Schubert: Solo Piano Works

Editorial Reviews
Amazon.com
Arcadi Volodos's reputation has been based on fire-eating virtuoso material, but he brings wit, poetry, and depth to this unexpected but very welcome foray into Schubert. All three attributes are prominently displayed in Schubert's first, unfinished Piano Sonata, on which Volodos plays the first movement melody with disarming lyricism and sets it off against the bolder, Beethovenian contrasting passages, which are done with a big, full-bodied tone and slashing accents. A highlight is the gently sung andante movement. The main work is the big G Major Sonata, a mature masterpiece. Volodos floats the opening, its tentative measured tread apparently materializing out of thin air--a nice touch. When Schubert morphs that strange melodic fragment into a theme poised between hesitant withdrawal and urgent poetry, Volodos responds with tremendous feeling. He's as effective in the jagged, stabbing forte restatement of the theme, varying tonal color and dynamics to great effect. The encorelike filler, Liszt's arrangement of Schubert's song Der Müller und der Bach, is done with flowing grace. Throughout, Volodos brings personal touches to these works that clearly reflect his affection for Schubert's great keyboard works. --Dan Davis

Tracks:

Kaddisch
Laudate Dominum
Ave Maria
Amazing Grace
Breit' Uber Mein Haupt
L'assedio Di Corinto: L' Ora Fatal S'appressa... Guisto Ciel !
Pie Jesu
Der Vierjahrige Posten: Gott! hore Meine Stimme!
Sanctus
Maria Stuarda: Preghiera Di Maria
Lacrimosa
1600 Pennsylvania Avenue: Take Care Of This House - Sumi Jo/Phil Chor Koln/Susan Graham
Nun's Chor/Casanova: Laura's Song
Gigi: Say A Prayer For me Tonight
Sometimes I Feel Like A Motherless Child

Amazon.com

This program seems designed primarily to display soprano Sumi Jo's fabulous singing and famous stylistic eclecticism. However, it also exhibits an admirable religious inclusiveness, encompassing expressions of faith from the Latin liturgy to Negro spirituals; there is even a Richard Strauss song that is essentially a paean to love. An incongruous note is struck by a nun's song from an operetta by Benatzky that is a corny Viennese waltz and by a soundtracklike arrangement of a 16th-century Ave Maria. Ranging from Mozart to Broadway, this musical mix is held together by Sumi Jo's ravishingly beautiful, pure, warm voice and the way she can color and inflect it, and by her mastery of every style (though not every language; her German in particular is unintelligible). Her intonation is impeccable, her breath control incredible. Jo's top notes soar triumphantly, and she can sustain them indefinitely, with enough power left to make a crescendo at the end. Highlights include Ravel's "Kaddisch," which sends shivers down the spine; arias from operas by Rossini and Donizetti; and arias from sacred works by Gounod and Fauré. Of two spirituals, the second one is simpler and more convincing. The accompanying forces are excellent; James Conlon doubles as pianist when not conducting. Susan Graham also makes an appearance in the moving invocation "Take Care of This House" from Bernstein's 1600 Pennsylvania Avenue. --Edith Eisler

Customer Reviews:

Nice Voice.......2007-05-06

Sumi Jo has a beautiful voice but her renditions of Motherless Child and Amazing Grace were not impressive at all. The vibrato was too uncontrollable. The Ave Maria was so,so. I did not hear the richeness others have declared in their assesments. Don't get me wrong, the instrument is quite beautiful but only in some selected selections.

a voice teacher and early music fan.......2007-02-17

"Music and poetry emerge from man's desire to give thanks, to praise and to pray to his gods. One of the magical powers of the human voice is that it can fly, on the wings of songs (a la Mendelssohn) to heaven and appear to be in direct communication with God." Therefore, it is no surprise that prayer is omnipresent throughout the history of music. Sumi Jo has chosen an excellent representation of songs including most styles and periods which include : Baroque (Caccini)-Classical (Mozart)-Contemporary (Preisner)-Romantic Opera (Rossini,Donizetti)-German 'Singspiel'(Schubert)-Lieder (Richard Strauss)-French church music (Gounod ,Faure)-traditional music (spiritual)-Jewish melodies (Ravel)-Viennese operetta (Johann Strauss) and the American musical (Bernstein).

Sumi Jo, born in Korea,is a much sought after coloratura soprano, having triumphed on stage, and in recitals all over the world. Not being fond of coloraturas, I make an exception for her voice, because of its depth along with the very high register. She shows a great deal of sensitivity to all of her varied selections on this disc, and each delivery is a 'gem' unto itself.

