Berlioz: Harold In Italy
Editorial Reviews
Amazon.com essential recording
Harold in Italy is a symphony with a prominent solo viola part. It was composed for and commissioned by Paganini, who never played it because the viola solos weren't flashy enough for him (Harold actually takes poison and dies in the finale, leaving the orchestra to finish without him). Though disappointed, Berlioz was mollified by the fact that Paganini paid him anyway. It's since become the composer's most frequently performed large orchestral work, first because there's so little good music for solo viola, and second because it's well within the financial resources of most orchestras, the instrumentation being substantial but not ridiculous. This budget-priced performance is both loving and expert, while the couplings are well-chosen. --David Hurwitz
Berlioz: Harold In Italy, Music, Hector Berlioz, Daniel Barenboim, Eugene Ormandy, Paris Orchestra, Philadelphia Orchestra, Joseph DePasquale, Choral, Classical, Classical Composers, Classical Music, Concerto, French Romantic Opera, Opera, Secular Music for More One Soloist, Chorus and Instr, Violin Concerto
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Berlioz: Harold in Italy; Overtures [Hybrid SACD]
Manufacturer: RCA
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ASIN: B000QEIM8W
Release Date: 2007-06-26 |
Tracks:
- Harold en Italie, Op. 16 (Harold in Italy); Harold aux
- Harold en Italie, Op. 16 (Harold in Italy); Marche des pèlerins (March
- Harold en Italie, Op. 16 (Harold in Italy); Sérénade (2007 SACD
- Harold en Italie, Op. 16 (Harold in Italy); Orgie des brigands (Orgy of
- Béatrice et Bénédict Overture (2007 SACD Remastered)
- Le Corsaire Overture (2007 SACD Remastered)
- Benvenuto Cellini Overture (2007 SACD Remastered)
- Roman Carnival Overture, Op. 9 (2007 SACD Remastered)
- Harold en Italie, Op. 16 (Harold in Italy); Harold aux montagnes
- Harold en Italie, Op. 16 (Harold in Italy); Marche des pèlerins (March
- Harold en Italie, Op. 16 (Harold in Italy); Sérénade (5.1 Surround
- Harold en Italie, Op. 16 (Harold in Italy); Orgie des brigands (Orgy of
- Béatrice et Bénédict Overture (5.1 Surround Mix)
- Le Corsaire Overture (5.1 Surround Mix)
- Benvenuto Cellini Overture (5.1 Surround Mix)
- Roman Carnival Overture, Op. 9 (5.1 Surround Mix)
Customer Reviews:
Wow!.......2007-07-14
First of all, the music itself is simple beautiful and amusing. It's light-hearted and fun to listen to. On the level of interpretation, I believe that Munch's approach to the music of this repertoire is second to none. He just handles the Boston Symphony Orchestra right and has a way of accenting the wonderful tempos and themes; the result is magical! In the "Harold in Italy", who better than Primrose? I felt that the overtures were just as enjoyable as the main item on this new recording in RCA's Living Stereo Hybrid-SACD collection.
All together, the sound is simply spectacular and the level of musicianship is of the highest caliber. This recording is well worth your money!
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- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Similar Items:
- Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
- What to Listen for in Music
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ASIN: B00006O0NT
Release Date: 2002-12-03 |
Tracks:
- Overture To 'Tannhauser'
- Domna, Pos Vos Ay Chausida
- We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
- Hungarian Dance No.7
- The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
- Violin Concerto In D Major (Adagio)
- But For A Long Time It Was Seen As The Instrument Of The Devil.
- The Soldier's Tale: Triumphal March Of The Devil
- The Manipulative Seductiveness Of The Gypsy Violin.
- Csardas Music
- The Violin And The Initiation Of Nature
- The Four Seasons (Spring, Mvt 1)
- Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
- The Four Seasons (Summer, Mvt 1)
- Like The Devil, The Violin Is A Master Of Disguise.
- Old Viennese Dance No.3 'Schon Rosmarin'
- The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
- Tzigane
- Do We Now Have The True Measure Of This Instrument? Not Just Yet.
- Caprice No.24
- The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
- Variations On A Theme Of Frank Bridge (No.7)
- Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
- Romeo And Juliet: Act IV
- Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
- The Four Seasons (Winter, Mvt 1)
- The Violin Muted
- Clair De Lune
- The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
- Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
- The Pizzicato Violin
- Pizzicato Polka
- In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
- Violin Concerto No.2 In G Minor (Slow Mvt)
- Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
- The Planets (Mars - The Bringer Of War)
- The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
- Hungarian Dance No.4
- Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
- The Four Seasons (Autumn, Mvt 1)
- Now The Same Technique, But The Sound Might Have Come From Another World.
- Bolero
- Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
- Cadenza To The Violin Concerto By Brahms
- Now Compare That With A Real Violin Duet.
- Forty-Four Duos (No. 1: Teasing Song)
- Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
- Forty-Four Duos (No.2: Maypole Dance)
- And Now What May Be The Most Beautiful Accompanied Violin Duet In History
- Concerto In D Minor For Two Violins (Largo)
- The Soul Of The Violin Is In Song; But What About This Weird Passage?
- Violin Concerto No.1 In D Major (Mvt 2)
- The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
- Symphony No.1 'Titan' (Mvt 1, Opening)
- Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
- The Sleeping Beauty (Act II, No.15: Entr'Acte)
- Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
- The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
- Also Sprach Zarathustra (Of The Afterworldsmen)
- Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
- Variations On A Theme Of Frank Bridge (No. 4)
- Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
- Four Sea Interludes (Dawn) From 'Peter Grimes'
- To End This Outing With The Violins, A Charming Little Elfin Dance
- Elfenreigen
Tracks:
- Introduction To The Viola
- Viola Concerto (Mvt 1)
- Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- Gayane Suite No.1 (Armen's Solo)
- Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- Passacaglia, Op.33b From 'Peter Grimes'
- The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
- Harold In Italy (Mvt 4)
- The Muted Viola: Intimate, Gentle, Poignant In Dvork
- Cypresses (No.9)
- The Massed Violas Of The Modern Symphony Orchestra In Mahler
- Symphony No.4 (Mvt 3)
- The 'Period' Viola In Bach
- Brandenburg Concerto No.6 (Last Mvt)
- The Cello: A Voice Of Unique Nobility
- Suite No.1 For Unaccompanied Cello (Prelude)
- Brahms And The 'Soul' Of The Cello
- Piano Concerto No.2 In B Flat Major (Mvt 3)
- Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- Symphony No.3 'Eroica' (Finale)
- But The Cello Is Not Condemned To Spend Its Life In The Basement.
