Septet

Editorial Reviews
Amazon.com
This is a delightful record. It brings together some of Europe's best musicians for a program of primarily unfamiliar works by Saint-Saëns which show him from his most playful, humorous side, and they clearly have a grand time. The only well-known work on the program, "The Carnival of the Animals," is a portrait gallery juxtaposing the familiar with the exotic, and succeeds, by purely musical means, in evoking the salient characteristics of each creature with keen observation, psychological acumen, and benevolent wit. The Lion struts in a regal march, the Asses bray, the Birds twitter; the flute gives the Cuckoo's drooping thirds great variety of expression, the Aquarium shimmers etherially. Saint-Saëns, a brilliant pianist, even pokes fun at himself in a parody of two pianists practicing exercises in unison or contrary motion, but always slightly out of sync. He also did not scruple to borrow from his contemporaries for utmost effect: Tortoises shuffle to an Offenbach can-can, the Elephant dances to Berlioz's Valse de Sylphs, the Finale, borrowing from Rossini's Barber of Seville, is grandly operatic. "The Swan," the work's most familiar and only serious movement, is performed beautifully, with a touching, unsentimental simplicity. The "Fantasy for Violin and Harp," a bravura piece for both instruments, alternates brilliant passages with dreamy, nostalgic lyricism. Three cello pieces are slow, songful, and passionate; the last is a very successful transcription of the famous aria from "Samson and Delilah." All these works are played to the hilt for virtuosity, color, atmosphere, and expression. The Septet is another fun piece--whimsical, mischievous, comic. Everybody has lots of solos, especially the trumpet, whose virtuoso part mixes mock heroism with baroque flourishes. The Menuet is a courtly dance, the Trio a delicate love song; the slow movement is somber, the Finale a carefree romp. --Edith Eisler

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio - Concertgebouw Orch/Bernard Haitink
Sym No.7 in A, Op.92: II. Allegretto - LSO/Antal Dorati
Romance No.2 in F, Op.50 - Arthur Grumiaux
Pno Son No.14 'Moonlight' in c#, Op.27 No.2: I. Adagio Sostenuto - Vladimir Ashkenazy
Fur Elise (Bagatelle in a, WoO 59) - Vladimir Ashkenazy
Pno Son No,17 in d, Op.31 No.2: III. Allegretto - Stephen Kovacevich
Spt in E flat, Op.20: V. Scherzo: Allegro Molto E Vivace - Members Of The Berlin Phil Octet
Pno Con No.3 in c, Op.37: II. Largo - Alfred Brendel
Sym No.8 in F, Op.93: IV. Allegro Vivace - Chicago SO/Sir Georg Solti
Ov 'Egmont', Op.84 - VPO/George Szell
Vn Con in D, Op.61: III. Rondo: Allegro - New Philharmonia Orch/Alceo Galliera

Tracks:

Pno Con No.5 'Emperor' in E flat, Op.73: II. Adagio Un Poco Mosso - Vladimir Ashkenazy
Sym No.6 'Pastoral' in F, Op.68: V. Allegretto: Shepherd's Song. Happy And Thankful Feelings... - Staatskapelle Dresden/Colin Davis
Pno Con No.2 in B flat, Op.19: III. Rondo: Molto Allegro - Radu Lupu
Pno Son No.8 'Pathetique' in c, Op.13: II. Adagio Cantabile - Vladimir Ashkenazy
Str Qt in B flat, Op.130: V. Cavatina: Adagio Molto Espressivo - Qt Italiano
Bagatelle, Op.126 No.6 - Alfred Brendel
Vn Son No.5 in F, Op.24: IV. Rondo: Allegro Ma Non Troppo 'Spring' - Itzhak Perlman/Vladimir Ashkenazy
Minuet No.11, WoO 7 - ASMF/Neville Marriner
Pno Son No.14 'Moonlight' in c#, Op.27 No.2: III. Presto Agitato - Vladimir Ashkenazy
In Questa Tomba Oscura, WoO 133 - Luciano Pavarotti
Mir Ist So Wunderbar - Hildegard Behrens/Sona Ghazarian/David Kuebler/Hans Sotin
Oh Welche Lust (Prisoner's Chor) - Robert Johnson/Philip Kraus/Chicago Sym Chor/Margaret Hillis
Sym No.9 in d, Op.125: Chor Finale (Excerpt) - Joan Sutherlan/Marilyn Horne/James King/Martti Talvela/Wiener Staatsopernchor

Customer Reviews:

Excellent sample.......2005-10-25

This two disc set is a good sampler of Beethoven; I had forgotten how inspiring his work could be. This set has motivated me to order all three of the Deutch Grammaphone two disc which together include all 9 of Beethoven's symphonies.

Some of the Best.......2005-09-11

Some of these songs are the best that I've heard. I also enjoy the fact that this album provides the ENTIRE movement or selection, unlike some of the other albums that I've heard that only play for a little bit of the song. One example is Beethoven's Symphony No. 7 in A Major Second Movement, this movement is one of my favorites to begin with and hearing it so smoothly and masterfully recorded made my heart sing the first time I heard this all the way to end (the other recordings usually stop after the major key shift after the first theme). Also the Egmont Overture is one of the best full versions that I've had the pleasure of enjoying performed this well. The Moonlight Sonata First Movement I found to be nice, but there are better versions out there. For those people just looking for a nice collection of Beethoven songs that are well recorded and well performed, I stronly suggest that you purchase this album.

Storms.......2005-03-09

Classical music compilations are extremely difficult to review. You are always fighting with someone else's opinion of what is "Best of" material. And why should we buy selections when we could buy the entire pieces and hear them played as the composers intended?

A quick answer would be simple: we simply cannot afford to purchase every single piece by every single composer we love. And if the buyer is familiar with the music, he or she would perhaps only want the famous selections everyone knows. In my case, I am particularly picky with recordings and don't have the time to meddle with libraries or going to stores that offer listening stations. Recordings vary greatly and so does playing ability. So why did I go with Essential Beethoven?

It is released with Decca, one of the finest classical music companies out there. You are guaranteed no gimmick or inexpensively recorded tracks on this compilation. Essential B. also has a wider selection than other compilations I looked at. For once, there isn't a movement to be found from the Fifth Symphony. If that's all you want to buy, look elsewhere. Essential B. has pieces I was not familiar with, so here I am listening to it.

Regrettably, there are three distinct issues with this recording, and I want to get them out of the way. 1. Für Elise is atrociously boring to listen to. As a pianist, it is fun to play and almost required learning for the beginner. It should've been dropped. 2. Piano Concerto No. 5 is missing the third movement. It is common to drop the first movement here, but the second and third movements are programmatically tied, providing some of the most emotionally charged music ever put down on lined paper. Also, this rendition of the concerto is less than inspiring and I regret that it is the famous Ashkenazy playing this version. There is almost no life in the playing. 3. The remastering could've been better. The listener will enjoy the loud and boisterous pieces, but the quieter parts, and even the soft piano solos, will have him straining his ears to the point of exasperation. Because of this, I recommend listening on headphones or in a place where you can turn the volume up a little more than usual.

