambrose's band in the 1940 which was the nearest he got, - but that is not included here. His main forte is in the works of Mozart, Weber, Beethoven and Brahms, but he also plays Bartok and Templeton. It shows what an accomplished performer he was. All were recorded after he left the UK to live and play in America.

This set shows his rightful place as a performer in the history of clarinet playing. He had raised the standard of the time, and had the benefits of improved recording techniques and length of play boudaries were removed with the LP record.

Great Collection.......2006-07-30

My only negative comment is that he rushes some of the runs; everything else is great!

Average customer rating:

Superb!

Complete Recordings on Deutsche Grammophon
Wolfgang Amadeus Mozart , Franz Joseph Haydn , Felix Mendelssohn , Ludwig van Beethoven , Johannes Brahms , Antonin Dvorak , Bedrich Smetana , Leos Janacek , Eva Bernathova , Janacek Quartet , and Smetana Quartet
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Complete Recordings on Deutsche Grammophon
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Igor Markevitch

ASIN: B00007EB9S
Release Date: 2003-02-11

Tracks:

Cd 1 Mozart: String Quartet K.387 / Haydn: String Quartet Op.33 No.3
Cd 2 Haydn: String Quartets Op.33 No.2 / Op.3 No.5 Op.76 No.2
Cd 3 Mendelssohn: Octet Op.20 With Smetana Quartet / Beethoven : String Quartet Op.59 No.2
Cd 4 Brahms: Piano Quintet Op.34 / Dvorak: Piano Quartet Op.81 With Eva Bernathova, Piano
Cd 5 Dvorak: String Quartets Opp.34 & 96
Cd 6 Dvorak: String Quartets Opp.51 No.105
Cd 7 Smetana: String Quartet No.1 / Janacek: String Quartet No.2

Customer Reviews:

Superb!.......2003-03-04

Back in "Iron Curtain" times it was by no means easy to hear Soviet-bloc artists in the U.S., and recordings really established international reputations over here. And based on available recordings it was generally conceded that the two great Czechoslovak string quartets were the Janacek and the Smetana, the former based in Moravia (Brno), the latter in Bohemia (Prague). The heyday of the Janacek Quartet was the 1950s and 1960s when these recordings were made for Deutsche Grammophon, British Decca and Westminster. About half were recorded in mono, the rest are stereo; but all are, technically speaking, very decently produced and wear their years lightly. Performance highlights for me are the Decca recordings of Dvorak and Haydn quartets; the DG recording of the Brahms piano quintet (with Eva Bernathova); and the stunning Westminster performance of the Mendelssohn Octet (where the Smetana Quartet joins in!). The great conductor Karl Bohm once declared that the Czech lands were the home of great string playing, and when you hear these recordings you sense the justness of that remark. These players produce an ineffable sweetness of sound that never cloys, and they phrase with an easy naturalness that, on every re-hearing, discloses new subtleties. No, this is not high-powered American string playing ala the Julliard Quartet; what the Janacek Quartet offers is a style and sound that is almost lost in today's internationalized musical performance world. Catch this set while you can; it's billed as a limited edition and many of the performances have been unavailable (in the U.S., at least) since the early 1960s. Space-saving soft box format and price are additional inducements, but these priceless recordings would be a bargain at twice the price DG is charging. Final note: no collection of the Janacek Quartet's work is complete without their stunning stereo recording of the two great quartets written by their namesake, currently available on a midprice Supraphon CD. Although an earlier, mono recording of the second Janacek quartet is included in the DG box, spend a little extra for the Supraphon CD just to get the Janacek Quartet's equally stunning performance of Janacek No. 1 ("Kreutzer Sonata" quartet). You won't regret the minor duplication, plus the Supraphon CD also includes a pleasant, "off the beaten path" quartet by 19th century Czech Romantic Vtislav Nowak as a substantial bonus. But for heaven's sake, don't hesitate to buy the DG collection right now!