- Elfentanz, Op.39
- Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- The Protecting Veil (Opening)
- A Cello With An Identity-Crisis: The Pizzicato Flamencan
- Flamenco
- Double-Stopping In The Lower Reaches Of The Cello's Range
- Solo Suiet For Cello And Piano (Sardana)
- It's In The Middle Register That The Cello Really Comes Into Its Own.
- Oriental Dance, Op.2 No.2
- It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
- Symphony No.9 (Finale)
- Introduction To The Double-Bass
- The Carnival Of The Animals (The Elephant)
- But The Double-Bass Can Be Intensely Expressive And Graceful.
- Elegy No.1 In D Major
- The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
- Capriccio Di Bravura
- Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
- The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
- Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Tracks:
- The Antiquity And Magic Of The Flute
- Prelude A L'Apres-Midi D'Un Faune
- The Versatility And Agility Of The Flute
- Orchestral Suite No.2 In B Minor (Badinerie)
- The Flute In Fifteenth-Century Spain
- Sa'Dawi
- Other Flutes: The Bass And Alto
- Chamber Music No.II
- The Piccolo - Aptly Named
- La Naissance D'Osiris (Mvt 6)
- From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- Suite No.1 For Small Orchestra (Valse)
- A Variety Of Techniques
- Chamber Music No.II
- Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- The Nutcracker (Act II, No.2: Scene)
- From The Transverse To The Vertical: The Baroque Recorder
- Recorded Suite In A Minor (Menuet II)
- An Unfamiliar, Early Vision Of The Instrument
- Naelden, Naelden
- The Bachian Oboe
- Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- Introduction To The Cor Anglais Or 'English Born'
- Symphony No.9 'From The New World' (Mvt 2)
- The Loneliness Of The Cor Anglais
- The Swan Of Tuonela
- The Cor Anglais Joins The French Horn In Haydn.
- Symphony No.22 'The Philosopher' (Opening)
- Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- Bolero
- The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- Gayane Suite No. 1 (Mvt 5)
- The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- The Range Of The Normal Clarinet Parts Goes Quite High...
- The Snow Maiden (Scene 5: Melodrama)
- ...And Quite Low.
- Peter And The Wolf (The Cat)
- The Clarinet As Concerto Soloist
- Clarinet Concerto In A Major (Rondo)
- But That's Not The Instrument Mozart Wrote It For; This Is:
- Clarinet Concerto In A Major (Rondo)
- Introduction To The Saxophone
- Hary Janos Suite (Mvt 4)
- The Soprano Saxophone Has Quite A Different Feel To It.
- L'Arlesienne Suite No.1 (Minuet)
- The Little Sopranino Sax Goes Even Higher.
- Bolero
- The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- Pictures At An Exhibition (The Old Castle)
- The Saxophone Can Be Quite Contagiously Good-Humoured.
- Sax-O-Phun
- The Puffa-Puffa Image Of The Bassoon
- Peter And The Wolf (Grandfather)
- The Bachian Bassoon, In Accompanimental Mode
- Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- And Ravel, Also In Spanish Mode, Does Likewise.
- Bolero
- The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- Symphony No.3 (Opening)
- The Eerie Bassoon In Its Highest Register
- The Rite Of Spring (Opening)
- Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- The Firebird Suite (1919, Berceuse)
- The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- Bassoon Concerto In G Minor (Finale)
- The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- The French Horn Under Its Woodwind Hat
- Wind Quintet, Op.43 (Last Mvt)
- Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- The Horn In Harmonious Blend With Strings In Another Quintet
- Horn Quintet, K.407 (Finale)
Tracks:
- The Trumpet As Virtuoso Soloist
- Brandenburg Concerto No.2 (Last Mvt)
- The Special Brillance Of Paired Trumpets
- Concerto In C For Two Trumpets, RV537 (Mvt 1)
- The Ceremonial Trumpet
- Fanfare For The Common Man
- Trumpets And Drums - An Incomparable Alliance
- Messiah (The Trumpet Shall Sound)
- The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- Piano Concerto In F (Slow Mvt)
- The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- Carmen Suite No.2 (Habanera)
- The Trumpet As The Voice Of Strength And Courage
- Carmet Suite No.2 (Toreador's Song)
- The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- Billy The Kid
- The Trumpet As Character Actor
- Pictures At An Exhibition (No.6)
- The Trumpet As The Voice Of God
- Mass In B Minor ('Et Exspecto')
- The Birth Of The Trombone
- Aenmerckt Nu Hier
- The Birth Of The Brass As A Family
- Canzon 12 In Double Echo
- The Trombone In The Eighteenth Century
- Trombone Concerto In B Flat Major (Finale)
- The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- Hosannah
- The Trombones Become Part Of The Orchestra.
- Symphony No.5 (Finale)
- The Wagnerian Trombone:/Overture To 'Tannhauser'
- The Trombone As Caricaturist
- Pulcinella (No.19: Vivo)
- The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- The Horn And The Hunt
- Horn Concerto No.4 In E Flat, K.495 (Finale)
- The Challenging Horn Of The Baroque
- Abaris Ou Les Boreades (Menuet)
- The Scarcity Of First-Rate Players In Handel's Time
- Walter Music (Minuet 1)
- The Horn As Magician/The Firebird Suite (1919, Finale)
- Horns And The Sound Of Nobility
- Overture To 'Tannhauser' (Opening)
- The Special Sound Of The Horn In Its Higher Register
- Mass In B Minor ('Quoniam Tu Solus Sanctus')
- The Trumpet-Like Sound Of Massed Horns
- Symphony No.3 (Mvt 1, Opening)
- The Tuba - Unfairly Maligned?
- Symphony No.6 (Mvt 3)
- The Tuba Perfectly Cast By Ravel
- Pictures At An Exhibition (Bydlo)
Tracks:
- Introduction. And We Begin With A Bang.
- Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- At The Opposite Extreme Is The Triangle.
- Piano Concerto No.1 In E Flat (Scherzo)
- Categories Of Percussion: Tuned And Untuned. The Side Drum
- Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- The Tambourine. One Of The Oldest Instruments In The World
- Den Hoboecken Dans
- Even Older Is The Originally Oriental Gong.
