German Nightingale
Track Listings
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1. Frühlingstimmen [Waltz]
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2. Draussen in Sievering (Wienerlied) {From Die Tänzerin Fanny Elssler}
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3. Parla [Waltz]
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4. Den Teuren Zu Versinnen
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5. Schlaf' Ein, Mein Kind
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6. Schlaf' Ein, Mein Blondengelein
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7. In Deinen Augen Liegt All Mein Glück [Tango]
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8. Ich Träume Immer Nur Von Dem Einen [Song & Czárdás] {From Ihr Grösster
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9. Ja, So Ist Sie, Die Dubarry {From Madam Dubarry}
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10. Ich Schenk' Mein Herz Nur Dem Allein {From Madam Dubarry}
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11. Canzonetta
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12. Folletta
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13. Southern Rose
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14. In the Spring
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15. I Give My Heart {I Give My Heart}
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16. Now I Have Found You {I Give My Heart}
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17. Serenata
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18. Villanelle
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German Nightingale, Music, Luigi Arditi, Gaetano Braga, Eva Dell'Acqua, Friedrich von Flotow, Franz Grothe, L.J. Kaufmann, Salvatore Marchesi, Hans May, Carl Millocker, Osman Perez Freire, Hans Sattler, Johann II Strauss, Hans Bund, Hans May, Hans Schmidt-Isserstedt, Rolf Peter Schröder, Kingsway Symphony Orchestra, Erna Sack, Classical, Classical Artists, Classical Vocals, Film, Film Music, German/Austrian Operetta, German/Austrian Romantic Opera, Miscellaneous, Miscellaneous Music, Opera, Orchestral, Solo Voice(s) and Orchestra, Vocal, Vocal Music, Waltz for Orchestra
Average customer rating:
- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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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:
- Breathtaking
- operatica "o"
- First few songs are good, the rest are???
- This is the pits. . . the absolute pits
- Adding To My List Of Vices: A Continuation
|
O: Operatica, Vol. 1
Manufacturer: E-Magine Records
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Similar Items:
- Operatica: Shine
- Myth of Red
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ASIN: B00004Z42O
Release Date: 2000-10-03 |
Tracks:
- Ave Maria
- Vocalise
- Melancholy Rose
- L'Heure Exquise
- O Del Mio Dolce Ardor
- Charmed By A Rose
- In The City
- Get Off My Land
- Dite Oime
- Bachianas Brasileiras No.5
- Maria's Dream (Instrumental)
- Bonus Track
Customer Reviews:
Breathtaking.......2006-12-17
I bought this CD before it was even well-known, though I wonder how many people even know about it right now. This is truly a gem of a find. The fusion of electronica and opera is amazing and the vocals are haunting and beautiful. I have had several friends listen to this CD and all of them fall in love with it, just like I did when I first heard it. I have since bought Operatica: Shine and the more recent Operatica: Christmas Classics and I can truly say I am just as pleased with both follow-up albums. I listen to a variety of music and have a large collection, and this is one of my favourite CDs! Bravo to the creators, composers, vocalist(s) and artists that brought this compilation together.
operatica "o".......2005-09-19
I have this album and think it is unusually beautiful, innovative, a woman with a lovely voice.
Why is she not mentioned or given the credit she deserves, it would appear she is some kind of a secret!
Maureen O'Flynn is only mentioned in the booklet of credits in the jewel case itself, why?
Enter her name in the search in CDNOW and it comes up blank! Why?
First few songs are good, the rest are???.......2004-02-13
First few songs are good, but the rest of the album is no good!
This is the pits. . . the absolute pits.......2003-08-23
Maureen O'Flynn is a perfectly good singer, but whoever thought this "marriage" of opera and pop was a good idea is the same guy that thinks John Tesh is a great composer. People have simply stopped listening seriously to music, and it is a real shame. This recording is for the scrap heap. The accompaniment is cheesier than a big wedge of provolone. There isn't a single live musician in the studio with this young lady. The people who think this is good music are the same ones that aren't bothered by the prospect of a canned sound track in a Broadway show or the "pop stylings" of Charlotte Church. Go out and find some REAL MUSIC, people! It's there if you look. As the great American composer Charles Ives wrote: "Open your ears!"