That aside, the rest of the tracks are well recorded, extremely well played, and varied enough to quench even the most learned ears. Decca has included pieces conducted by Sir Georg Solti, one of the greatest conducters in my opinion. (Another "collection" solely conducted by Solti is the "Immortal Beloved" soundtrack.) The orchestral pieces are lush and the range is dynamic. (A little too dynamic, like I stated above, in some areas.) The inclusion of movement IV from Symphony no. 8 pleases me, as I feel this is the least appreciated symphony, overshadowed by Symphony no. 9

The piano pieces are some of the best renditions I've heard. I own all of Ashkenazy's sonatas, so it was nice to hear a movement from "The Tempest" played by Stephen Kovacevich, who plays with fierce determination. Selections from B's piano concertos are fantastic and have prompted me to delve further into listening to more concertos from him. The Rondo from Piano Concerto No. 2, played by Radu Lupu, is one of the most upbeat and wonderfully played pieces here.

To round things off nicely is a movement from the Violin Sonata No. 5, played by the one and only Itzhak Perlman! The piano is caressed by Mr. Ashkenazy himself, and he does so lovingly. You will also find pieces from a string quartet, a violin Romance (and orchestra), and one overture: the "Egmont." I'm not a huge fan of this rendition either, but that's probably because I've heard the Egmont a thousand times.

A huge bonus with this collection are the three choral selections at the end, two of which are from "Fidelio," an opera I've yet to hear in its entirety. The Prisoners' Chorus is beautiful. The introduction sounds very much like a major contribution to Charles Ives's 1906 piece "The Unanswered Question." The compilation ends with Symphony No. 9's finale, but unfortunately, it is a horribly edited excerpt, and mixed extremely hot. I have to turn my volume down everytime this comes on.

I would like to make a little note about the art design, however. Credit here is given to Mark Millington, who did a fine job blending black & white photos of storm clouds, an inspiring sculpture, and blackletter-styled fonts. The CDs themselves are a contrasting bright orange. As a sucker for marketing, I would've plunked money down for this compilation just for the art!

Wonderful selections.......2003-11-08

My kids and I have really enjoyed this CD. This is a great collection of music with high quality performances.

Great intro to Beethoven.......2003-04-05

Great intro to beethoven. There are many great performances by Ashkenazy, Academy of Saint Martin in the fields, Concertgetbouw Orchestra and many other exceptional artists. I would recommend this disc as it contains the masterpieces of beethoven, even though not all of them.

Arnold Schoenberg: Serenade/Five Pieces For Orchestra

Average customer rating:

I guess I'm not as sophisticated as all of you...
A convert
Excellent performance
A Devastating Five Pieces - A desert island CD
BUY IT

Arnold Schoenberg: Serenade/Five Pieces For Orchestra

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Schoenberg: The String Quartets
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Schoenberg: Chamber Symphony No1; Die Jacobsleiter
Schoenberg - Die Glückliche Hand · Variations for Orchestra, Op.31 · Verklärte Nacht / Nimsgern · BBC Orch. · NY Phil. · Boulez
Berg: Chamber Concerto; Three Orchestral Pieces, Op. 6; Violin Concerto

ASIN: B000002818
Release Date: 1993-07-13

Tracks:

Serenade, Op. 24: I. Marsch
Serenade, Op. 24: II. Menuett
Serenade, Op. 24: III. Variationen
Serenade, Op. 24: IV. Sonett Von Petrarca: 'O Konnt' Ich Je Der Rach' An Ihr Genesen'
Serenade, Op. 24: V. Tanzscene
Serenade, Op. 24: VI. Lied (Ohne Worte)
Serenade, Op. 24: VII. Finale
5 Pieces for Orchestra, Op. 16: I. Vorgefuhle
5 Pieces for Orchestra, Op. 16: II. Vergangenes
5 Pieces for Orchestra, Op. 16: III. Farben
5 Pieces for Orchestra, Op. 16: IV. Peripetie
5 Pieces for Orchestra, Op. 16: V. Das Obligate Rezitativ
Ode To Napoleon Buonaparte, Op. 41

Amazon.com

Schoenberg's Serenade is comparable to Stravinsky's The Soldier's Tale. Both works are effective modernist parodies of classical genres. But unlike Stravinsky, Schoenberg's treatments of marches and waltzes are never coolly burlesque, but hyper expressive--indeed, expressionist. Pierre Boulez conducts his Ensemble InterContemporain, underlining the music's prickly sonorities and metallic edges. In his interpretation, the expertly separated timbres are the hinge of the composition. Also on the disc is a classic reading of the Five Pieces for Orchestra and the curious Ode to Napoleon, a work for ensemble with narrator. --Joshua Cody

Customer Reviews:

I guess I'm not as sophisticated as all of you..........2006-09-20

Depth? Genius? This stuff sounds like your watching an old Bugs Bunny cartoon. Its like the background sound effects when Yosemite Sam steps on a rake or Daffy does a double-take. Imagine being Ray Charles or Andrea Bocelli and "watching" old cartoons: it's the same experience. But in this case, I'd rather be Marlee Matlin.

A convert.......2006-05-09

I would like to speak in regards to what some reviewers are saying about the works of Schoenberg. I will admit that the first time I heard Schoenberg, I wrote him off as weird music that I would never like and was not worth listening to. In my defense, the first work I heard was "Pierrot Lunaire" which is a very hard work to understand. But I was assigned a paper of the Second Viennese School and its influences for music history and was forced to really listen to these works among others by much more extreme composers like Boulez and Cage (who I have yet to understand, but I am still young!) Once I stopped grumbling about how much I hated serialism and let myself really HEAR the music, I started to understand it and gained a begrudging respect for Schoenberg, which became a genuine liking. So in light of this, I dare anyone who is so willing to bash Schoenberg outright to really listen to his works and the works of those he influenced with an open mind and see if you can't at least respect the music for what it is.

Excellent performance.......2006-03-25

Having owned nearly all avaliable recordings of all Schonberg, I have found all of Boulez's recordings on Sony to my favorite.

It has been 3 yrs now that I first discovered Schonberg and my love for his music grows more everyday, high genius indeed.
I love almost everything he wrote, but as to his Pelleas, even Schonberg said he was only satisfied with the last part.