- Ma Mere L'Oye - Mother Goose (Laideronette)
- No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- Gymnopedie No.2
- The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- Rodeo (Hoe-Down)
- Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- Scherzi Musicali (Damigella Tutta Belle)
- A Still Earlier Example From Fifteenth-Century Spain
- Yo M'Enamori D'Un Aire
- The Birth Of The Bongo
- Symphonic Dances From 'West Side Story'
- From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- Onwards To The Tuned Percussion. First, The Timpani
- Also Sprach Zarathustra (Introduction)
- But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- Taking Advantage Of Tunability
- Music For Strings, Percussion And Celeste (Mvt 2)
- The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- Saint-Saens And The Xylophone
- The Carnival Of The Animals (Fossils)
- Ravel And The Xylophone
- Ma Mere L'Oye - Mother Goose (Laideronette)
- Introducing The Marimba/Carmen Suite (First Intermezzo)
- Introducing The Vibraphone
- The Treasure Of The Sierra Madre (Narange Dolce)
- The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- Introducing The Hungarian Cimbalom
- Folk Dances
- The Cimbalom And The Symphony Orchestra
- Hary Janos Suite (Mvt 3)
- Introducing The Tubular Bells
- Hary Janos Suite (Viennese Musical Clock)
- A More 'Up-Front' Approach From Rodion Shchedrin
- Carmen Suite (Introduction)
- But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Introducing The Celeste
- The Nutcracker (Dance Of The Sugar Plum Fairy)
- Magic, In The Use Of Collective Percussion
- Miroirs (La Vallee Des Cloches)
- Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- Brandenburg Concerto No.2 (Slow Mvt)
- The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- Petrushka (Russian Dance)
- The Anti-Romantic Piano As An Integral Part Of The Orchestra
- Music For Strings, Percussion And Celeste (Last Mvt)
Tracks:
- Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- Symphony No.3 'Organ' (Finale)
- But Things In Handel's Day Were Very Different.
- Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- The Organ Is Difficult To Classify.
- An Unexpected, Organ-related Guest
- Concerto Pour Zampogna (Last Mvt)
- Peasant-Fancying... And A Touch Of The Roaming Cowboy
- Les Miserables (Drink With Me)
- Outside Artefacts And The Power Of Association
- Mahler's Sleighbells
- Symphony No.4 (Opening)
- A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- Don Quixote (Variation VIII)
- National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- The Sitar Of India/Evening Raga: Bhapoli
- The Accordion For France (Especially Paris)/Paris Canaille
- The Zither For Vienna/The Third Man (Theme)
- The Cimbalom For Hungary/Folk Dances
- The Guitar As An Integral Part Of The Orchestra/Rondena
- There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Nocturnes
- Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- The Carnival Of The Animals (The Cuckoo)
- The Flute As An All-purpose Aviary
- The Carnival Of The Animals (The Aviary)
- The Oboe As Duck
- Peter And The Wolf (The Duck)
- The Recording Of Reality. Does It Work As Well?
- The Pines Of Rome (The Pines Of The Janiculum)
- The Recording Of Reality Electronically Reborn In New Guises
- Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- Symphony No.6 'Pastoral' (Andante Molto Mosso)
- Some Improbable Casting: The Violin As Braying Donkey
- The Carnival Of The Animals (Persons With Long Ears)
- A Truly Orchestral Hee-haw To Be Reckoned With
- Overture To 'A Midsummer Night's Dream'
- A Thunderstorm In A Million
- Symphony No.6 'Pastoral (Allegro-Allegretto)
- the Instrumental Depiction Of A Silent World
- The Carnival Of The Animals (The Aquarium)
- Saint-Saens' Menagerie Takes A Curtain Call.
- The Carnival Of The Animals (Finale)
Tracks:
- The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- Forty-Four Duos (No.4)
- A Great Contrast, Of Both Pitch And Character: Violin And Viola
- Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- Arrival Of The Standard String Trio: Violin, Viola, And Cello
- String Trio In B Flat (Menuetto)
- The String Quartet: Two Violins, Viola, And Cello
- String Quartet In F, Op.18 No.1 (Mvt 3)
- The String Quintet - When The Extra Instrument Is A Second Viola
- String Quartet No.5 In D, K.593 (Adagio)
- The String Quintet - When The Extra Instrument Is A Second Cello
- String Quintet In C (Mvt 3)
- The String Sextet: Two Violins, Two Violas, And Two Cellos
- String Sextet In B Flat (Mvt 2)
- The String Octet: The Standard String Quaret Times Two
- Octet In E Flat, Op.20 (Mvt 1)
- Double The String Octet: A Fully Fledged String Orchestra
- String Symphony No.2 (Finale)
- The Massed Strings Of A Symphony Orchestra
- Fantasia On A Theme Of Thomas Tallis
- Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- Wind Quintet In A Minor, Op.100 No.5 (Theme)
- In The First Variation It's The Horn That Gets The Lion's Share.
- Wind Quintet In A Minor, Variation 1
- In Variation Two The Torch Is Handed To The Bassoon.
- Wind Quintet In A Minor, Variation 2
- In Variation Three The Oboe Leads.
- Wind Quintet In A Minor, Variation 3
- Variation Four: Conversation Before Returning To A Solo-dominated Texture
- Wind Quintet In A Minor, Variation 4
- And Variation Five is Dominated By The Clarinet.
- Wind Quintet In A Minor, Variation 5
- The Next To Be Featured Is The Virtuoso Flute.
- Wind Quintet In A Minor, Variation 6
- Individual Farewells And A Closing Chorus
- Wind Quintet In A Minor, Variation 7
- A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- Octet In F (Mvt 3)
- The Early Classical Symphony Orchestra Of Haydn And Mozart
- Symphony No.29 In A, K.201 (Finale)
- Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- Canzon 28
- Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- Symphony No.5 (Finale)
- From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- Symphoy No.6 'Tragic' (Mvt 1)
- The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- When Large Doesn't Necessarily Mean Loud: Debussy
- Images (Gigues)
- A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- Turangalila Symphony (Chant D'amour 1)
- The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- Balle De Xerxes (Gavotte En Rondeau)
- Computer And Synthesiser: Friends Or Foes?
- Concerto In D Minor For Two Violins (Largo)
- A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')
Customer Reviews:
Instruments of the Orchestra - Great Reference Material!.......2007-04-04
This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!
Beginner or Expert.......2007-03-12
This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!
Very Informative and Enjoyable.......2006-11-20
Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!
Frank's view.......2006-08-19
This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.
Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08
I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.
The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!
I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
- I am in a Box with Berlioz Box Sets
- A superb set, well worth the price!