Adding To My List Of Vices: A Continuation.......2003-05-05
When coupling sounds from two opposing polarities into one another and blending them into the perfect texturization of harmonics, one has to have a few things that fit nicely together in order to succeed. One has to first have a musical stylization that works when placed into an arena that isn't normally associated with its feel, making sure that the seams that could be ripe for the picking aren't taken advantage of. Next, one has to make sure that the voice behind the work, if there is a vocal combination in the work at all, is something that will work smoothly and will not let the vehicle of sense assailment down. Otherwise, the end result is painful and the art, it is merely noise. This is especially true when one is trying to fit a glove on the hand that isn't accustomed to wearing it, making certain that the fit is right and that the end result isn't too rudimentary because something was overlooked.
With Operatica: "O" Volume 1, the components come together fabulously and the seams don't really show at all except on the rarest of occasions (two songs out of eleven by my count, and perhaps that's more beat than anything), throwing a mixture of motions into a vocally moving ocean that would, on many occasions, be seen as items that wouldn't fit together. Here, the beautiful voice of Maureen O'Flynn mixes the operatic sounds I had never truly experienced into a sea of electronic beats, ambient rhythms, speaking pianos, and other vessels to compose the perfect structure. This takes a classical form and introduces it to a world that paints new scenes that couldn't have been painted otherwise, letting its audience ingest a spectrum of thoughts that they wouldn't intake normally. I, myself, was stunned to find that I was instantly addicted to the release, listening to it over and over again and wondering where Opera had been all of my life. Honestly, being a child of electronic music that drifts into heavier organisms of feeling, I never thought I would ever think such thoughts.
For people that can't bridge the span of biases and enjoy items that span gaps in tastes and in sensations, then this wouldn't be something that you would enjoy. There are many things within it, like the work itself, that aren't traditional and that a person looking for the flairless would find flavorless, from the sound clips used as accents to the beats that infest the sounds and make them dance through the mind with zeal. For someone that is looking for something that breaks outside the mundane drum and bass notions of music and that wants to hear an angelic voice pouring through synthetically fashioned skylines, then this might be something you'd look into tasting. Me, I never thought that something like this would find its way into my home, but it did more than that. It actually made me listen to things I hadn't really listened to, liking them for what might amount to a first time.
Average customer rating:
- VIENNAFEST A FEAST FOR THE EARS!
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Viennafest
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD
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- Ein Straussfest II
ASIN: B00004ZDQ8
Release Date: 2000-10-24 |
Tracks:
- Radetzky March
- The Gypsy Baron
- Jager Polka
- Fruhlingsstimmen Walzer
- Nachtigall Polka
- Studenten Polka
- Gold And Silver Waltzes
- Im Sturmschritt, Polka Schnell
- Mit Dampf, Polka Schnell
- The Merry Widow
- Countess Mariza
- Hofball-Tanze Walzer
- Walzertraume
- Zwei Herzen Im Dreivierteltakt
- Die Fledermaus
- Wien, Wien, Nur Du Allein
Customer Reviews:
VIENNAFEST A FEAST FOR THE EARS!.......2000-11-07
Erich Kunzel is the baton and the heart of the Cincinnati Pops. I am fortunate enough to live in the Cincinnati area and have seen and heard the Pops in person. It is an awesome experience. However, if you cannot get to Cincinnati or to one of his on-tour performances, the Telarc CDs are as close to live as you can get! Viennafest is no exception. The care that is so evident on every Cincinnati Pops release is meticulous. The waltzes and marches are melodious and true to the theme of the CD. I eagerly await the release of each Erich Kunzel CD--BRAVO!