Now as to A Music Fan's comments on his This Music Stinks and Ong's in his World comming to an end, this might have been something I wrote back in my early to mid years of adventures in classical music, say 1980-2001.
But you see I grew in a psychological sense and my awareness of what great art is, had made a profound transition into the modern era.
(read all my reviews)

But for some to give either a vote of "no, not helpful", shows we still have way too many under the 13 year olds clicking the vote buttons.
Why even click the vote?
Sure I realize you strongly disagree with both, that you love Schonberg as much as I, maybe more, which I doubt, so why even bother with these 2 who may not ever come to know Schonberg while upon this earth.
That in itself is a big loss to their experience in life.

I see the same youths post on my reviews a "no, not helpful".
Well if you disagree with either Ong and A Music fan, write your own rebuttal to these 2 guys.
Just don't click a button , write a commen of your appreciation for Schonberg's genius.

The old form is clashing with the new. As the romantic and classical eras must give way to 20th century music, I forsee some contentions at the ineviatable changes that are about to occur.
Sure some will want to atke it to battle, as the other side really does not want to give up an inch of its power.
Thus, don't expect many of us modern fans to be at your shows.
The attendance numbers will dwindle, profits will shrink.
If you give us what we want, which is an all modern program, once in awhile, we'll gladly pay the price of the ticket.
Otherwise have fun at YOUR "program".

A Devastating Five Pieces - A desert island CD.......2005-07-15

I still remember the first time I heard this recording of Boulez conducting the Five Pieces. I had heard the work before but the degree of electricity here was something that came as a complete shock to me. From the first note to last this Five Pieces is totally devastating. This is a performance that makes Schoenberg's Mahlerian heritage absolutely clear only he is so much more concentrated and focused in his delivery that the results for me are just shattering. The rapport that Boulez enjoyed with the BBC orchestra at this time is something I have always marvelled at but this takes it to another level. Of course the inner movements are also allowed moments of hushed poetic repose but the outer movements really do remind me of what Robert Craft said of the final pages of the last of the Five Pieces - that it was the greatest thing written in the twentieth century. That statement really surprised me and I think maybe it was a spur of the moment outburst but Boulez does a greater job than anybody of convincing me of its truth.

As for the Seranade, I love this performance. Schoenberg always had a great awareness of early music - perhaps inherited from Brahms. Webern of course even wrote his PhD thesis on Heinrich Isaac's Choralis Constantinus and in his writings Schoenberg refers to composers such as Josquin reasonably frequently. It is highly likely he was also familiar with the madrigals of the late Renaissance period, referred to the Seconda Prattica by Monteverdi. Poets such as Petrach and Tasso were popular amongst madrigal composers and the madrigalian feeling is even further accentuated by the use of instruments such as the mandolin for accompaniment making it sound even more like a twentieth century madrigal. It is a charming and enjoyable work, quirky and mercurial.

The final work on this CD is the Ode to Napolean in which Schoenberg spits vitriolic hatred at Hitler. I have always found Schoenberg's command of English language inflections to be less than perfect - you can hear a slight German accent in the Sprechstimme. Musically by this time Schoenberg starts to also sound increasingly more and more like Brahms and the opening statement by the string quartet and piano has a theme vaguely reminiscent of the opening of the finale of the Brahms Opus 25 G minor piano quartet (the one Schoenberg transcribed for orchestra)! Boulez has always been critical of this tendency in the later Schoenberg but I must confess to liking it. The work is a tour de force - fiery and passionate, yet uplifting and hugely appealling such that I am always surprised it is not played more often, especially when it pays such glowing hommage in the closing passages to George Washington.

All in all this is a desert island CD for me - most especially for the Five Pieces, which is one of the greatest performances of anything I have yet to hear.

BUY IT.......2001-02-28

Somebody who dislikes the music presented on this CD wouldn't know good modern classical music if it smacked him/her across the face. This is quite a statement, I understand, but this music is simply brilliant - particularly 5 Pieces for Orchestra (perhas slightly less well-known than other Schoenberg works). This piece is a treatise on timbre that simply blows my mind. It relaxes you, enthralls you, terrifies you, and makes you very glad you spent the $11 on this CD. Buy it, and open your ears.

Average customer rating:

Average
Fantastic!
Fine Collection of Baroque Concertos
Excellent, a great find

Telemann: Concertos & Sonatas

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Locatelli: Concerti Grossi, Op. 1, Nos. 1-6

ASIN: B000002S5Z
Release Date: 1995-02-14

Tracks:

Suite In A Minor For Flute: Overture
Suite In A Minor For Flute: Les Plaisirs
Suite In A Minor For Flute: Air a l'italienne
Suite In A Minor For Flute: Menuets 1 & 2
Suite In A Minor For Flute: Rejouissance
Suite In A Minor For Flute: Passepieds 1 & 2
Suite In A Minor For Flute: Polonaise
Trumpet Concert In D: I: Largo
Trumpet Concert In D: II: Vivace
Trumpet Concert In D: III: Sicilienne
Trumpet Concert In D: IV: Vivace
Sonata In B Minor For 2 Flutes, Op.2 No.4: I: Largo - Vivace
Sonata In B Minor For 2 Flutes, Op.2 No.4: II: Grazioso - Allegro
Concerto In B Flat For 3 Oboes, 3 Violins & Basso Continuo: I: Allegro
Concerto In B Flat For 3 Oboes, 3 Violins & Basso Continuo: II: Largo
Concerto In B Flat For 3 Oboes, 3 Violins & Basso Continuo: III: Allegro
Canonic Sonata In G For Violins: I: Vivace
Canonic Sonata In G For Violins: II: Adagio
Canonic Sonata In G For Violins: III: Allegro

Customer Reviews:

Average.......2007-05-08

The recording does not have the depth of sound that I was seeking. The selections are okay but could be better--however, this is only a preference. I more or less use the album as background music/noise; do not confuse Telemann with poor music but the recording, yes.

Fantastic!.......2005-02-05

In his day, George Philip Telemann was more popular than Bach. But, as a Telemann fan, I GREATLY enjoy this CD. Additionally, I especially like flutes and violins. The CD includes one of Telemann's best pieces, Suite in A minor for Flute (Suite a-moll) which is a wonderful delight. Telemann also composed concertos for trumpet and one is included here as well. If you haven't tried Telemann, this CD would be a good bet. It's quite versatile too--can be just listened to, used as background music, meditated to, etc.

Fine Collection of Baroque Concertos.......2004-02-16

Telemann certainly was a prolific composer. For some forty-six years he composed much for both church and court.

Composing so much, he understood well the capabilities of each instrument and composed much for each. Here, for flute, oboe and trumpet, as well as strings.

The trio for oboes is especially charming.

Excellent, a great find.......2002-08-01

I really enjoyed this CD because I couldn't find the Suite in a minor by Telemann, until now. A beautiful Rejouissance I must say. I would love to hear longer samples of all the classical music, because I appreciate it so much.