- all the overtures *NOT*
- A wonderful collection of Berlioz
|
Berlioz: Complete Orchestral Works
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Similar Items:
- Liszt: Works for Piano and Orchestra
- Strauss: Orchestral Works
- Bruckner: The Complete Symphonies
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ASIN: B0000041MZ
Release Date: 1997-09-16 |
Tracks:
- Symphony Fantastique, Op. 14: 1. Rries, Passions (Largo - Allegro agitato ed appassinonato assai)
- Symphony Fantastique, Op. 14: 2. Un bal (Valse: Allegro non troppo)
- Symphony Fantastique, Op. 14: 3. Sc aux champs (Adagio)
- Symphony Fantastique, Op. 14: 4. Marche au supplice (Allegretto non troppo)
- Symphony Fantastique, Op. 14: 5. Songe d'une nuit du Sabbat (Larghetto - Allegro- Ronde du Sabbat: Poco menu mosso)
- Tristia, Op 18 (excerpts): 3. Marche fune pour la derni sc d'Hamlet (Allegretto moderato)
- La Damnation De Faust, Op. 24 (excerpts): Menuet des follets
- La Damnation De Faust, Op. 24 (excerpts): Marche hongroise
Tracks:
- Lo ou Le retour a vie, Op. 14b: 1. Le peur (Goethe, Duboys)
- Lo ou Le retour a vie, Op. 14b: 2. Choeur d'ombres (Berlioz)
- Lo ou Le retour a vie, Op. 14b: 3. Chanson de brigands (Berlioz)
- Lo ou Le retour a vie, Op. 14b: 4. Chant de bonheur (Berlioz)
- Lo ou Le retour a vie, Op. 14b: 5. La harpe ienne - Souvenirs
- Lo ou Le retour a vie, Op. 14b: 6. Fantasie sur la Temp de Shakespeare (Berlioz)
- Grande Symphonie fune et triomphale, Op. 15: 1. Marche fune (Moderato un poco lento)
- Grande Symphonie fune et triomphale, Op. 15: 2. Oraison fune (Adagio non tanto - Andantino un poco lento e sostenuto)
- Grande Symphonie fune et triomphale, Op. 15: 3. Apothe (Allegro non troppo e pomposo)
Tracks:
- Harold en Italie, Op.16: 1a. Harold aux montagnes (Adagio)
- Harold en Italie, Op.16: 1b. Harold aux montagnes (Allegro)
- Harold en Italie, Op.16: 2. Marche des prins (Allegretto)
- Harold en Italie, Op.16: 3. Snade (Allegro assai - Allegretto)
- Harold en Italie, Op.16: 4. Orgie de brigands (Allegro frenetico - Adagio - Allegro, Tempo I)
- Les Troyens arthage: Prelude From: Les Troyens arthage: Part II, Act III
- Les Troyens (Act IV): No. 29: Chasse royale et orage - Pantomime
- Les Troyens (Act IV): No. 32: Marche pour l'entrde la reine; No. 33: Ballets
- Les Troyens (Act IV): -A: Pas des Alm
- Les Troyens (Act IV): -B: Danse des esclaves
- Les Troyens (Act IV): - C: Pas d'esclaves nubiennes
- Rrie et Caprice, Op.8
Tracks:
- Romeo et Juliette, Op. 17: Part I, Introduction
- Romeo et Juliette, Op. 17: Part I, Prologue: 'D'anciennes haines endormies'
- Romeo et Juliette, Op. 17: Part I, Strophe 1: 'Premiers transports que nul n' oublie'
- Romeo et Juliette, Op. 17: Part I, Strophe 2: 'Heureux enfants aux coers de flamme'
- Romeo et Juliette, Op. 17: Part I, Rtatif et Scherzetto: 'Bientot de Romeo' - 'Mab! la messagere' - Bientot la mort est souveraine'
- Romeo et Juliette, Op. 17: Part II, Romseul - Tristesse - Concert eet bal
- Romeo et Juliette, Op. 17: Part II, Grande f chez les Capulets
- Romeo et Juliette, Op. 17: Part III, 'Ohe! Capulets! Bonsoir, bonsoir!'
- Romeo et Juliette, Op. 17: Part III, Sc d'amour
Tracks:
- Romeo et Juliette, Op. 17: Part IV, Scherzo: La reine Mab ou la fdes songes
- Romeo et Juliette, Op. 17: Part IV, Convoi fune de Juliette: 'Jetez des fleurs pour la vierge expiree!'
- Romeo et Juliette, Op. 17: Part IV, Romau tombeau des Capulets
- Romeo et Juliette, Op. 17: Part IV, Finale. Choeurs et Rtatif du P Laurence: 'Quo! Romeo de retour!'
- Romeo et Juliette, Op. 17: Part IV, Finale. Air du P Laurence: 'Pauvres enfants que je pleure' - 'Mais notre sang rougit leur glaive'
- Romeo et Juliette, Op. 17: Part IV, Finale. Serment de rnciliation: 'Jurez donc'
Tracks:
- Beatrice et Benedict
- Benvenuto Cellini
- Overtures: Le roi Lear, Op. 4
- Les Francs - juges, Op. 3
- Waverley, Op. 1
- Le corsaire, Op. 21
- Carnaval romain, Op. 9
Amazon.com
Berlioz was the first Romantic master of the orchestra. His music hasn't been surpassed in terms of sheer brilliance and accuracy of effect. This set includes all of the overtures, the Symphonie fantastique, Harold in Italy, the Royal Hunt and Storm from Les Troyens, orchestral music from The Damnation of Faust and Romeo and Juliet, and the completely insane Grande Symphonie funebre et triumphale. Davis achieved his reputation as a conductor as a Berlioz specialist, and he proves an expert advocate on behalf of this stimulating, bizarre, and totally original genius. The recording quality, so critical in such colorful music, is also very good. --David Hurwitz
Customer Reviews:
I am in a Box with Berlioz Box Sets.......2004-02-22
First I ordered Hector Berlioz Complete Orchestral Works (Box Set) in a 6-CD set by Sir Colin Davis because orchestral is what I like best. That was in 2002. Now I have ordered The Berlioz Edition (Box Set)in a 24-CD Box Set by Sir Colin Davis because I like what I have heard of Berlioz by Davis. I will put this up for sale, and if it doesn't go I will consider putting The Berlioz Edition up for sale after I have heard it. As I said I am in a Box with Berlioz Box Sets and can't afford both.
A superb set, well worth the price!.......2002-08-16
For those of us who grew up in the 1950s and '60s, the music of Berlioz means Munch and Toscanini: Munch for his incendiary performances of "Symphonie Fantastique," "Romeo et Juliette," "Damnation of Faust," the Requiem and the overtures (among others), Toscanini primarily for his gorgeous reading of "Harold in Italy" but also for his versions of the Roman Carnival Overture and (for those who could find it) the "Romeo" with Gladys Swarthout. These readings had one thing going for them, which was a rhythmic impetus that made even the slow movements exciting. Unfortunately, for those of us who read scores, when we checked these versions against the music we found that Toscanini and Munch had fiddled a bit with tempi and bowing accents in an attempt to make the music more exciting. Is this so bad? Not necessarily, because these conductors had this music in their blood, they were presenting Berlioz as they had processed him over a lifetime of love, and so their fast tempi had little in common with the rattly, jangly readings often turned out by John Eliot Gardiner.