I must personally comment on those works that I particularly enjoy. Hearing her sing Mozart's 'Laudate Dominum' was a real treat; it doesn't matter how often one hears that lovely piece, just like all of his music, it 'wears' well. The 'Pie Jesu' was absolutely stunning as Sumi Jo sang it, and it is a pleasure for me to hear the selection from "GIGI" by Lerner & Loewe; not being a great broadway fan, I have always liked that specific musical. I think because it was well-done when I saw it years and years ago.

This disc is abolutely totally enjoyable. There is something for all musical tastes, and the conductor/pianist James Conlon does a great job pulling it together!!!!!

Sumi Jo- coloratura supreme.......2006-04-09

One word: Lacrimosa. It haunts you and will stay with you long after you hear it. I actually forced several if my coworkers to listen to it many of which are not opera fans and even they could not argue the beauty of it. One of my coworkers was actual on the verge of tears by the end of the song.

The rest of the album is enchanting as well as breath taking. I am a harsh critic when it comes to singers so I do not give those compliments very often, nor am I easily moved by singers but Sumi Jo has certainly done that with this album.

My only complaint is that I would have liked to hear her take of "Ave Maria" by Schubert which, while recorded many times over, would complimented her voice perfectly due to it's simplicity. "Sing low sweet chariot" would have been another great one to hear but as far as spirtuals are concerned I was very happy with her acepella version of "Amazing Grace." I was never a huge fan of "Amazing Grace" since it's been done a thousand times over but she brought such seetness and emotion to it. Of course I am kind of biased becuase I offically hate the "belting" version of this song and that's how it's usually done. It's nice to hear a simple, straight forward version.

My last comment is that it's nice to hear Sumi Jo sing less operatic pieces considering most opera singers are rarely bold enough to sing anything other than classical pieces, excluding Renee Fleming of recent.

Prayerful and beautiful.......2005-11-14

It is a refreshing change to have a collection of arias on a CD with a title that actually bears some relevance to the contents. This is indeed a prayerful collection. That means, of course, that you have to be in the appropriately contemplative mood in order to appreciate it.

Another nice change is that the orchestral accompaniment enhances the singing rather than just tagging along as an afterthought, which often seems to be the case. It is fitting that James Conlon gets equal billing here. This is splendid singing to splendid music.

Sumi Jo is comfortable in any language and in a broad range of styles. I was uncertain how she would tackle songs like Amazing Grace and Sometimes I Feel Like a Motherless Child. I need not have worried. In the latter she reveals a soulfulness that fits the lyrics perfectly.

The only track not worthy of this collection is Bernstein's Take Care of This House. I suppose, as it is a prayer, it was an obvious song to include, and Jo sings it very well, but it is just a very poor song. That still leaves 14 excellent tracks that, if you are a lover of good singing, you will want in your collection.

A spectalce of voice and vocalization.......2004-12-29

I bought this used from an Amazon.com dealer and it came with a cutout on the left side of the CD box. Can this specacular CD possibly have gone out of print by Christmas 2004? If so we have lost one of the benchmark recordings of this splendid artist.

Never is there a weak moment in this incredibly beautiful collection of classical bleeding chunks and spirituals. I don't think you'll confuse Sumi for your favorite spiritual singer in "Amazing Grace" and "Sometimes I feel like a motherless child" but she is magnificent singing the complete and incomplete tunes elsewhere on the CD by famous classical composers including Mozart, Richard Strauss, Rossini, Schubert and Donizetti, to name some of them.

She is in wonderful voice and fresh-faced for the Loewe-Lerner "Say a prayer for me tonight" and does an equally nice job with Susan Graham accompanying Leonard Bernstein's "Take care of this house" from "1600 Pennsylvania Avenue". I'm not much for this kind of music -- I bought this exclusively for her rendition of Mozart's "Laudate Dominum" -- but it adds a dimension to the concert that brings it into the realm of popular Broadway tunes.

This is a wonderful concert of familiar and not so familiar songs from a singer whose voice is eloquent, beautiful and rich, with significant range and span from PPP to FFF. Sumi Jo controls her voice well throughout the concert, giving everyone something to think about regardelss of musical preference. This might have been improved if she'd included a Beatles tune -- maybe "Elenor Rigby" or "Yesterday" -- accompanied by the orchestra and James Conlon's direction. But it stands with any similar collection by any singer as it is.