Mahler III: Complete Recordings on DeUtsche Grammophon 3

Average customer rating:

Very Good To Disappointing Mahler From Bernstein
The last third of Mahler's career, mostly in great performances
Controversial and thrilling

Mahler III: Complete Recordings on DeUtsche Grammophon 3

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mahler: The Symphonies

ASIN: B000ASAENA
Release Date: 2005-11-08

Customer Reviews:

Very Good To Disappointing Mahler From Bernstein.......2007-07-03

Deutsche Grammophon concludes its Mahler Bernstein Collection Edition box sets with this collection comprising Bernstein's performances of the Mahler 8th, 9th and 10th (Adagio) symphonies and Das Lied von der Erde. Only one of these recordings is indeed truly memorable; his emotionally riveting account of the 9th Symphony with the Concertgebouw Orchestra. However, I am inclined to agree with his earlier recording of this symphony with the Berliner Philharmoniker - that Deutsche Grammophon released as a posthumous tribute - is more insightful and remains one of the finest accounts ever committed to disk. Bernstein didn't live to record digitally the 8th Symphony, so Deutsche Grammophon "completed" his cycle by using a 1974 recording of it with him conducting the Wiener Philharmoniker at the Salzburg Festival. Although it is a fine recording in its own right, I concur with others who regard his CBS Masterworks (Sony) recording made in the mid 1960s with the London Symphony Orchestra as the more exciting, better interpretation from Bernstein. Deutsche Grammophon also "borrows" from its Universal sibling Decca to round out Bernstein's Mahler cycle with a recording released originally on Decca featuring James King and Dietrich Fischer-Dieskau as the soloists in a good interpretation of Das Lied von der Erde; but it is an interpretation that isn't as intriguing as any I've heard, for example, from the likes of Boulez and Haitink. Those who are fans of Leonard Bernstein and his interpretations of Mahler's scores will most likely still want to add this box set to their collections; others may find more intriguing recordings from the likes of Abbado, Boulez, Chailly, and Haitink.

The last third of Mahler's career, mostly in great performances.......2006-06-28

It pains me to withhold a star from Bernstein's otherwise magnificent Mahler cycle for DG. In this, the last third of the composer's output, Bernstein fully rises to the genius of Sym. #9 and the Adagio from Sym. #10. He resisted the temptation to record any completion of the Tenth, feeling that Mahler was unfairly represented by sketches that weren't orchestrated or fully finished even in piano score. But the Adagio was finished, and as a farewell to earthly life, it's one of the most moving testaments left by an artist. Bernstein's live Vienna reading from 1974 (he died before making a commercial recording for DG) is one of the greatest.

Likewise Bernstein's Ninth, which has slowed down from his first conception. The Adagio finale, at 29+ min., is extremely drawn out. By comparison, Boulez takes only 21 min. and Abbado 25 min., both on DG. But the Concertgebouw is fully atttuned to the intense expressivity that Bernstein wanted, and this is a reading for the ages, surpassed only by his live 1979 account with the Berlin Phil., never commercially recorded but released by DG as a posthumous tribute to the conductor.

Bernstein didn't live to made a commercial version of the Symphony of a Thousand, either, which is a great shame given that his Eighth on Sony, done with the London Sym., was a great event. DG acquired the rights to a live Eighth from 1975 with the Vienna Phil. at the Salzburg Festival. The sounics are mid-fi at best, but one can hear all the ardor and authority of Bernstein's vision.

For me, the real thorn is this Das Lied von der Erde. When it was first released on Decca, the recording sounded great as pure sound, but critics were divided about the singers. James King had the right heroic tenor but showed little imagination. Fischer-Dieskau, singing the baritone version of the score rather than the usual mezzo-soprano, gave his all, and if you admire him, his constant underlining of phrases, vocal mannerisms, and lack of lyricism won't bother you. They bother me, to the point where I rush to hear Kathleen Ferrier or Christa Ludwig, just to get F-D's voice out of my head. Unfortunately for Bernstien, his other version for Sony wasn't a complete success, either. It featured the underwhelming Israel Phil, and although Christa Ludwig is inspired, the tenor singing from Rene Kollo sounds strained and inadequte. (Both singers teamed up again for a far more successful Das Lied under Karajan with the Berlin Phil.)

In sum, this is the one installment of Bernstein's cycle that I wouldn't automatically purchase. He has a better Eighth and Ninth Sym., and other conductors have made much better Das Lieds.