Sir Colin Davis was, and of this reading remains, the greatest Berlioz interpreter of the stereo/digital era. This is no mean feat when one realizes that he now has several competitors in the field, among them James Levine and Charles Dutoit, but in my view only the wonderful John Nelson (whose recordings of the Te Deum and "Nuits d'Ete" with Susan Graham are so wonderful) really comes close. And what makes Davis so great is that, like those legendary conductors of old, he really gets under the skin of Berlioz and makes him exciting while maintaining score tempi. Listen, for instance, to his "Symphonie Fantastique," still the benchmark modern recording after nearly 30 years. Davis also excels in his readings of the Overtures, music from "Les Troyens," and the Symphonie Funebre et Triomphale which grabs the listener and pulls him/her into its vortex of sound.
In the other two symphonies, "Harold in Italy" and "Romeo et Juliette," I sense a lapse of sorts: the slow music is conducted not necessarily too slowly, but with a certain Romantic mushiness bordering on easy listening. This, for me, robs the "Romeo alone" and "Scene d'amour" of its passion, though of course it is wonderful to hear the score in modern stereo instead of Munch's cramped mono, and for me Toscanini's second movement of "Harold," with its peculiar yet engaging walking gait, shall never be surpassed--and, unlike Munch, Toscanini somewhat transcended his mono sound because of the wonderful clarity and transparency of his orchestra. Nevertheless, if I were forced to I would live with this Davis set over my Munch and Toscanini recordings because of their overall warmth and excellent sound.
Other highlights include excerpts from "Lelio" sung superbly by pre-leukemia Jose Carreras (listen to him ascend fearlessly to those high notes--he hasn't done that in nearly a quarter-century!), dramatically astute singing by Patricia Kerns and John Shirley-Quirk in "Romeo," and marvelous interpretations of the Overtures (oh, and you can forget "Rob Roy"...Berlioz decided after one performance that he would never publish it or even bother revising it, hence it is not here). I do question the omission of the Requiem and Te Deum (after all, they ARE "orchestral works"), but with so many riches at such a low price, who cares? Liner notes are sparse, and this is a slimline box which means paper sleeves and no jewel boxes, but so what? For this much Berlioz, so beautifully sung and conducted, the composer himself would gladly have plunked down ...
all the overtures *NOT*.......2001-05-04
This isn't a "complete" recording of Berlioz' orchestral music - what about the 'Rob Roy' overture? Granted it recycles some of Harold in Italy, but still...
A wonderful collection of Berlioz.......2000-08-15
This incredible six CD set features all of Hector Berlioz's purely orchestral music conducted by the great Sir Colin Davis, widely regarded as one of the greatest living Berlioz interpreters. In addition to favorites such as Symphonie fantastique, Harold en Italie and Romeo et Juliette, the set also includes the lesser known Lelio and several other works. The works were recorded between 1965 and 1980, and the sound is wonderful and rich. His interpretations are also lively and full of energy, especially in the overtures.
The Romeo et Juliette included in this set is my favorite of all the recordings of it that I've heard, although I haven't yet heard Sir Colin's more recent recording with the Vienna Philharmonic. The recording of Lelio is also well done. Jose Carreras and Thomas Allen are the featured singers in Lelio's song movements, and the fantasy on Shakespeare's Tempest at the end of the work is fascinating indeed. If you've only heard Berlioz's Symphonie fantastique and want to hear more of his works, or are looking for a nice collection of classic Berlioz recordings, then take a good look at this set.
Average customer rating:
|
Story Of Berlioz In Words And Music
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ASIN: B000001KDH
Release Date: 1995-04-16 |
Tracks:
- Benvenuto Cellini, Op. 23: Overture
- Symphonie Fantastique, Op. 14: Scene In The Country
- Gabrieli: Sacerdos et Pontifex
- L'Enfance du Christ, Op. 25: Flight Into Egypt: Overture
- Symphonie Fantastique, Op. 14: A Ball
- Harold In Italy, Op. 16: Scenes Of Joy And Sadness
- Benvenuto Cellini, Op. 23: Overture
- Harold In Italy, Op. 16: Serenade
- Les Troyens: Trojan March (Complete)
- Reverie And Caprice, Op. 8
- Symphonie Fantastique, Op. 14: Dreams, Passions
- Lelio, Or The Return To Life, Op. 14b
- Harold In Italy, Op. 16: Scenes Of Joy
- Roman Carnival Overture, Op. 9
- Reverie And Caprice, Op. 8
- Damnation Of Faust, Op. 24: Hungarian March
- L'Enfance du Christ, Op. 25: Rest Of The Holy Family
- L'Enfance du Christ, Op. 25: Flight Into Egypt, Dance
- Symphonie Fantastique, Op. 14: March To The Scaffold
- Symphonie Fantastique, Op. 14: I. Dreams, Passions
- Symphonie Fantastique, Op. 14: II. A Ball
- Symphonie Fantastique, Op. 14: IV. March To The Scaffold
- Symphonie Fantastique, Op. 14: V. Dream Of A Witches' Sabbath
Average customer rating:
- Classic Berlioz readings, but there are drawbacks
- Berlioz: Harold In Italy
|
Berlioz: Harold in Italy Op16; Mort de Cléopâtre, scène lyrique
Hector Berlioz , Leonard Bernstein , Jennie Tourel , and William Lincer
Manufacturer: Sony
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Similar Items:
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- Berlioz: Harold en Italie
ASIN: B00000I0W1
Release Date: 1999-02-16 |
Tracks:
- Harold In Italy, Op. 16: I. Harold In The Mountains
- Harold In Italy, Op. 16: II. March Of The Pilgrims
- Harold In Italy, Op. 16: III. Serenade
- Harold In Italy, Op. 16: IV. Orgy Of The Brigands
- La Mort De Cleopatre, Scene lyrique: Allegro vivace con impeto
- La Mort De Cleopatre, Scene lyrique: Recitativo: 'C'en est donc fait!'