Average customer rating:
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Waltz: Ecstasy & Mysticism Western Eastern Waltz
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD
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ASIN: B0009AM5H2
Release Date: 2005-08-09 |
Tracks:
- German Dance No.6 & Coda
- Introduction
- Yine Bir Gul-Nihal (Semai) (Once Again A Young Rose)
- German Dance No.1
- Bulbul-I Hos Neva (Semai) (Beautifully Singing Nightingale)
- German Dance No.2
- German Dance No.3
- German Dance No.4
- Introduction
- German Dance No.5
- Introduction
- Bir Verd-I Ra'na (Semai) (A Lovely Rose)
- Introduction-Nos.1-5-Finale
- Sevdim Yine Bir Nev-Civan (A Youth I Loved Again)
- Die Osmanen, Op.146: Walzer Nos.4 & 5 (The Ottomans)
- Introduction
- Neva Semai
- German Dance No.3
- Rehavi Semai
- German Dance No.9
- Sunbule Semai
- German Dance No.10
- Kettenbrucke-Walzer Op.4: Nos.1-3
- Introduction
- Dorduncu Selam (Fourth Selam)
- Son Pesrev
- Son Yuruk Semai
- Introduction
- German Dance No.12 & Coda
Customer Reviews:
As good as the 1st Album.......2005-09-25
After about two years from their 1st CD "Dream of the Orient", Concerto Koln and Sarband released their 2nd. The content of the new CD is divided into five sections: "Dede the European/Mozart the Turk" (Ismail Dede Efendi: 1778-1846), "From Vienna to the Ottoman Empire", "Musical Contest Alla Turca", "Danubian Waves" and "Mysticism and Ecstasy". The program is well prepared and represent the European (mostly German) and Ottoman (mostly Sufi) music of the era. There are more Ottoman pieces in this CD: while only 7 out of 26 pieces were Ottoman in "The Dream of the Orient", the new CD has 15 of the 27. Please keep in mind that the drums and cymbals of Sarband are less pronounced in this CD; there is no "military" music as the CD title clearly suggests.
It is extremely pleasing to see that this CD, for a second time, brings the East and West a bit closer, at least in music.
Average customer rating:
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Coloratura Assoluta
Manufacturer: Sbme Import
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Bellini, Vincenzo
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ASIN: B00000DFNQ
Release Date: 1998-10-20 |
Tracks:
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- La Fille Du Regiment: 'Salut A La France'
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- I Puritani: 'Son Vergin Vezzosa'
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- La Sonnambula: 'Ah, Non Credea..Ah, Non Giunge'
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Amazon.com
In many respects, Lily Pons was the Galli-Curci of her generation: a winning combination of good looks, charm, an appealing and non-confrontational timbre, and easy facility in the stratosphere. Those who learned the "Mad Scene" from Lucia di Lammermoor or the "Bell Song" from Lakmé via the original 78s back in the 40s will be bowled over by the vivid detail and lack of background noise in these stunning Sony restorations. First-time listeners will marvel at her effortless passagework and high notes (she often transposed her arias up on records); but may be put off by a slight thinness in the middle register (not evident in her Odeon recordings from the late 20s), sketchy intonation at times, and expedient aspirating in downward scales. Although these selections encompass a gamut of stylistic and emotional contrasts, you'd scarcely know it from the singer's pleasant but characterless interpretations, which tickle the ear without quite racking the brain. --Jed Distler
Customer Reviews:
Highly recommended.......2007-07-09
This could have been recorded yesterday, the sound quality is excellent and without blemish. By far the best recordings of Pons I have, and I would like to have others. She reminds me of Jo, separation of notes, clear, real trills, a range to rival Sumac, flexibility to perfection, and always that today neglected once standard fare of the coloratura, the requisite leap to the top note at the end of an aria. And a pretty sound. I love this album.
Average customer rating:
- Truly stunning voice, beautifully recorded
- Delightful recital!
- NOT SINGING BUT A SILVER HEAVEN GLITTERING WITH STARS
- What angels must sound like...
- One of the C20th Most Endearing Singers.
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Strauss, Saint-Saens / Rita Streich
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD
Waltzes
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- Rita Streich: Folksongs & Lullabies
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ASIN: B000006143
Release Date: 2005-03-21 |
Tracks:
- Op.410: Fruhilingsstimmen
- Le Rossignol et la rose
- Lo spazzacamino
- Jocelyn: Wiegenlied
- Parla-Walzer
- Boccaccio: Hab' ich nur deine liebe
- Rusalka: Lied an den Mond
- Dinorah: Schattentanz
- Osterreich, Op.164: Dorfschwalben
- Die Nachtigall
- Les Filles de Cadix
- Chi sa?
- La felletta
- Last Rose Of Summer
- Villanelle
- Draussen In Sievering
- Il bacio
Customer Reviews:
Truly stunning voice, beautifully recorded.......2006-04-12
A most amazing and effortless coloratura voice, handling the German (of course) and Viennese style with native ease. A stunning "Fruhilingsstimmen." Easy on the ears and still exciting after much replaying.
Especially considering the era, the recording quality is quite clear and good. Delighted to find this on CD.