Controversial and thrilling.......2006-03-15

This set of the last Mahler works isn't as consistent as the previous two volumes in this edition (which is the same as the complete Mahler-Bernstein set DG released in the eighties and nineties), but all the same, it has a lot going for it. Das Lied von der Erde surely belongs to the top list of current recordings and the Concertgebouw Ninth, which may or may not clash with what's considered 'good taste', is played with conviction and ends quite poignantly (albeit controversial?).

The Adagio from the Tenth is marred by dry sonics and unsoulful playing from the Vienna Philharmonic and the live rendition of the Eigth with the same orchestra recorded at the '75 Salzburg Festival disappoints due to poor orchestral balances and a recording quality that's really below par. But despite all it's liabilities, there are moments that truly capture the spirit of Mahler's most intimate work and the final moments truly reach for the heavens.

All in all, a very mixed bag, but certainly worth having.

The Americans: Complete Recordings on Deutsche Grammophon

Average customer rating:

Very Good To Memorable Recordings of Bernstein's American Composer Recordings

The Americans: Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Mahler: The Complete Symphonies

ASIN: B0001WGDXU
Release Date: 2004-05-11

Customer Reviews:

Very Good To Memorable Recordings of Bernstein's American Composer Recordings.......2007-07-01

This is yet another superb box set of Bernstein's Deutsche Grammophon recordings, emphasizing his strong affinity and interest in the work of such great American composers like Charles Ives, Aaron Copland and William Schuman. The best recordings are those with The New York Philharmonic of Charles Ives's orchestral works and Aaron Copland's Third Symphony, "Quiet City" suite for horn and strings, and the El Salon de Mexico ballet suite. But I also admire Bernstein's recordings with the Los Angeles Philharmonic of Gershwin's great classical/jazz orchestral works like "Rhapsody in Blue" and "An American in Paris", and the recordings of several other Copland scores, most notably, "Appalachian Spring". Like virtually all of the other recordings in Deutsche Grammophon's "Collector's Edition" series of Leonard Bernstein, these were recorded by Deutsche Grammophon in the 1980s, often during live concert performances held in Los Angeles, Tel Aviv, and New York City (Lincoln Center's Avery Fisher Hall). While some may prefer Bernstein's classic recordings of Copland and Ives for CBS Masterworks (now Sony) in the late 1950s and 1960s, these have the benefit of being digital recordings made by Deutsche Grammophon's then state-0f-the-art recording processes. Without question, anyone who is a fan of Copland's, Gershwin's or Ives' scores and of Leonard Bernstein will surely cherish this fine 6 CD box set.

Mahler 2: Complete Recordings on Deutsche Grammophon

Average customer rating:

Two Of Bernstein's Best Mahler Symphony Recordings
vienna vs ny phil recordings; the best 7th
Great Middle Mahler!
The middle third of Mahler's career, magnificently done
No compromises

Mahler 2: Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Mahler: Symphony No. 1; Blumine [Hybrid SACD]

ASIN: B000ASAEMQ
Release Date: 2005-11-08

Customer Reviews:

Two Of Bernstein's Best Mahler Symphony Recordings.......2007-07-01

Two of Bernstein's best Deutsche Grammophon recordings of Mahler's orchestral works are included in this second box set of the three Collectors Edition box sets that Deutsche Grammophon has re-issued and re-packaged from his intriguing Mahler symphony cycle recorded primarily in the mid to late 1980s. I may be the lone dissenter here who finds Bernstein's account of the Mahler 5th Symphony with the Wiener Philharmoniker as among the best still available, especially now since there are great recordings from Abbado, Chailly and, most recently, Rattle. But I think Bernstein's Wiener Philharmoniker recording may now be given less praise in light of the exciting, rather revelatory, accounts from the Berliner Philharmoniker conducted by, respectively, Claudio Abbado and Simon Rattle, in their respective recordings for Deutsche Grammophon and EMI. Indeed, there is ample warmth and brilliance demonstrated by the Wiener Philharmoniker's strings, horns and winds, in a recording that was made during live concert performances at its Viennese concert hall, the legendary Musikverein.