- La Mort De Cleopatre, Scene lyrique: 'Ah! qu'ils sont loin ces jours'
- La Mort De Cleopatre, Scene lyrique: Recitative: 'Au comble des revers'
- La Mort De Cleopatre, Scene lyrique: 'Grands Pharaons'
- La Mort De Cleopatre, Scene lyrique: 'Non ! non, de vos demeures'
- La Mort De Cleopatre, Scene lyrique: Recitativo misurato: 'Dieux du Nil'
Customer Reviews:
Classic Berlioz readings, but there are drawbacks.......2006-11-14
The reviewer below is wild with enthusiasm for this 1962 Harold in Italy from Bernstein but doesn't seem to realize that La Mort de Cleopatre is also by the same composer, or that Bernstein's 1961 recording with his great friend--and great artist--Jennie Tourel is actually more outstanding. Except for Janet Baker on EMI, no one has approached Tourel in her involvement and commitment. Bernstein follows suit, and the result (which Sony previously paired with the Berlioz Requiem) is a joy.
As for the Harold, William Lincer, the NY Phil's first viola, doesn't have a virtuoso's temperament, and his playing tends to be bland. Too bad, since Bernstein is in very good form. In a way it doesn't matter much that the sonics are a drawback--sharp and edgy throughout, with almost no depth--because Bernstein recorded Harold again on EMI with French forces that, if anything, do an even better job. Unfortunately, he didn't get a first-rate violist the second time around, either, so I can't give more than four stars to the early or later performance.
Berlioz: Harold In Italy.......2000-01-03
FINALLY...it's on CD! This is the immortal version of the ultimate symphony. Although not specifically credited, this is the 1962 version that formerly appeared on LP as Columbia Masterworks ms 6358 (stereo)...I personally wore out three copies before it went out of print. I then tried other versions on CDs but found them a poor substitute. "La Mort De Clopatre," which is some kind of operatic work I'm not familiar with, seems aimed at a different audience; but the CD is easily worth three times the price for the Berlioz alone so I can't complain about extras. The recording itself sounds better than the LP ever did, even with a moving coil cartridge, and the mellow tones of Bill Lincer's 400 year old Amati viola are faithfully reproduced. "Harold In Italy" has all the romanticism of Dvorak and Tchaikovsky plus the mathematical precision of Beethoven. This IS the best classical recording EVER MADE! BUY IT!
Average customer rating:
- A sweet, flowing account of Harold with lovely lyricism
- Best Harold en Italie courtesy of Davis, etc.
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Berlioz: Harold en Italie
Manufacturer: Lso Live UK
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Similar Items:
- Berlioz: Harold in Italy Op16; Mort de Cléopâtre, scène lyrique
- Hector Berlioz: Harold En Italie, Op. 16
- Mozart: Sonata for 2 Pianos in D Major, K. 448; Schubert: Fantasia for Piano, 4 Hands in F Minor, D 940
- The Memoirs of Hector Berlioz (Everyman's Library (Cloth))
- Berlioz: Overtures
ASIN: B00009YWAH
Release Date: 2003-08-12 |
Amazon.com
Colin Davis is arguably the finest Berlioz conductor in the world; both of his recordings of Les Troyens are magnificent and elsewhere he's rarely bettered. His winning streak continues with this live performance with the LSO of Harold in Italy and the ballet music from Troyens. Tabea Zimmermann's solo viola is as grand, brilliantly flavorful, and picturesque as the LSO's playing; and the entire performance--swift and rhythmically propulsive--is simply fantastic. The introspective moments--listen to the way the air positively shimmers at the "canto religioso"--are as effective as the big moments, and the huge finale is truly wild without ever lapsing into anarchy. This is controlled but lusty playing helped by the crisp recording--even the brass, playing with abandon, doesn't drown out the highest strings or piccolo. The Troyens music should probably have been a curtain raiser rather than an encore, but it's handsomely played and a nice, exotic touch. If you'd like, you can throw out your other recordings of Harold--this one is all you need. --Robert Levine
Customer Reviews:
A sweet, flowing account of Harold with lovely lyricism.......2006-11-14
Every word of the Amazon reviewer's rave sounds convincing--he's echoing the general rapture that greeted this live LSO recording in the UK--so I hoped that reality would match the advance hype. In some wys it does. The London Sym. plays with real delicacy and finesse throghout, and Davis's feeling for Berlioz's lyric line is both natural and touching. Also, Tadea Zimmermann is that rare soloist who can keep the viola from sounding stodgy and lachrymose. She's far from sounding lusty, as the Amazon reviewer claims, but is instead sweet and lively, both highly desirable qualities. On those accounts alone, this is a very fine reading of Harold in Italy.
Is it the ne plus ultra? Well, we have two classic recordings from the great William Primrose under Beecham and Koussevitzky, both of which are livelier and more volatile than this one, but of course they are in dated mono. In stereo there's Davis himself in his younger years, along with a vibrant recording under John Eliot Gardiner, both on Philips. For volatility no one beats Bernstein in an almost raucous performance on EMI. I think you could call the new Davis reading pre-eminent only if you prefer its lilting rhythms and flowing contours. If so, then his relative coolness and control in the finale will seem fine. Highly recommended.
Best Harold en Italie courtesy of Davis, etc........2004-04-28
Sir Colin Davis still remains our finest interpreter of Berlioz. His latest release on LSO Live, featuring the talents of not only the London Symphony Orchestra but also violist Tabea Zimmerman, is quite simply the finest recording of Harold en Italie I've heard. This is a grand, lively interpretation replete with Zimmerman's exquisite viola solos and fiery playing from the LSO's woodwinds and horns, especially in the last movement. The only recording I've heard which comes close to this in quality is an old Lorin Maazel Deutsche Grammophon recording with him conducting the Berlin Philharmonic. However, the London Symphony Orchestra's playing is warmer and more vibrant than their peers in Berlin. Without question this latest recording should be regarded as the definitive version of Berlioz's Harold en Italie.