A Window in Time: Rachmaninoff Performs His Solo Piano Works

Average customer rating:

Rachmaninoff is in the house!
Wonderful!!!
Where Does This Take us to?
The dead come alive
Truly Magnificent!

A Window in Time: Rachmaninoff Performs His Solo Piano Works
Sergey Rachmaninov , Sergei Rachmaninoff , and Wayne Stahnke
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
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A Window in Time
Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29)
Rachmaninoff plays Rachmaninoff
Rachmaninoff Plays Rachmaninoff
Rachmaninoff Plays Chopin

ASIN: B000009RCS
Release Date: 1998-08-25

Tracks:

Prelude In C-Sharp Minor, Op. 3, No. 2
Lilacs, Op. 21, No. 5
The Flight Of The Bumblebee
Elegie, Op. 3, No. 1
Barcarolle, Op. 10, No. 3
Liebesfreud
Liebesleid
Melodie, Op. 3, No. 3
Etude-Tableau In B Minor, Op. 39, No. 4
Wohin?
Polichinelle, Op. 3, No. 4
Polka De V.R.
Prelude In G Minor, Op. 23, No. 5
Serenade, Op. 3, No. 5
Minuet
Hopak
Etude-Tableau In A Minor, Op. 39, No. 6
Humoresque Op. 10, No. 5
The Star-Spangled Banner

Amazon.com

This collection of Rachmaninoff's solo piano performances relies on a mix of old and new technologies. Between 1919 and 1929, Rachmaninoff cut these 19 performances to piano rolls, which would then be played back through reproducing pianos capable of accurately re-creating the original performances through pneumatic devices that animated the rolls with living nuances and shades--a facet that differentiated the classier reproduction keyboards from the more common "player pianos." This set updates the technology with electronic devices--transparently, though expertly, replacing the pneumatics. Played back on a Bösendorfer Reproducing Piano, this collection sounds astounding, full of Rachmaninoff's lickety-quick motion and his punching intensity when striking the keys. There are 18 Rachmaninoff selections--some of them collaborations--and one gem, "The Star-Spangled Banner," taken to new places in this 1919 reading. --Andrew Bartlett

Customer Reviews:

Rachmaninoff is in the house!.......2007-02-08

Superb sound quality! This is not a remastered recording made back in the '50's. This is actually Rachmaninoff performing via a special, pressure-sensitive type player piano. It truly sounds like he was recorded live with our current technology. The accompanying booklet explains everything very clearly.

Rachmaninoff was not only an exceptional composer, he was also an exceptional (if that is a strong enough term) performer. This CD allows you to experience his performing abilities as though you were sitting with him today. Great CD for every collection, even if you only casually listen to classical music on a rare occasion.

Rachmaninoff Rocks!

Wonderful!!!.......2006-07-15

No, I'm not a kid. But I am quite the Rachmaninoff ethusiast;I own all his recordings, both acoustic/electric and piano roll. Before buying these discs (i.e. the two volumes of A Window In Time), I read the reviews here, and was a bit reluctant in purchasing them after having read the negative ones. They claim that "there is no music" in these cds, that the "performances" are uncharacteristic of Mr. Rachmaninoff. But after comparing these performances with those recorded centuries ago, they do indeed seem to be accurate. Though they were digitally transferred, the authenticity is still there. I actually wonder if the naysayers only bash this collection because of the fact that these rolls were converted in such a way, and because of this formed a harsh bias. The alternative to these recordings on Decca are nice sounding though the tempi are a bit off, as proven by the recordings of the master himself playing. This is especially evident in the G minor Prelude; the Decca version is simply too slow and simply unlike Rachmaninoff. The version here, however, sounds very much like his playing. Despite my praises, there are two flaws I find in AWIT.The first is the use of a Boesendorfer that at times sounds awkward,like in the ending of Elegy; personally I would have loved for these to have been somehow transferred onto a Steinway, and Rachmaninoff would agree with me, as he performed exclusively on Steinways. The second flaw is that, yes, that little bit of sponteneity found in the acoustic/electric recordings is missing, but of course neither anyone nor anything can reproduce Rachmaninoff's pianism in a flawless but Rachmaninoff himself. I strongly reccommend both volumes of "A Window in Time". Try not to let the negative reviewers sway you, decide for yourself.

Where Does This Take us to?.......2005-10-13

Wonderful music most brilliantly played, with no coughings or whatever. Many of them are celebrated pieces too. But I won't for a moment suggest any serious piano music lover to really compare it with Rachmaninov's RCA recordings even if you have the heavy hissings of the latter on the other side of the balance. You will probaly more fun if you could just concentrate on what this technology could achieve.