Average customer rating:

Still the Best
Beethoven shines
Amazing and eternally listenable
Trios and music education
Caution On This Set

Beethoven: The Piano Trios

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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Mozart: The Complete Piano Trios
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ASIN: B00005ND43
Release Date: 2001-10-09

Tracks:

Trio No.1 in E flat, Op.1 No.1: I. Allegro
Trio No.1 in E flat, Op.1 No.1: II. Adagio Cantabile
Trio No.1 in E flat, Op.1 No.1: III. Scherzo (Allegro Assai)
Trio No.1 in E flat, Op.1 No.1: IV. Finale (Presto)
Trio No.2 in G, Op.1 No.2: I. Adagio - Allegro Vivace
Trio No.2 in G, Op.1 No.2: II. Largo Con Espressione
Trio No.2 in G, Op.1 No.2: III. Scherzo (Allegro)
Trio No.2 in G, Op.1 No.2: IV. Finale (Presto)
Trio No.8 in One Movt in B flat, WoO 39: Allegretto

Tracks:

Trio No.3 in c, Op.1 No.3: I. Allegro Con Brio
Trio No.3 in c, Op.1 No.3: II. Andante Cantabile Con Vars
Trio No.3 in c, Op.1 No.3: III. Menuetto (Quasi Allegro)
Trio No.3 in c, Op.1 No.3: IV. Finale (Prestissimo)
Trio No.2 in E flat, Op.70 No.2: I. Poco Sostenuto - Allegro Ma Non Troppo
Trio No.2 in E flat, Op.70 No.2: II. Allegretto
Trio No.2 in E flat, Op.70 No.2: III. Allegretto Ma Non Troppo
Trio No.2 in E flat, Op.70 No.2: IV. Finale (Allegro)
Trio No.1 in E flat, Op.44 (14 Vars On An Original Theme): Tema (Andante) Con Vars

Tracks:

Trio No.7 in B flat, Op.97 'Archduke': I. Allegro Moderato
Trio No.7 in B flat, Op.97 'Archduke': II. Scherzo (Allegro)
Trio No.7 in B flat, Op.97 'Archduke': III. Andante Cantabile, Ma Pero Con Moto - Poco Piu Adagio
Trio No.7 in B flat, Op.97 'Archduke': IV. Allegro Moderato
Trio No.9 in E flat, WoO 38: I. Allegro Moderato
Trio No.9 in E flat, WoO 38: II. Scherzo (Allegro Ma Non Troppo)
Trio No.9 in E flat, WoO 38: III. Rondo (Allegretto)
Trio No.11 in G, Op.121a (10 Vars In Wenzel Muller's Song 'Ich Bin Der Schneider Kakadu'): Intro...

Tracks:

Trio in E flat, Op.38 (After The Spt, Op.20): I. Adagio - Allegro Con Brio
Trio in E flat, Op.38 (After The Spt, Op.20): II. Adagio Cantabile
Trio in E flat, Op.38 (After The Spt, Op.20): III. Tempo Di Menuetto
Trio in E flat, Op.38 (After The Spt, Op.20): IV. Andante Con Vars
Trio in E flat, Op.38 (After The Spt, Op.20): V. Scherzo (Allegro Molto E Vivace)
Trio in E flat, Op.38 (After The Spt, Op.20): VI. Andante Con Moto Alla Marcia - Presto
Trio No.5 in D, Op.70 No.1 'Ghost': I. Allegro Vivace E Con Brio
Trio No.5 in D, Op.70 No.1 'Ghost': II. Largo Assai Ed Espressivo
Trio No.5 in D, Op.70 No.1 'Ghost': III. Presto

Tracks:

Trio in D (After Sym No.2): I. Adagio - Allegro Con Brio
Trio in D (After Sym No.2): II. Larghetto Quasi Andante
Trio in D (After Sym No.2): III. Scherzo
Trio in D (After Sym No.2): IV. Allegro Molto
Triosatz in E flat: Allegretto
Trio No.4 in B flat, Op.11 'Gassenhauer': I. Allegro Con Brio
Trio No.4 in B flat, Op.11 'Gassenhauer': II. Adagio
Trio No.4 in B flat, Op.11 'Gassenhauer': III. Tema: Pria Ch'io L'impegno (Allegretto) Con Vars

Customer Reviews:

Still the Best.......2007-01-10

My husband and I have loved the Beaux Arts Trio for many years and were very happy to find the edition of the Beethoven piano trios. The interpretations are superb, the playing is masterful and flawless. As long as the pianist Menahem Pressler will remain with the Trio, we will always try to hear them in concerts or on CD. We own most of their recordings.

Beethoven shines.......2006-09-24

When one thinks of Beethoven, one often imagines the grand symphonic sound. This collection of piani trios, however, is a feather in the wind. They are beautiful and warm. There is room to breathe as one basks in the sheer genius of this composer's gift of melody and composition.

Amazing and eternally listenable.......2006-04-11

I decided one day to look into string chamber music, and lucked out completely by getting this five-disk series.

I was not familiar with these pieces and am still amazed that such sounds were ever created or could be conceived of.

I particularly love the third CD in this production.

I would love to put the first few chords on Trio 7 on my cell phone, it would be so superior to everybody else's little ditties that we all suffer through!

I have listened to this CD for a couple years now and do not tire of it.

Ben

Trios and music education.......2006-02-26

I have become interested in trios since we had a visit this year of a wonderful trio that played Haydn, Brahms, and Schubert. I realized here was a whole area I had missed. Since then I have been making up for it. I am learning much about various composers I already thought I understood fairly well. What has been most surprising is the function of music in the home -- the market these pieces were primarily written for. With that in mind, it is certainly interesting to imagine what a home must have been like in the evening with some friends playing these pieces. They must have been fairly accomplished or these would not have gone very well. They are challenging. What does that say about the way people thought? How did music influence their imaginations and their reasoning? (The Mozart Effect). I find that even though I enjoy these what makes them worth having and listening to is this bit of cultural imagining I add to listening to them. That said, I have not figured out yet if I have a favorite. I know the Schubert was the favorite of the cellist that recently visited and he explained why. But that was from the point of view of a person playing. Otherwise, I wonder if these are more like baseball. They can be really boring if you are not in the game.

Caution On This Set.......2006-02-21

The piano is not balanced with the violin and cello, it drowns them out. The violin at times is quite muted and the cello is often indistinct. Listen to the samples critically before buying. I found the same problem on another Philips set of Haydn Piano Trios.