In stark contrast, Bernstein's exciting, truly dramatic account of the Mahler 7th Symphony with the New York Philharmonic Orchestra remains among the very best (Like the Mahler 5th recording, it was assembled from live concert performances at Lincoln Center's Avery Fisher Hall.). Bernstein's tempi aren't excessively slow or swift, giving a performance which emphasizes the score's rich sonic architecture and dramatic intensity (In comparison, one could hear this account and then Pierre Boulez's excellent version with The Cleveland Orchestra and wonder whether or not the listener was indeed hearing the same symphony, since Boulez's interpretation sounds far more subdued than Bernstein's.).

Leonard Bernstein teamed up with a young Thomas Hampson and the Wiener Philharmoniker in two fine performances of Mahler's orchestral song cycles; Ruckert Lieder and Kindertotenlieder. While these recordings are great, blessed with exquisite playing by the Wiener Philharmoniker, Hampson's vocals are often overtaken by the orchestra's excessively rich, vibrant tones. So for this reason alone, one might not wish to regard these recordings as among the most desirable of either song cycle. And yet, despite this slight disappointment, I would still strongly encourage potential purchasers to think of acquiring this box set simply for the two fine performances of the Mahler 5th and 7th symphonies alone, along with yet another excellent one from the Wiener Philharmoniker of the Mahler 6th Symphony.

vienna vs ny phil recordings; the best 7th.......2007-01-14

personally, i have reservations about 5 and 6 - i like the slower first movement here with vienna than with the ny phil. recording - really slow and funeral - but i prefer the 2nd movement with ny - more exciting, especially at the final fortissimo climax - i loved the tempo of the scherzo of the 5th on bernstein's earlier recording with the phil. - here it's a little faster - but the trio sections come off better with vienna (better paced) - the famous adagietto is definitely slower in the earlier recording, and i prefer it - but lenny probably wanted this movement more integrated with the finale, so he chose a slightly faster tempo with vienna - all in all, the ny phil. plays rougher, and there are some occasional ensemble problems, but there's an excitement that's palpable which i don't get with vienna -

the old bernstein 6th with the ny phil. i thought was great - i still think the andante is more successful than in the newer recording - but movement one and two are even better with vienna - in the last movement, the coda is unquestionably finer in the newer recording - slower and somber - in fact, the movement is taken more broadly in general, especially in the expansive sections, than in the ealier recording - but the ny 4th movement has a drive that's incredible - take your pick: either one -

with the 7th, the dgg recording is sensational - the best i've heard, and preferable to the earler columbia recording - there's a cohesiveness in the first movement that makes it seem much shorter than it is - and the finale, one of the most difficult to bring off in Mahler (many tempo changes), is superb - again, bernstein's cohesiveness shines when Mahler brings back the march tune from the first movement: one recognizes immediately the similarities with the fanfare motive in the last movement - two gripes: lenny does that quick crescendo on the penultimate chord before the end -i think it's defintely (way) preferable without - and i still think that lenny never arrived at a really comfortable tempo for the 4th movement - but all in all, it's the best 7th i know of -

Great Middle Mahler!.......2006-07-17

This is a great set for these three symphonies. There are many great versions of each. Yet, if you want to get a set of these, this would be a great place to start.
The fifth by Bernstein is quite different. the initial movement is slower than I would expect. yet, it delivers on the goods.
The adagietto is not too slow and the finale is triumphant. Quite an experience. The sixth is now my favorite again. Each movement is rightly timed. The finale is awesome.
As to the seventh, it is not a favorite at all. But, this version is exciting and it drives a lot.
In the end, for the middle symphonies, this is a no brainer. There are individual versions that may be better. but, there is only one Bernsein!!!

The middle third of Mahler's career, magnificently done.......2006-06-28

DG has made a sensible division of Mahler's symphonic career into thirds. This is the post-Wunderhorn phase, so called because with the Fifth Sym. Mahler stopped implanting the folk-flavored material he gathered from his Knaben Wunderhorn song cycle. Innocence was left behind, and in its place Mahler composed three symphonies, #5-7, that baffled and alienated his audience. Today, the Fifth is heard far more frequently than the other two, thanks to the famous Adagietto, and its ability to fit on one CD has insured many bargain reissues.