Average customer rating:
- a voice teacher and early music fan
- A generally good Berlioz collection
- Power and passion from Berlioz
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Berlioz: Great Orchestral Works
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD
All Works by Berlioz
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Similar Items:
- Liszt: Works for Piano and Orchestra
- Schostakowitsch: Symphonie No. 10 in E Minor, Op. 93
- Schumann: Op. Nos. 44 & 47
- Tchaikovsky: Symphonies 1-3
- Elgar: Cello Concerto; Sea Pictures; Cockaigne Overture
ASIN: B00000419B
Release Date: 1994-05-10 |
Tracks:
- Symphonie fantastique, Op. 14: 1. Reveries - Passions (Largo - Allegro agitato e appassionato assai)
- Symphonie fantastique, Op. 14: 2. Un bal (Valse. Allegro non troppo)
- Symphonie fantastique, Op. 14: 3. Scene aux champs (Adagio)
- Symphonie fantastique, Op. 14: 4. Marche au supplice (Allegreto non troppo)
- Symphonie fantastique, Op. 14: 5. Songe d'une nuit de sabbat (Larghetto - Allegro - Ronde du sabbat: Poco meno mosso)
- Le carnaval romain, Op. 9: Overture
- Le corsaire, Op. 21: Overture
Tracks:
- Harold en Italie, Op. 16: 1. Harold aux montagnes (Adagio - Allegro)
- Harold en Italie, Op. 16: 1. Harold aux montagnes (Adagio - Allegro)
- Harold en Italie, Op. 16: 2. Marche des pelerins chantant la priere du soir (Allegretto)
- Harold en Italie, Op. 16: 3. Serenade d'un montagnard des Abruzzes a sa maitresse (Allegro assai - Allegretto)
- Harold en Italie, Op. 16: 4. Orgie des brigands, finale (Allegro frenetico - Adagio - Allegro. Tempo I)
- Symphonie funebre et triomphale, Op. 15: 1. Marche funebre (Moderato un poco lento)
- Symphonie funebre et triomphale, Op. 15: 2. Oraison funebre (Adagio non tanto - Andantino un poco lento e sostenuto)
- Symphonie funebre et triomphale, Op. 15: 3. Apotheose (Allegro non troppo e pomposo)
Customer Reviews:
a voice teacher and early music fan.......2007-03-17
Hector Berlioz (1803-1869)belonged to no school, and resists categorization more fiercely, perhaps, than any other composer. The originality and vitalilty of his ideas demanded novel means of expression which affected the fundamental elements of musical language. The language he forged depended to an unusual extent upon the subject-matter of his works, all of which are related to a dramatic or poetic theme. This theme determines the manner of each work, so that there is no clearly defined development from an early period, through the middle of his career, to a later style; his works never repeat the inventions, harmonic and melodic or formal, of their predecessors.
The 'Symphonie fantastique' blazed new paths, filling the ear with novel combinations to a degree hardly experienced again. The symphony is nowhere operatic, but it is dramatic, and the high points of the drama are embodied in expressive instrumental music; the program, integral to the conception, acts, Berlioz said,like the spoken dialogue in an opera,in that it provides the motivation and explains and justifies the mood of the successive movements.
His second symphony, 'Harold en Italie', was begun at the request of Paganini, who wanted a piece for viola, but then rejected the drafts of Berlioz, who promptly converted the work into a symphony with viola solo. Searching for a subject, he considered a plan for a work on the death of Mary Queen of Scots. He then adopted a title referring to Byron's wandering hero (Childe Harold) and created a loose sequence of scenes in the figure of the lonely wanderer(represented by the viola) is set in contexts reminiscent of his own experience in Italy. This symphony is a picturesque work,whereas the 'Fantastique' is dramatic.
Berlioz was given a commission in 1840, by the newly formed French government for his 'Symphonie funebre et triomphale'. He wrote it for wind, with optional strings and chorus. The style of the work recalls the open-air ceremonials of the previous Revolution, when music was used at open-air gatherings of national prayer and praise.
The selections on these 2 discs cover the years from 1963 to 1975,although this compilation dates 1994. The performance of these selections are all basically outstanding because the variance of orchestral colour demanded by the very expressive music of Berlioz is present at all times, although some of the tempos run a bit on the slow side especially in the 'Symphonie fantastique'. However, I continued to be impressed by the instrumental expertise, especially in the solo 'spots', of which there were many. The 3rd movement of the 'Symphonie funebre' featuring the John Aldis Choir was exciting to hear, and I wish in the liner notes that they had included the words because they are not really audible on the recording. The violist in 'Harold in Italie' Nobuko Imai was skilled and in tune most of the time. All in all, for lovers of Berlioz, this is a good collection.
A generally good Berlioz collection.......2005-08-19
This recording is good generally, but the Symphonie fantastique really disappoints. The recording would be great if the LSO sound more 'fantastique'(you will konw what I'm talking about if you listen to the Concertgebouw/Davis recording by DECCA). Despite the disappointing Symphonie fantastique, I still like Colin Davis' "Harold in Italy" and the overtures, his poetry-like expressions and passion is perfectly suitable for Berlioz.
However, taking its price into consideration, I would not hesitate to reccomend this recording to those who want to try Berlioz.
Power and passion from Berlioz.......1998-11-12
This 2-disc set gives a wonderful selection of the orchestral works of Hector Berlioz. Of the five pieces included, I most enjoyed the "Symphonie Fantastique" and the "Symphonie Funebre et Triomphale." The power of Berlioz is beautifully expressed by the London Symphony Orchestra; one can feel the musical power, not just hear it. A wonderful collection of truly passionate music.
Average customer rating:
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Berlioz Edition (Box Set)
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD
All Works by Berlioz
| Berlioz, Hector
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General
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Allen, Thomas
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Bainbridge, Elisabeth
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Berlioz, Hector
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Similar Items:
- Franz Schubert: The Complete Songs
- Vivaldi: The Masterworks (Box Set)
- Mendelssohn: The Masterworks [Box Set]
- Bruckner: The Complete Symphonies
- Handel: The Masterworks (Box Set)
ASIN: B000093OSH
Release Date: 2003-12-16 |
Amazon.com
Sir Colin Davis has long been considered the world's finest Berlioz conductor, and over the years, Philips has released all of the composer's major works with Davis at the helm. Now, they're all here, in a 24-CD box, and it is an astonishing achievement. This treasure trove consists of the definitive, available readings of Les Troyens, Béatrice et Bénédict, and Benvenuto Cellini; a wonderfully energetic, passionate Roméo et Juliette; a Te Deum which is huge yet clear and not over-the-top for its own sake; Les Nuits d'été with different singers (of varying ranges in different songs), as Berlioz wanted them performed; the young Dame Janet Baker superb in Herminie and La Mort de Cléopatre; a relaxed, sweet Enfance du Christ; a Requiem which could knock you over; a Damnation de Faust which is both lyrical and exciting; a performance of Lélio which almost makes sense of that strange work; a Symphonie Fantastiquewith atmosphere and thrills; along with 7 overtures, 5 songs, and more. In addition to the moderate price, the packaging is such that the 24 CDs takes up less space than just the earlier releases of Cellini and Troyens together. This is one-stop shopping at its best. --Robert Levine
Average customer rating:
- A tempting treasury, but only a few performances are great
- Berlioz with immaginative variety
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The Berlioz Experience
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD
All Works by Berlioz
| Berlioz, Hector
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Concertos
| Forms & Genres
| Classical
| Styles
| Music
Overtures
| Theatrical, Incidental & Program Music
| Forms & Genres
| Classical
| Styles
| Music
Requiems
| Forms & Genres
| Early Music
| Historical Periods
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Violin
| Strings
| Instruments
| Classical
| Styles
| Music
Allen, Thomas
| ( A )
| Featured Performers, A-Z
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Berlin Philharmonic Orchestra
| ( B )
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Cleveland Orchestra
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| ( P )
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General
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General
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General
| Opera & Vocal
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| Music
French
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Te Deum
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General
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Similar Items:
- Shostakovich: Concertos; Orchestral Suites; Chamber Symphonies
- Grieg: Complete Music with Orchestra
- Bruckner: The Nine Symphonies; Helgoland
- Mendelssohn: 5 Symphonies; 7 Overtures
- Brahms: Complete String Quartets, Quintets & Sextets
ASIN: B00008RWRJ
Release Date: 2003-10-14 |
Customer Reviews:
A tempting treasury, but only a few performances are great.......2007-02-03
Ten discs of Berlioz is a sumptuous offering, and temptingly cheap at Amazon Marketplace. DG has used this occasion to repackage some outstanding performances. At the top of the list goes James Levine's electrifying Requiem from Berlin, with playing and singing to match the conductor's inspiration. Also exciting--perhaps surprisingly so--is Abbado's Te Deum, which has rawer edges and sharper focus than Colin Davis's on Philips, long the standard version.