The Great War: Classical And Popular Selections From The Time Of World War I (National Public Radio Milestones Of The Millennium)

Average customer rating:

Music and the Great War
How a Century Has Change Our Perception of War
Excellent Recording!
Good music, bad title

The Great War: Classical And Popular Selections From The Time Of World War I (National Public Radio Milestones Of The Millennium)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Great War
Over There - Songs From America's Wars
Words and Music of World War II
The Roaring Twenties
Songs That Got Us Through WWII

ASIN: B00000HXKX
Release Date: 1999-01-12

Tracks:

Military March No. 1 In D Major, Op. 39: Pomp Ad Circumstance
Waltz Fom Der Rosenkavalier Suite
'Von der Schonheit' From Das Lied von der Erde
'De l'aube a midi sur la mer' From La Mer
Symphony No. 1 in D Major, Op. 25 'Classical Symphony': III. Gavotta. Non troppo allegro
L'histoire du soldat Suite - IV. The Royal March
L'histoire du soldat Suite - V. The Little Concert
Le tombeau de Couperin - V. Menuet
Le tombeau de Couperin - VI. Toccata
Sinfonia From Pulcinella Suite
Walzer From Funf Klavierstucke, Op. 23
Interlude From Wozzeck, Act III
Prologue From Music Ffor The Theatre
'Shine On Harvest Moon'
'Alexander's Ragtime Band' - Irving Berlin
'Over There'
'How You Gonna Keep'em Down On The Farm (After They've Seen Paree)?'
'The Man I Love' From Stride Up The Band
'West End Blues'

Amazon.com

The first two-thirds of this disc is a fascinating cram course in concert music around the time of World War I. The programmer has put together some fascinating juxtapositions--for example, Strauss's Rosenkavalier leads almost seamlessly into Mahler's Das Lied von der Erde, and Schoenberg sounds out of context with everybody (including Berg). The selections are all short, and performance quality runs from great to mediocre, but this is still a thought-provoking educational experience, even though Bartók and Ives are conspicuously missing. The popular selections are less interesting, often campy, and although vintage recordings are used, they aren't always the right vintage. And someone missed a point by separating Copland's jazzy "Music for the Theatre" from Louis Armstrong, who could have followed immediately. --Leslie Gerber

Customer Reviews:

Music and the Great War.......2007-05-14

This is a fascinating compendium of popular and classical music from the World War One period. It evokes all the turmoil, anguish, and also humor, of the age, and is a vital CD to own if you have an interest in the Great War and the music it inspired or was inspired by.

How a Century Has Change Our Perception of War.......2005-10-29

War. Tough subject these days - tough subject since the beginning of time. Yet Americans tend to mend wounds and gradually allow the atrocities of yesteryear to fade into coated cases that signal more memories of 'how things used to be' rather than learning from the tragedies with which war has scarred the planet. National Public Radio issued this excellent memoir at the turn of the millennium and one wonders if it now has the same response that greeted it in 1999.

Linda Kobler reconstituted this mix of classical and popular music with a keen sense of history. The CD is twice divided (in both the classical and the popular music) into 'Before the War' 1901 - 1917, 'During the War' 1917 - 1922, and 'After the War' 1922 - 1928. In the first era are the works of Elgar ('Pomp and Circumstance'), Strauss (a waltz from 'Der Rosenkavalier'), Mahler (excerpt from 'Das Lied von der Erde'), and Debussy ('La Mer') joining the songs 'Shine On Harvest Moon' and 'Alexander's Ragtime Band'. The War period is represented by Prokofiev's 'Symphony No. 1', Stravinsky's 'L'histoire du soldat', and Ravel's 'Le tombeau de Couperin' in tandem with 'Over There'. After the war include Stravinsky ('Pulcinella Suite'), Schoenberg (Waltz from 'Five Piano Pieces'), Berg (excerpt from 'Wozzeck') and Copland ('Music from the Theatre') with popular songs 'How you gonna keep 'em down on the farm', 'The Man I Love', and 'West End Blues'.

The excerpts selected for this survey are exceptionally good: orchestras include NY Phil, LA Phil, Philadelphia Orchestra, London Symphony, and the Columbia Symphony under such batons a Ormandy, Bernstein, Salonen, Tilson Thomas, Schippers and Stravinsky; soloists include Glen Gould, Robert Casadesus, Lili Chookaskian, Louis Armstrong, et al. The sonics are very fine and the performances are each from significant full recordings remaining in the catalogue.

The booklet accompanying this concert of memories is written by Linda Kobler who uses each selection as a pivotal point in the atmosphere of the globe that accompanied the Great War: it is very well written and informative. This is one of those recorded collections that goes far beyond an accumulation of bits and pieces and instead gives food for thought about how our political and social actions intertwine with the arts in a prophetic way. Highly Recommended. Grady Harp, October 05

Excellent Recording!.......1999-03-13

(It was called The "Great" War, because nobody knew about WWII at the time and it was the biggest war anyone had ever seen.)

I think this CD may be a bit choppy to "easy" listeners, but for anyone who has a sincere interest in delving into the musical senses of earlier generations it's VERY good! I recommend the entire NPR Milestones of the Millennium series to such aficionados.

Good music, bad title.......1999-02-11

Since when is war great? Life in the trenches waiting for the germans to attack you worrying about whether mustard gas is gonna loft your way isn't exactly like sipping chablis.

Average customer rating:

Classics Today 10-10
Zinman, Tonhalle, Shaham, Mork & Bronfman: Brilliant Beethoven 2

Beethoven: Triple Concerto; Septet

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Violin Concerto; Violin Romances
Beethoven: Piano Concertos 3 & 4
Beethoven: Piano Concerto No 5
Beethoven: Complete Overtures
Beethoven: Piano Concertos Nos. 1 & 2

ASIN: B000EQ46XM
Release Date: 2006-04-11

Tracks:

I. Allegro
II. Largo - Attacca
III. Rondo. Alla Polacca
I. Adagio. Allegro Con Brio
II. Adagio Cantabile
III. Tempo Di Minuetto
IV. Tempo Di Minuetto
V. Scherzo: Allegro Molto E Vivace
VI. Andante Con Moto Alla Marcia. Presto

Album Description

FOUR GRAMMY AWARD WINNING ARTISTS ON ONE DISC. As Beethoven himself was well aware, his Concerto for Piano, Violin and Cello - commonly called the "Triple Concerto" - was unique in musical literature. No one had ever written for this combination of solo instruments and orchestra. The Triple Concerto was first performed in Vienna in 1804, and apparently never again in Beethoven's lifetime! The work was neglected for years and is still a little overshadowed by the other Beethoven concertos, but this is in large part because it is seldom heard due to its extraordinary requirements for three major virtuosi. This recording offers three of today's leading soloists along with conductor David Zinman, whose Beethoven recordings have already become first choices with many listeners. Since making his debut at London's Festival Hall in 1981, pianist Yefim Bronfman has regularly played with the most renowned European, American and Far Eastern symphony orchestras. He was! awarded the Avery Fisher Prize in 1991. Israeli-American violinist Gil Shaham (b. 1971) studied at Juilliard and in 1990 was awarded the coveted Avery Fisher Career Grant. Since then, he has pursued an extremely active international career and made numerous CD recordings. Gil Shaham plays a Stradivarius dating from 1699. Truls Mørk has long been one of the most renowned international cellists and plays with the world's leading symphony orchestras and conductors. An enthusiastic chamber musician, he undertook a successful tour of the U.S. with violinist Gil Shaham and pianist Yefim Bronfman in 2003. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. His discography of some 100 recordings has won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra. Included as a major bonus is a splendid performance of Beethoven's early and massive chamber work masterpiece, the Septet, Op. 20.