The dead come alive.......2005-01-14

This is the best reconstruction of historic playing you'll ever hear, in part because while Rachmaninoff is playing it's as if he were installed on a big Boesendorfer in your living room. Finally we hear why in his time R. was if anything a bigger name as performer than as composer. Wonderful music, with rich recorded sound, and the always-exquisite sound of the Boesendorfer.

Truly Magnificent!.......2004-07-19

I just got this CD and with some trepidations sat back and listened intently from start to finish. WOW!! I was hoping that the negative reviews about mechanical and robotic playing would not be too accurate. Well those reviews were utterly absurd, these are MAGNIFICENT recordings! To paraphrase the liner notes, we can thank our lucky stars that we live in a time that technology can bring us this close to the great Rachmaninoff! From some of the reviews one could think this is some sort of computer generated music, robotic and lifeless. Nothing could be further from the truth. The humanity, soul and beauty of the playing leaps out at you. We owe Mr. Stahnke a debt of gratitude for this labor of love. This is art restoration of a high order, not technological interference. To fault this incredible "remastering" of the orginal rolls is like faulting the new digital transfers of old analog tape. It is not "interfering" with original recordings, it is restoration. Purist debates and Bose versus Stein arguments are meaningless when hearing Rachmaninoff play with this level of clarity and beauty of sound. Just like digital transfer of classic films or "cleaning" of masterpiece paintings, this is technology being used to increase our experience of the original intent, not to alter it. I have ordered the second one as well and will purchase every single issue of old piano roll masters that is restored like this. Don't hesitate, these are truly magnificent recordings that will not disappoint. Five stars without reservation!

Average customer rating:

One of the most remarkable pianists on the stage!
Does Schubert need to be this delicate and restrained?
Volodos' true métier
The Schubert you have been waiting for...
Thoroughly modern Schubert

Schubert: Solo Piano Works
Arcadi Volodos , and Franz Schubert
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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Tchaikovsky: Piano Concerto No. 1: Rachmaninoff: Solo Piano Works [Hybrid SACD]
Volodos Plays Liszt
Rachmaninov: Piano Concerto No. 3/ Solo Piano Works

ASIN: B00005Y1N1
Release Date: 2002-02-12

Tracks:

Sonata In E Major for Piano unfinished: Allegro ma non troppo
Sonata In E Major for Piano unfinished: Andante
Sonata In E Major for Piano unfinished: Menuetto. Allegro vivace-Trio
Sonata In G Major For Piano: Molto moderato e cantabile
Sonata In G Major For Piano: Andante
Sonata In G Major For Piano: Menuetto. Allegro moderato-Trio
Sonata In G Major For Piano: Allegretto
Der Muller und der Bach

Amazon.com

Arcadi Volodos's reputation has been based on fire-eating virtuoso material, but he brings wit, poetry, and depth to this unexpected but very welcome foray into Schubert. All three attributes are prominently displayed in Schubert's first, unfinished Piano Sonata, on which Volodos plays the first movement melody with disarming lyricism and sets it off against the bolder, Beethovenian contrasting passages, which are done with a big, full-bodied tone and slashing accents. A highlight is the gently sung andante movement. The main work is the big G Major Sonata, a mature masterpiece. Volodos floats the opening, its tentative measured tread apparently materializing out of thin air--a nice touch. When Schubert morphs that strange melodic fragment into a theme poised between hesitant withdrawal and urgent poetry, Volodos responds with tremendous feeling. He's as effective in the jagged, stabbing forte restatement of the theme, varying tonal color and dynamics to great effect. The encorelike filler, Liszt's arrangement of Schubert's song Der Müller und der Bach, is done with flowing grace. Throughout, Volodos brings personal touches to these works that clearly reflect his affection for Schubert's great keyboard works. --Dan Davis

Customer Reviews:

One of the most remarkable pianists on the stage!.......2006-05-07

Arkadi Volodos is in the actual moments one of the supreme masters of the keyboard. His admirable interpretative eloquence, admirable temperament, limpid phrasing, passionate lyricism and steeled fingering makes of him one of the best gifted pianists of his generation.

For all those who had had the honored privilege to watch him in live (I am not among them) and for the rest of us, who only have heard him thanks to the Digital Technology, it is a very good new to know about him, because in spite of the fact of the impressive number of new soloists in the market, Volodos has been one of the few who positively has impressed me.

I hope for him new musical achievements.