Dropping down a notch in quality, we have an elegantly played Romeo et Juliette by the Boston Symphony, superbly recorded, that has few rivals for refined virtuosity. But after a while Seiji Ozawa's approach seems to lack depth and meaning; he's skating over the surface of the musical drama, however brilliantly. Sharp and brilliant also describes Myung-Whun Chung's contribution, a Symponie fantastique, two overtures, and the Royal Hunt and Storm from Les Troyens, all with his well-trained Bastille Opera orchestra. Chung is to the manner born in Berlioz, but so are greater conductors in these works, including Munch and Markevitch.
At about the same quality level I'd place the Mort de Cleopatre, a dullish early vocal scene sung with plushness by Jessye Norman, and Kiri Te Kanawa's Les Nuits d'Ete, which is ravishing in terms of sheer vocalism but otherwise vacant. Daniel Barenboim's slack conducting does the piece no favors, either, which holds true on a much larger scale for his Damnation of Faust. This is a typical Barenboim product, full of lush sounds, excellent singing, big-scale orchestral work, but leading to a meager artistic payoff. Barenboim's Faust isn't remotely competitive with Markevitch, Chung, Solti, Pretre, and others in this work. It's great to hear Domingo in the title role, but the conducting is so routine that I'm not sure the overall experience is worth it.
We get odds and ends of varying quality: the rarely recorded Tristia done superbly by Boulez, an uneven batch of songs that previously appeared in their own double-CD set (a chore to listen to in its entirety, despite the occasional gem), and a pedestrain Harold in Italy conducted by Lorin Maazel in Berlin, a performance that DG surely could have bettered by looking deeper into their vaults.
In all, I can't see investing in such an uneven collection except at super-budget price. If you do a little searching, all the best things here can be gotten separately, and the lesser recordings pale by comparison with classic Berlioz from Colin Davis, Charles Munch, and Igor Markevitch.
Berlioz with immaginative variety.......2003-10-30
This box makes a nice alternative to the Philips boxes under Colin Davis. Not to take anything away from Davis. His Berlioz cycle certainly ranks up there with the elite for recording achievements. But many will not want to invest in all 3 boxes, so Universal has brought us a great compilation of some of Berlioz' best works from a variety of performers with different styles.
The jewel has to be Ozawa's unsurpassed Romeo and Juliet. This 1976 studio recording had its birth at the Tanglewood Festival and features excellent soloists (Julia Hamari, Jose Van Dam, and Jean Dupouy), a very competent choir, and of course the reliable Boston SO. The recording is of outstanding quality. It seems cleaned up a little from what I remember of the CDs from the mid 80s; much more spacious, less muddy sounding. I especially like the chorus in the hushed night scene.
Barenboim's Damnaton is perdictably Furtwangler-like in tempo, and again features top notch singers in Fischer Dieskau, Jules Bastin, & Placido Domingo; Yvonne Minto is probably not in the same class with the others, but she's more than acceptable.
Levine directs a well recorded and balanced classical-sounding Requiem, and Abbado is more than competent in the Te Deum.
Chung's Fantastique is fun and enjoyable, if not first-class.
The rest of the works are very commendable, if not top-of-the-class.
In short, you can't go wrong for the price, and if you love Berlioz' Romeo, you've got to get this box just for the Ozawa gem.
Average customer rating:
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Berlioz: Harold In Italy; Bloch: Voice In The Wilderness [Australia]
Benyamini , Starker , Mehta , and Israel Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD
General
| Classical
| Styles
| Music
The Decca Records Store
| Specialty Stores
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ASIN: B000060MDO
Release Date: 2002-01-28 |
Tracks:
- Harold In Italy- I. Harold In The Mountains
- March Of The Pilgrims Singing Their Evening Prayers
- Serenade Of A Mountaineer Of The Abruzzi To His Msitress
- Orgy Of Brigands
- Voice Int He Wilderness
Track Listings:
- Brahms: Piano Concerto No. 1; Haendel Variations [Import] [Original recording remastered]
- Brahms: Symphony No. 1; Academic Festival Overture
- Brahms: Trio for Horn, Violin & Piano, Op. 40; Clarinet Sonatas
- Brahms Variations
- Christine Schäfer, Soprano
- Dennis O'Neill: Great Operatic Arias
- Dvorak: Symphony Nos.7 & 8
- Dvorak: Violin Concerto [Import]
- Elgar: Chamber Works
- Elgar: Enigma Variations; Cockaigne Overture
Track Listings
track listings
Track Listings
Live in Sherwood Forest '75 [Import]
Parry: Symphony No. 2 (The Cambridge); Symphonic Variations
Musiques Sacrees Missionnaires (4-CD Boxed Set)
Live at the Blue Note [Box set] [Live]
Rave Now 4 [Import]
Shadow of the Pines
O Som Do Barzinho V.9 [Import]
Some Things Don't Come Easy
One Soul Now [Import]
Pavarotti & Friends: For Cambodia and Tibet [Live]
Original Sins: Unreleased, 1967-1970 [Import]
Mi Son Latino
Oportunidad [Import]
Rollin' with Leo
For the Love of House, Vol. 4