Customer Reviews:

Classics Today 10-10.......2006-05-23

10 for performance
10 for sound

and I add

10 for price

Zinman, Tonhalle, Shaham, Mork & Bronfman: Brilliant Beethoven 2.......2006-05-11

Here we get part two of the ongoing series that seems to aim at getting all the Beethoven piano concertos, safely in the can. The familiar bottom line for this series? Get this CD right away. No matter who else already sits on your fav shelf for this music, you will find it quite easy to add this new recording of the Beethoven Triple Concerto, and the early Septet. Cheap price, too. But nothing cheap, nothing cheap at all about either the recorded sound, or the quality of these performances.

If you have heard - and liked - the approach that Zinman & Tonhalle took to their prize-winning set of the complete Beethoven Symphonies (which deservedly earned the German record critics prize, and is also at budget prices on Arte Nova) - you can settle into your home system, or mp3 player, or car stereo for lots more of that same Beethoven - intelligent, vital, heartfelt.

To recap.

Zinman & Tonhalle have been influenced by all the paths opened up in the period instrument performances of baroque and classical music over the past five or six decades; without really having to play on gut strings and period instruments. So what's left? Well, somehow Zinman & Tonhalle manage their Beethoven with clarity, wit, punchy phrasing, and the wide open humanism that are the hallmarks of Beethoven's musical personality. There is not one ounce of romanticized fat in any of these Zinman-Tonhalle versions of the symphonies, and that is all to the good, since Beethoven is not at all confined to what the nineteenth century made out of him and made out of his music. In addition to the clarity, the tonal transparency that period peformance suggests, Zinman-Tonhalle also give us the rough-hewn punning, the startlingly clear and high musical intellect, and the energy that fairly bursts from Beethoven's unprecedented approach to both harmony and rhythm. Listening to Beethoven played this way, you easily credit his supposed reputation as the finest improviser of his era.

Into this notable Beethoven mix now comes pianist Yefim Bronfman, plus violinist Gil Shaham, and cellist Truls Mork. Each soloist certainly has his chops. More to the point, all three soloists and Zinman-Tonhalle are worthy and alert partners throughout. Conductor & pianist see eye to eye, without losing their own insights and musical commitments. The three trio players have the sort of rich tonal point that is generic to each of their instruments, combined with a vigor and fluency that can only put older listeners in mind of the much-lauded Beaux Arts Trio. We get an alchemy - inside the trio, and between the trio and orchestra under Zinman - that is way more than the simple sum of the parts.

The Triple Concerto is something of an acquired taste, even for people who already love the five piano concertos. If you approach the Triple open-mindedly, and are willing to listen to it on its own eccentric terms, you reap the rewards of making a good, new friend. Now, I admit I find many performances of the Triple less than compelling. Not so, this one. That same core Beethoven vitality that marked part one of this recording project, enlivens this CD. What would be filler musical material as played by other trios, under the magic fingers of Bronfman, Shaham, and Mork becomes involving and communicative. You never wish that the players - and Beethoven himself - would just get on it with, because, well, they are.

As a reference point, Bronfman's playing is closer to, say, Wilhelm Kempff or Wilhelm Backhaus or the young Leon Fleischer in this repertoire, than to more highly italicized styles of neo-romantic piano playing. Gil Shaham hardly needs an introduction to anybody who pays attention to the violin. His other recordings of the concerto literature are technically excellent, and replete with the mind one associates with Heifitz or Szeryng, and the heart one associates with Grumiaux or Kreisler. Truls Mork rounds out the trio, and suffers not in the least by comparison with the high excellence of his partners. We do not get told about what piano Bronfman might be playing, but Shaham is playing the Comtesse Polignac Stradivarius, and Mork is holding forth on a Montagna. Are you there yet?

If the Tonhalle strings do themselves proud in accompanying, that is not to undervalue or disrespect the amazing contributions of the woodwinds and the brass. Simply everybody showed up for the sessions, and nobody was playing by rote.

The sound is rather close and clear, somewhat in the old Szell-Cleveland manner; without any multi-miked glare and without any fuzz. From top frequency to bottom, the orchestra departments are all present, and nobody is sacrificed to make room. The possibly tricky balances between the trio, and the orchestra, and within the trio - are placed just right.

Filling the CD is an early chamber piece, the Septet - Contemporary with the eighth piano sonata (Pathetique) and the first symphony. Yes, the Septet is lighter, more occasional music in the galante mould, but nevertheless full of Beethoven's wit, charm, and engaging intellect. The trio players are complemented by others from the Tonhalle - on clarinet, bassoon, horn, and double-bass. What fun. If you are ever going to bother with the Septet, now is the time, and this is the recording.

Five stars, then. Now stop reading & click your way to happy, amazed ownership. Yeah. These guys are still just that good.

Average customer rating:

Nothing but hits

Essential Hyperion, Vol. 2

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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The Essential Hyperion (Label Highlight Compilation)
Essential Purcell

ASIN: B00004RITB
Release Date: 2001-01-09

Customer Reviews:

Nothing but hits.......2001-01-31

As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

Arnold Schoenberg: Suite, Op. 29, for 2 Clarinets, Bass Clarinet, Violin, Viola, Cello & Piano / Verklärte Nacht, Op. 4 (Sextet for 2 Violins, 2 Violas & 2 Celli) - Ensemble Intercontemporain, Pierre Boulez

Average customer rating:

5 STARS JUST FOR BEING IN PRINT...
A distinctly eclectic Schoenberg collection

Arnold Schoenberg: Suite, Op. 29, for 2 Clarinets, Bass Clarinet, Violin, Viola, Cello & Piano / Verklärte Nacht, Op. 4 (Sextet for 2 Violins, 2 Violas & 2 Celli) - Ensemble Intercontemporain, Pierre Boulez
Garth Knox , Philippe Muller , Pierre-Laurent Aimard , Gerard Causse , Andre Cazalet , Sylvie Gazeau , Jacques Ghestem , and Ensemble Intercontemporain
Manufacturer: Sony
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Binding: Audio CD

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Arnold Schoenberg: Serenade/Five Pieces For Orchestra
Schoenberg: Chamber Symphony No1; Die Jacobsleiter
Schoenberg - Die Glückliche Hand · Variations for Orchestra, Op.31 · Verklärte Nacht / Nimsgern · BBC Orch. · NY Phil. · Boulez
Schoenberg: Pierrot lunaire - Lied der Waldtaube - Erwartung / Minton, J. Martin, J. Norman, Zukerman, Harrell, Barenboim; Boulez
Berg: Chamber Concerto; Three Orchestral Pieces, Op. 6; Violin Concerto

ASIN: B00000281A
Release Date: 1993-07-13

Tracks:

Suite, Op. 29: Ouvert
Suite, Op. 29: Tanzschritte
Suite, Op. 29: Thema Mit Variationen
Suite, Op. 29: Gigue
Verkle Nacht, Op. 4
3 Pieces for Chamber Orchestra: Rasche Viertel
3 Pieces for Chamber Orchestra: Mge Viertel
3 Pieces for Chamber Orchestra: Gehende Viertel

Customer Reviews:

5 STARS JUST FOR BEING IN PRINT..........2006-01-08

With the dearth of Schoenberg recordings, gotta give this CD 5 stars simply for being in print.