Delightful recital! .......2004-08-07
Rita Streich shines in this recital! Each piece is performed with remarkable accuracy and beauty of tone. She is particularly effective in communicating the Viennese spirit of the Walzer. There aren't sopranos today who sound this good in the German repertoire. Sadly, a lost tradition. Her Italian accent is not perfect but it's not distracting and besides there aren't many Italian arias here. She nevertheless sings them beautifully. Pity that not all tracks were recorded in stereo sound. Overall, a superb memento of Streich's rare artistry.
NOT SINGING BUT A SILVER HEAVEN GLITTERING WITH STARS.......2001-07-10
I have no single vocal record more prized than this. The other reviewers above all speak more knowledgably of her technique than I can. I can say only that this record puts me adrift in the heavenly beyond. Rita isn't just artful, she's a gift of God driven into your breast. She brightens one's whole sense of existence. Her yearning youth and richness blend the blue of spring with the heart of an agonizingly green June day. Just lovely, lovely, lovely. After you hear Rita Streich: Walzer & Arien, you'll want to get her double album with the reverse title: Rita Streich: Arien & Walzer, which is just as heavenly but slightly more mature and grandly brilliant. You may think Callas singing "Casta Diva" the height of vocal art. You are in for a wonderful surprise.
What angels must sound like..........2001-04-25
I will cut this short.. Streich has the most beautiful voice and tone, I in all likelihood will ever lend an ear to... (...Save that of an Angel, should I by some strange coincidence be allowed into heaven...) This compilation magnificantly dokcuments Streich's vocal talents in the more light-hearted repetoire, and it is a gem.. Get it!
One of the C20th Most Endearing Singers........2001-02-02
Rita Streich (1920-1987) enriched the annals of recorded music more than any other coloratura soprano of the C20th. Fluent in many languages, and well-coached by several eminent singers, she had a voice with a recognisable "colour". Naturally vivacious and charming herself, she could range successfully into deeper emotional expressiveness. As she explained in an interview, "the difficulty every coloratura encounters is to be expressive with a voice of restricted size and colour". Listen to the Dvorak aria here (Track 7) to see how well she overcame this difficulty.
In this well-filled CD, produced by a son of Dietrich Fischer-Dieskau, are found recordings originally issued on three LPs in the 1950s. There are some bravura coloratura items featuring a very secure trill, some rarities, and favourites new and old. The sound quality is first-rate. Texts are not included in the liner notes, instead there is a biographical appreciation printed in German, French, English and Italian.
As a footnote, I shall reveal that this delightful artist's fluency in English lapsed slightly on one occasion when she was giving a radio interview in Australia. While discussing the many components of opera production, and intending to say something about the stage lighting, she said, "Of course, very special effects can be obtained in opera houses by lightning".
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German Nightingale
Manufacturer: Naxos
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ASIN: B0000W3XNY
Release Date: 2004-02-17 |
Tracks:
- Frstimmen [Waltz]
- Draussen in Sievering (Wienerlied) [From Die Terin Fanny Elssler]
- Parla [Waltz]
- Den Teuren Zu Versinnen
- Schlaf' Ein, Mein Kind
- Schlaf' Ein, Mein Blondengelein
- In Deinen Augen Liegt All Mein Glango]
- Ich Tre Immer Nur Von Dem Einen [From Ihr Grer
- Ja, So Ist Sie, Die Dubarry [From Madam Dubarry]
- Ich Schenk' Mein Herz Nur Dem Allein [From Madam Dubarry]
- Canzonetta
- Folletta
- Southern Rose
- In the Spring
- I Give My Heart
- Now I Have Found You [I Give My Heart]
- Serenata
- Villanelle
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Greatest Hits: Mozart/Bach/Handel/Vivaldi
Manufacturer: Sony
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ASIN: B0000029NP
Release Date: 1995-12-05 |
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- Chaliapin, the great Russian singer actor.
- A Chaliapin feast
|
Chaliapin: A Vocal Portrait
Manufacturer: Naxos
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Bellini, Vincenzo
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- Prima Voce: Chaliapin
ASIN: B00006RHPA
Release Date: 2003-01-21 |
Customer Reviews:
Chaliapin, the great Russian singer actor. .......2004-08-23
Born in the same year as Caruso and attracting the wild acclaim that used to be accorded to opera singers, Feodor Chaliapin is now featured in the Naxos "Great Singers" series. A selection of his acoustic recordings (1902-1924) occupy the first CD and a selection of his electric recordings (1926-1936), and in charge of restoration is Ward Marston.