The Gramophone reviewer stated as fact that the first version of the Fifth that Bernstein did in NY was a weak link in his ealier cycle, while this Vienna Phil. remake is one of the pinnacles of the second cycle. For me, the first version was almost a mess, but I didn't find a huge improvement in the Vienna remake, despite the fact that it's much better played and recorded. To my ears, Bernstein didn't "get" the Fifth, which is strange, since so many other conductors (Walter, Barbirolli, Abbado, Karajan) did.

But in the Sixth Sym. Bernstein turned in a signature performance that awed nearly everyone. His conception of the first movement is fast and relentless, but that's the only possible caveat. The range of emotion and the virtuosic playing of the Vienna Phil. are astounding. This is a work that Bernstein rehabilitated when he first recorded it in the Sixties, and that recording, which single-handedly convinced the musical world that the Sixth wasn't a bad piece of music, stands up very well even now.

The same rehabilitation and the same magnificence belong to Bernstein's recording of Sym. #7. In terms of sheer excitement and bravado, his NY Phil. recording is unique. But when he returned to New York for this live remake, the results were equally spectacular, lacking just the last ounce of thrilling discovery one felt the first time around.

The fillers here are live performances of two song cycles, Kindertotenlieder and Ruckert Lieder. Thomas Hampson is outstanding, but I feel he is overshadowed by Bernstein's impassioned conducting. In addition these songs have been so magnificently treated on disc by the likes of Kathleen Ferrier, Janet Baker, Christa Ludwig, and Dietrich Fischer-Dieskau that the standard was impossibly high for the relatively inexperienced Hampson.

In all, despite my reservations over the Fifth Sym., this middle installment in Bernstein's DG cycle contains almost nothing but undisputed triumphs.

No compromises.......2006-03-15

Bernstein's Mahler is virtually unlike any other Mahler. There is no middle way, you either love it or hate it. This 'middle trilogy', safe it for a Fifth being too constrained, is all about extremes. The Wiener Philharmoniker, quite unexpectedly, turns in a stunning Sixth with spine-chilling climaxes and horns that ring like never before. Their rendition of the Fifth, like I mentioned before, is equally well played but also a bit underplayed. This surely doesn't apply to the New York Seventh, perhaps the most drugged out performance of this work ever recorded. Bernstein's approach to the first movement is stern, the middle movements are lucid and the finale isn't stately but perfectly provocative with clarinets and trombones appropiately misbehaving. The final minutes come across with such massive brass and such overall orchestral power that you may think the roof of Lincoln Center is ready to being moved to the Bronx. This really is the Mahler without compromises with overall great sound (the Seventh is a bit dimmer than usual) and a rightful culmination of vulgarity, emotion and human brilliance. A five star recording, without hesitation.

MONIQUE HAAS Complete Recordings on Deutsche Grammophon

Average customer rating:

The Magnificent Monique Haas

MONIQUE HAAS Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

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Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B000FBHSPE
Release Date: 2006-08-08

Tracks:

Piano Concerto No.14 In E Flat, K.449
Sonata For Piano Duet In B Flat, K.358
Sonata For Piano Duet In D, K.381
Sonata For 2 Pianos In D, K.448
Piano Concerto No.23 In A, K.488
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Variations In E Flat Major, Hob.Xvii:3
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8 Fantasiestke, Op.12
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12 Etudes, Op.10 - No. 3. In E "Tristesse"
Prudes - Book 1
Prudes - Book 2
12 Etudes Pour Le Piano
Valses Nobles Et Sentimentales
Le Tombeau De Couperin
Capriccio For Piano & Orchestra
Piano Concerto In G
Piano Concerto No.3, Bb 127, Sz. 119
Pour Le Piano - 3. Toccata
Prudes - Book 1 - 8. La Fille Aux Cheveux De Lin
12 Etudes Pour Le Piano - 6. Pour Les Huit Doigts
Prudes - Book 2 - 12. Feux D'artifice
Piano Concerto In G
Piano Concerto For The Left Hand In D
Sonatine
Konzertmusik
Ricercari Op.46
3 Pies Pour Piano, Op.49
Sonatine
Violin Sonata In G
Violin Sonata No.2 Op.45