Boulez and the Ensemble Intercontemporain are great. The disc has the Verklrte Nacht curse--that is, nearly every Schoenberg CD has Verklrte Nacht on it! However, this features the original sextet version which is interesting for the timber alone. Cf. Brahms' two string sextets, and Reger's if you can find it!

Other reviewer wrong, however, about the significance of the Suite for septet: it is quintessential Schoenberg and must not be missed.

Razor-sharp 12-tone hardcore work, features curious sonic effects with the three clarinets and specialized techinques with the three stringed instruments: col legno (using the wood of the bow for tapping or bowing on the strings or body of the instrument); glissandi (sliding down the strings); extensive pizzicato (plucking the strings), etc. Noted old binary dance steps give the work the appearance of something like Decadent/Expressionistic Austrian jazz: very scary. And very Schoenbergian.

Get it while you can: cheap price!

A distinctly eclectic Schoenberg collection.......2004-01-13

This disc, one of a number rereleasing Pierre Boulez's 1970s and 1980s recordings of much of Schoenberg's work, forms a rather curious collection. Centred around what is probably Schoenberg's most-played work, the popular Verklärte Nacht (though heard here in the less common version for string sextet), the disc also takes in two of his less-well-known works, the Suite, op 29 (also known as the Septet) and the minute Three Pieces for Chamber Orchestra, never published in the composer's lifetime.

The Suite is one of the more extreme examples of Schoenberg attempting to combine a rigorous treatment of his new serial style with traditional musical forms. Scored for two clarinets, bass clarinet, violin, viola, cello and piano, it was written between 1924 and 1926 and is largely based on dance forms. The Overture is in three sections and is often hard-driven, though quieter interludes provide lyric relief. The second movement is vigorous and vibrantly rhythmic, and is entitled Tanzschritte (Dance Steps). The third movement is a wide-ranging set of variations that even takes time to quote a (tonal) song by Silcher, while the finale departs from orthodox serial practice by using the tone row (and its inversion) as the major melodic material. This isn't major Schoenberg, but it's also a much better work than one might think from the bad press it's had in the past. This performance is technically excellent, though I think sometimes Boulez pushes the music a little too hard, leaving it lacking a sense of repose in the slower sections.

The 1899 work Verklärte Nacht is, of course, one of the few pieces of Schoenberg to have become a popular concert hall favourite. Its musical language is luminously post-Brahmsian, and the complex structure of its single movement is easy to relate to models from the past (for example the Wanderer Fantasy, or the Liszt sonata). I prefer the string sextet version recorded here to the later version for string orchestra, but this performance lacks the last edge of lyrical intensity that is so necessary to bring across the work's rather heated emotional atmosphere.

The Three Pieces for Chamber Orchestra were written around 1910 but only found after a search of Schoenberg's papers after his death. Each of them lasts under a minute, and the most interesting is the unfinished third, which bears considerable technical and expressive similarities to the third of the Five Orchestral Pieces.

Tracks:

The Soldier's Tale (Histoire du Soldat); Part 1. Introduction. The Soldier's March (Marche du Soldat
The Soldier's Tale (Histoire du Soldat); Music for Scene One (Airs by a Stream) (Music de la Première Scène. Petits airs au bord du ruisseau
The Soldier's Tale (Histoire du Soldat); The Soldier's March (Marche du Soldat) (reprise)
The Soldier's Tale (Histoire du Soldat); Music for Scene Two (Pastorale) (Musique de la Deuxième Scène. Pastorale)
The Soldier's Tale (Histoire du Soldat); Airs by a Stream (Petits airs au bord du ruisseau)
The Soldier's Tale (Histoire du Soldat); Music for Scene Three (Airs by a Stream) (Music de la Troisième Scène. Petits airs au bord du ruisseau)
The Soldier's Tale (Histoire du Soldat); Part 2. The Soldier's March (Marche du Soldat)
The Soldier's Tale (Histoire du Soldat); The Royal March (Marche Royale)
The Soldier's Tale (Histoire du Soldat); The Little Concert (Petit Concert)
The Soldier's Tale (Histoire du Soldat); Three Dances (Trois Danses) 1. Tango
The Soldier's Tale (Histoire du Soldat); 2. Valse
The Soldier's Tale (Histoire du Soldat); 3. Ragtime
The Soldier's Tale (Histoire du Soldat); The Devil's Dance (Danse du Diable) (Album Version)
The Soldier's Tale (Histoire du Soldat); Little Chorale (Petit Choral)
The Soldier's Tale (Histoire du Soldat); The Devil's Song (Couplets du Diable)
The Soldier's Tale (Histoire du Soldat); Great Choral (Grand Choral)
The Soldier's Tale (Histoire du Soldat); Triumphal March of the Devil (Marche Triomphale du Diable)
Symphonies of Wind Instruments (rev. version 1947)

Album Description

A New Recording of Stravinsky by Stravinsky! Masterworks' long and storied relationship with composer and conductor Igor Stravinsky has an exciting new chapter. Throughout the 1960's, Stravinsky re-recorded all of his works in stunning stereo productions for Columbia Masterworks. In 1967, he recorded the interludes and underscoring of The Soldier's Tale, to complete his 1961 recording of the suite. The masters were never released, and the components of the completed version lay forgotten in the vaults.

Now, 40 years later, and in time for Stravinsky's 125th birthday, one of the greatest compositions of the 20th century is available as it should be heard, for the very first time. Edited by GrammyÂ® Award winning producers Steven Epstein and Simon Rhodes and GrammyÂ® Award winning engineer Richard King, this definitive CD features a delicious new narration by AcademyÂ® Award winning actor, Jeremy Irons.

The extensive liner notes include a new essay by renowned Stravinsky scholar, Richard Taruskin, new interviews with the 1961 and 1967 session musicians and producer and Executive Producer Warren Wernick's account of how the final "new" recording was realized.