Like Caruso, Chaliapin had a huge voice that nevertheless proved eminently compatible with acoustic recording processes. Indeed, collectors need not be deterred by the age of many of these recordings. Some of the very best items, whether opera or song, fall into the acoustic group. The 1911 recordings of Rubinstein's "Demon" excerpts, which I heard a few times many years ago and have never forgotten, are amongst the best of all in this entire selection.
Also like Caruso, Chaliapin's recording career owed much to producer Fred Gaisberg who, in his autobiography, allotted a whole chapter to this great singer. In recent times, eminent critic John Steane has named Chaliapin as one of the two or three great singer actors of the C20th. Gaisberg was responsible for recording the Prayer and Death of Boris during an actual performance of "Boris Godunov" at Covent Garden in 1928. Perhaps this best indicates Chaliapin's work as singer and actor. Another successful item here is the `Le veau d'or' from "Faust", which one critic has judged ideal for showing Chaliapin's special magnetism.
The notes provide an informative survey of Chaliapin's recording output. One error is the attributing some of the orchestral support in the recordings from the 1920s to the London Philharmonic Orchestra, and orchestra which was founded by Beecham in 1932.
A Chaliapin feast.......2003-02-14
It's nice of Naxos to collect in one place some of the most representative recordings of the great Russian basso, Fyodor Chaliapin. This is a 2CD set; the first CD is from the acoustic era of recording, the second from the electrical era. Not only are the expected arias and songs from the Russian literature represented, but also there are more than a few Italian/French/German selections.
There are two scenes from 'Boris Godunov': Varlaam's Song and the Farewell and Death of Boris. Three versions of Mussorgsky's 'Song of the Flea', from 1907, 1929 and 1936 (the latter his last recording) are included, all of them marvelous. Other highlights, made all the more effective by Chaliapin's amazing ability to act with the voice, are 'La calunnia' from 'The Barber of Seville' and 'Le veau d'or' from Gounod's 'Faust.' I also liked 'Chanson Bachique' by Glazunov, which I'd never heard before.
The sound is fantastic, the wizardry of Ward Marston who, along with Mark Obert-Thorn, is involved with Naxos's extensive re-issue of treasures from the history of the recorded voice.
If you don't have these selections from previous issues on other labels, you can't go wrong here. And then there's the budget price . . .
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Great Voices of the 50's
Manufacturer: Decca
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ASIN: B0000042GT
Release Date: 1997-09-16 |
Tracks:
- Wesendonk-Lieder: Der Engel - Wolfgang Amadeus Mozart (1756-1791)
- Wesendonk-Lieder: Stehe still - Wolfgang Amadeus Mozart (1756-1791)
- Wesendonk-Lieder: Im Treibhaus - Wolfgang Amadeus Mozart (1756-1791)
- Wesendonk-Lieder: Schmerzen - Wolfgang Amadeus Mozart (1756-1791)
- Wesendonk-Lieder: Traume - Wolfgang Amadeus Mozart (1756-1791)
- 3 Ruckert-Lieder: Ich bin der Welt abhanden gekommen - Wolfgang Amadeus Mozart (1756-1791)
- 3 Ruckert-Lieder: Ich atmet' einen linden Duft - Wolfgang Amadeus Mozart (1756-1791)
- 3 Ruckert-Lieder: Um Mitternacht - Wolfgang Amadeus Mozart (1756-1791)
- Lieder: Einerlei, Op. 69 No. 3 'Arnim' - Wolfgang Amadeus Mozart (1756-1791)
- Lieder: Ich wollt' ein StrauBlein binden, Op. 68 No. 2 'Brentano' - Wolfgang Amadeus Mozart (1756-1791)