Album Details

Monique Haas was One of Dg's Principal Pianists in the 1950s. Her Play is Marked by Its Elegance, Passion and Wonderful Articulation. Here, for the First Time, We Present the Complete Recorded Legacy of this Great Artist on CD. This is a Wide-ranging Box - from Haydn and Mozart to Bartók and Mihalovici (Haas's Rumanian Husband). Featured Artists Include Conductors Eugen Jochum and Ferdinand Leitner, but above all Violinist Max Rostal, who Gives a Marvellous Account of the Ravel Sonata, Along with Marcel Mihalovici's Second Violin Sonata. Other Highlights Include Mozart Piano Duet and Two-piano Works with Heinz Schroter - Brilliantly Virtuosic and a Wonderful Partnership; The Award-winning Recording of the Debussy Etudes, which Has Come Up Excellently in Its First CD Transfer. Rarities Include Test Recordings for Dg from 1949 - Individual Pieces by Debussy.

Customer Reviews:

The Magnificent Monique Haas.......2006-09-29

Before I begin writing this review I would like to pose a question to the folks at DG/Universal. Among the great French classical musicians of the 20th Century, is Monique Haas more fondly remembered in the United States than Pierre Fournier? Clearly the answer must be yes, because you have decided to reissue your new Monique Haas Original Masters box set domestically while the recent Pierre Fournier is only available as a pricey import. UNI, you once again leave me scratching my head at your marketing decisions, but then I never was very good at judging popularity contests.

Ultimately, the music is all that matters, and there are some fine examples on this 8CD set, "Monique Haas: The Complete Recordings on Deutsche Grammophon." Haas was best known for her interpretations of French music, and in particular for reacquainting German audiences with Debussy and Ravel after WWII. Among the French fare included here are two remarkably differing accounts of the Ravel Piano Concerto. The first is a delightfully jazzy mono rendition with Schmidt-Isserstedt from 1948, and the second the famous 1965 stereo recording with Paul Paray (recently reissued as a single title in the DG "Originals" series and reviewed by yours truly), with whom she also produced the Concerto for Left Hand. But as good as the Ravel is, it is the Debussy that steals the show here, and if her award-winning performances of the Preludes and Etudes weren't enough, DG archivists have unearthed four previously unreleased Debussy test recordings from 1949.

While these aforementioned recordings are the cornerstones of this set, they are far from the only compelling material. CDs 1 & 2 are dedicated to Mozart and Haydn, including the 14th and 23rd Piano Concertos with Ferdinand Leitner conducting, and various Sonatas. A touch of the Romantic crops up on disc 3 with the Schumann PC (Jochum/Berlin, 1951), Fantasiestucke, and a couple of Chopin Etudes. These recordings are definitely not Haas' finest moments, but they are interesting if not remarkable. Something that Haas does have a firm grasp of is 20th Century music and she illustrates that on ecstatic readings of the Stravinsky Capriccio and Bartok 3rd, both in mono with Fricsay and the Berlin RIAS, and Hindemith's "Konzertmusik" with the composer conducting. (Unfortunately, the latter performance has already been made available in the Hindemith "Original Masters" set, causing annoying, but I suppose necessary duplication as "Complete" has to be complete.) This set fittingly concludes with an eighth disc of music for Violin and Piano, performed with violinist Max Rostal, and including a composition by her husband Marcel Mihalovici -- Ricercari Op. 46, Variations libres pour piano.

In all, the Monique Haas "Original Masters" set is a most welcome addition to a great series of box sets. I only wish that Universal would make all their sets as universally available as this one.

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1. Cd 1 Mozart: String Quartet K.387 / Haydn: String Quartet Op.33 No.3
2. Cd 2 Haydn: String Quartets Op.33 No.2 / Op.3 No.5 Op.76 No.2
3. Cd 3 Mendelssohn: Octet Op.20 With Smetana Quartet / Beethoven : String Quartet Op.59 No.2
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7. Cd 7 Smetana: String Quartet No.1 / Janacek: String Quartet No.2