Customer Reviews:

"New" Stravinsky.......2007-06-03

After years of being lost in Sony's (formerly Columbia/CBS) vaults, Stravinsky's own version of The Soldier's Tale has finally been issued in complete form. The main body of the performance is from the already released Suite recorded in 1961, with bridge sections recorded in 1967. The spoken portion was recently recorded by actor Jeremy Irons.

Apparently, Stravinsky hesitated to commit the narrated version to disc because he was not satisfied with the English translation of the French text. The present version uses a new narration, but to my American English biased ears, the standard translation "works" better. While Irons has a pleasing voice, he is unable to delineate the three characters (the narrator, the soldier, and the devil) the way three separate actors can. For that reason, when recommending this piece to others, I will continue referring to the superb version featuring Ian McKellen, Sting, and Vanessa Redgrave. (ASIN: B000009HYG)

As a filler, Sony has offered Stravinsky's Symphonies of Wind Instruments in a fine performance conducted by the composer's assistant, Robert Craft.

The remastered sonics are excellent in every respect. It's hard to believe these recordings share provenance with the rather anemic sounding Stravinsky recordings issued in the 1960s.

Beethoven: Chamber Music for Horns, Wind & Strings

Average customer rating:

Very good, except for the microphone issues
Genius Made Manifest
Great Chamber Music Collection!

Beethoven: Chamber Music for Horns, Wind & Strings

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

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ASIN: B000001448
Release Date: 1995-07-18

Tracks:

Septet In E Flat Major For Violin, Viola, Cello, Double Bass, Clarinet, Horn And Bassoon, Op.20: Adagio - Allegro con brio
Septet In E Flat Major For Violin, Viola, Cello, Double Bass, Clarinet, Horn And Bassoon, Op.20: Adagio cantabile
Septet In E Flat Major For Violin, Viola, Cello, Double Bass, Clarinet, Horn And Bassoon, Op.20: Tempo di Menuetto
Septet In E Flat Major For Violin, Viola, Cello, Double Bass, Clarinet, Horn And Bassoon, Op.20: Tema con variazioni: Andante
Septet In E Flat Major For Violin, Viola, Cello, Double Bass, Clarinet, Horn And Bassoon, Op.20: Scherzo: Allegro molto e vivace
Septet In E Flat Major For Violin, Viola, Cello, Double Bass, Clarinet, Horn And Bassoon, Op.20: Andante con moto alla Marcia - Presto
Quintet In E Flat Major For Three Horns, Oboe And Bassoon, H.19: Allegro
Quintet In E Flat Major For Three Horns, Oboe And Bassoon, H.19: Adagio maestoso
Quintet In E Flat Major For Three Horns, Oboe And Bassoon, H.19: Minuetto
Sextet In E Flat Major For Two Horns And String Quartet, Op.81b: Allegro con brio
Sextet In E Flat Major For Two Horns And String Quartet, Op.81b: Adagio
Sextet In E Flat Major For Two Horns And String Quartet, Op.81b: Rondo

Customer Reviews:

Very good, except for the microphone issues.......2007-04-29

I really like this CD. It is a good collection of some Beethoven chamber music, which is sadly not performed enough. The Septet takes up most of the disc and is the peice that the album showcases. Personally, in my opinion, I think that the Septet is the weakest piece of the collection.

For me I feel that the wind instruments in the Septet were recorded at very close range or with sensitive microphones. I also feel that the strings were not recorded close enough. They are not quite heard as much as I would've liked. This recording does give the feeling of sitting in a big lively hall, but with the strings backstage or in a corner. For me, I actually had to strain my ears to hear them, especially in the violin cadenza in the last movement. This imbalance actually got quite annoying after a few minutes. In addition to the winds being closely recorded, the clarinet reigns supreme, being louder than every single instrument. If the strings would've been recorded close like the winds then there would be no problem.

The other two pieces are great, though the Quintet feels incomplete, which it is. The Sextet is simply amazing, displaying great technical skill needed by the horn players.

I bought this recording for the horn as I am a horn player, but I felt with the Septet there was just too much. My only real gripe about this recording is the Septet because of how the strings were miked, which is strange because the Sextet does not seem to have a string problem. Maybe they had some different people working on mike placement or maybe they fixed it, having learned that the Septet sounded odd. That being so, why did they not go back and re-record the Septet to get better quality? Naxos is usually good about their techniques, but I find this mistake very disappointing.

4 out of 5 due to the Septet.

-AL

Genius Made Manifest.......2006-04-06

Naxos' "Beethoven; Music for Horns Winds and Strings" is a phenomenal experience. The bubbling, piping, singing, nature of this music, and these instruments, is truly a delight, and whilst the mood is predominantly gleeful, amidst this joy there also lurks profundity, romance, serenity, and pathos. Beethoven did not treat these pieces as mere wallpaper music, but rather as symphonies in miniature; small orchestral works into which he poured the whole of his genius. These pieces move and progress with all the finesse, complexity and guile that we could hope for from Beethoven, and the excellent work of these first-rate musicians brings them bursting to life. The intimacy and passion of the chamber is here, alongside the sweeping movement, variation and grandness of the symphony. Unlike a previous reviewer, I find the Septet to be profoundly delightful and clever, and am willing to bet that the lion's share of listeners will join me in marveling at its beauty and ingenuity; the opening 1:40 of the first movement is particularly breathtaking. This is to take nothing from the quintet and sextet, which are luminous and thoroughly engaging as well. Sound quality is smooth and rounded, an effect (enhanced by the given instrumentation), which brings to mind the qualities of premium vinyl. The instruments don't seem to have been recorded at particularly close range, giving the listener the effect of sitting midway back in a medium-sized hall.

At times, for me at least, these pieces recall Mozart's "Gran Partita." And whilst the Mozart is focused more so upon the winds, I believe admirers of one will find much to like about the other. A superb and inexpensive recording of the "Gran Partita" can be found on the Telarc label, featuring Mackerras conducting the Orchestra of St. Luke's.

I don't fear the risk of hyperbole when I advise music lovers and admirers of Beethoven that experiencing these pieces, be it through this fine recording, or some other, is nothing short of essential.

Great Chamber Music Collection!.......2000-06-18

This recording becamse an obsession of mine. I had heard of it's existence but could never find it until about a month ago. I was so excited, being a horn player, to see the Quintet for 3 horns, oboe and basson, since it is rarely recorded. This is the highlight of the recording for me, it showcases Beethoven's absolute brilliance in writing for Winds, particularly the horn. The sextet is another favorite piece of mine, this recording being a perfect example of impeccable balance between the horns and strings. The low horn player needs to have absolute agility for this piece, and this recording shows how it is done! The Septet is played wonderfully also, but to tell the truth, is not really one of my favorite pieces. This recording is perfect for it's diversity in repetoire and the price cannot be beat!

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