- Lieder: Schlechtes Wetter, Op. 69 No. 5 'Heine' - Wolfgang Amadeus Mozart (1756-1791)
- Lieder: Befreit, Op. 39 No. 4 'Dehmel' - Wolfgang Amadeus Mozart (1756-1791)
- Four Last Songs: Beim Schlafengehen 'Hesse' - Wolfgang Amadeus Mozart (1756-1791)
- Four Last Songs: September 'Hesse' - Wolfgang Amadeus Mozart (1756-1791)
- Four Last Songs: Fruhling 'Hesse' - Wolfgang Amadeus Mozart (1756-1791)
- Four Last Songs: Im Abendrot 'Eichendorff' - Wolfgang Amadeus Mozart (1756-1791)
Tracks:
- Sheherazade: Asie
- Sheherazade: La Flute enchantee
- Sheherazade: L'Indifferent
- Trois Poemes de Stephane Mallarme: Soupir
- Trois Poemes de Stephane Mallarme: Placet futile
- Trois Poemes de Stephane Mallarme: Surgi de la croupe et du bond
- Poeme de l'amour et de la mer: La Fleur des eaux
- Poeme de l'amour et de la mer: Interlude
- Poeme de l'amour et de la mer: La Mort de l'amour
- La Damoiselle elue
Tracks:
- I Puritani: Son vergin vezzosa
- I Puritani: Qui la voce ... Vien, diletto
- La Sonnambula: Come per me sereno ... Sovra il sen
- La Sonnambula: Ah! no cread mirarti ... Ah! non giunge
- Il bacio
- Theme & Variations
- Villanelle
- Le Rossignol
- Les Contes d'Hoffmann: Wohlan, nur Mut und Vertrauen
- Les Contes d'Hoffmann: Die Legende von Klien Zaches
- Fidelio: Gott! Welch' Dunkel heir
- Il re pastore: L' amero, saro costante
- Exsultate, jubilate, K 165
Tracks:
- Pique Dame: Ich muss am Fenster lehnen
- Pique Dame: Es geht auf Mitternacht
- Un Ballo in Maschera: Ma dall'arido stelo divulsa
- Un Ballo in Maschera: Morro, ma prima in grazia
- Zigeunerliebe: Lied und csardas
- Die lustige Witwe: Vilja Lied
- Die Dubarry: Ich schenk' mein Herz
- Der Zarewitsch: Einer wird kommmen
- Le nozze di Figaro: Non piu andrai
- Die Walkure: Leb' wohl, du kuhnes, herrliches Kind! (Wotan's Farewell And Magic Fire Music)
- Oberon: Ocean! Du Ungeheuer!
- Salome: Ah! Du wolltest mich nicht deinen Mund kussen lassen
Tracks:
- Samson et Dalila: S'apre per te il mio cor
- Eugene Onegin: Tatyana's Letter Scene
- Cavalleria Rusticana: Voi lo sapete
- Le nozze di Figaro: Voi che sapete
- Andrea Chenier: Nemico della patria
- Mefistofele: L'altra notte in fondo al mare
- La Gioconda: E' un anatema
- Il Barbiere di Siviglia: Largo al factotum
- La forza del destino: Morir! Tremenda cosa! ... Urna fatale del mio destino
- Le nozze di Figaro: Dove sono i bei momenti
- La Wally: Ne mai dunque avro pace
- Lodoletta: Flammen, perdonami
- Cecilia: Per amor di Gesu
Track Listings:
- Gesu Al Calvario (Comp)
- Giulio Caccini: Madrigali scelti (1601) et varia
- Glenn Gould Edition - Bach: Partitas, Preludes & Fugues
- Grand Mass in C Minor
- Gurrelieder/Chamber Symphony 1 [Import]
- Harmonium/Choruses from the Death of Klinghoffer
- Highway One
- Homage to Piazzolla
- Humperdinck:Hänsel & Gretel
- Ian Bostridge ~ Britten - Our Hunting Fathers · Quatre Chansons Françaises · Folksongs · Simfonia / Harding · Britten Simfonia
Track Listings
track listings
Track Listings
Randy Newman's Faust
Stanley Drucker Plays Brahms
See Ya Thursday - Music for Marimba
Quincy Jones' Finest Hour
The Second Atmosphere Club-Mix
The Shape of Solitude
Saida
The Rumour [Original recording remastered] [Import]
Stumble & Fall Pt.2 [CD-single] [Import]
Tchaikovsky - Eugene Onegin / Te Kanawa · Hampson · Rosenshein · Gedda · Sir Charles Mackerras [in English]
This Is New...Teddi King Sings Ira Gershwin
Recuerdos Con Amor
Salsa en Navidad [Import]
Phat Blues Music
Discount Fireworks