Does Schubert need to be this delicate and restrained?.......2006-04-25

I think the Amazon reviewer has described accurately all the virtues of Volodos' playing. His Schubert is flowing, thoughtful, and finely shaded. Volodos joins the refined ranks of Schubertians who tread poetically through his piano sonatas, and unlike Mitsuko Uchida and Radu Lupu, one can't accuse Volodos of being overly self-conscious or precious. Delicacy and restraint belong to him naturally, which is rare in his species of barnstorming virtuoso.

Still, I was fairly bored the whole way through, because to my ears Schubert shouldn't sound this delicate. He isn't a trembling violet in the woods. I much prefer Richter's direct attack and Schanbel's forthrightness. Much as I admire Volodos for his gifts, not the least of which is his natural way with a lyrical line, this CD left me cold too much of the time.

Volodos' true métier.......2005-04-04

This disc should convince even some die-hards that Arcadi Volodos can play with more subtlety than a Mack truck. For anyone who doesn't have that preconception, it should be delightful.

As much as he tried, Horowitz could never play Schubert convincingly. Volodos takes to it as though born to it, and perhaps he was. Raised in a family of singers and trained as such before turning to the keyboard, Volodos plays these two sonatas not only persuasively, but as though he has had a long an intimate association with their composer's writing - which of course he has.

He also captures something most pianists, recently, have missed in Schubert's music - a singing line and cantabile that continually run through the Austrian's oeuvre. Essentially, Schubert was incapable of writing anything that wasn't a song without words - both a blessing and a bane for the composer that grew as his days on the planet shortened. Like Schubert, Volodos cannot escape from playing as though he is singing at the keyboard, not just in his legato but also in phrasing, inflection, and subtle, flowing gradations of color and shadow. This is not blessing and curse, though. This is pure rapture from beginning to end.

The Schubert you have been waiting for..........2004-01-25

This, indeed, is an incomparable Schubert recording. While I was skeptical of Volodos' reading of these works given my disappointment with his interpretation of Rachmaninoff's Piano Concerto #3, I decided to give him another chance. I'm happy I did! The Schubert here is so ethereal...Volodos convincingly takes us into Schubert's world. Recording quality is superb as well. If you suffer from road rage, pop this CD into your car's stereo system, and you'll soon forget about those nutty drivers out there! On a serious note, you won't find a better version of these works on disc. You can't go wrong with this one. Play on, Mr. Volodos.

Thoroughly modern Schubert.......2002-11-28

This young pianist, Russian born resident in Spain, has enjoyed phenomenal success in a relatively brief time span. A starburst debut saw him performing the most outrageous series of transcriptions, including his own "transcribed" transcriptions written and performed by Horowitz, which most of us thought had died with the late Vladimir. Volodos' technique is the genuine article; pinpoint precision, superb warm sound, wonderfully rock solid musical instinct, tremendous power, pearly pianissimi, and a natural sense of rhythm.

That was super but it was a studio recording. It was followed by Rachmaninov's third concerto which showed the same technical resources but wasn't quite the world beater we might have expected, although it is a fine performance. Divine Schumann followed in a live recording of his debut in Carnegie Hall. That was surrounded by further majestic recordings of the Russian romantic tradition, Rachmaninov and Scriabin as well as more of his Horowitz transcriptions.

And now....this!! Anyone taking on these Schubert sonatas is brave indeed. The sheer intellect required to tame those enormous musical passages and to unravel the seemingly endless and, in some hands, repetitive phrases, is immense. There have been revelatory readings of these magnificent works from Richter, Brendel and others, Richter in particular was excrutiatingly intense in the opening movement of the G major work. Check out the snipets of his performance on the Richter the Enigma, the excellent documentary by Bruno Monsaignon.

As far as I am concerned, Volodos tops them all with some miraculous piano playing that this time confirms his claim to greatness. As piano playing purely, it is wonderful in itself. This man's innate musicality is aligned to one of the most flexible and fluid techniques ever. That technique is placed entirely at the service of the music and one is thoroughly absorbed by the massive structures not bewildered by them. All is laid bare with a translucency that is never clinical or sanitised.

Every movement unfolds in a way that makes you realise once again or for the first time that Schubert's lyrical inventiveness was not just to be found in his songs. For many, I can imagine that this disc will be revelation in terms of being introduced to Schubert's major piano works. The G major is on a par with the last three great sonatas written in the year of his untimely death. Next stop from here is surely those last three. The opening of the G major sonata is one of the most haunting moments in music and Volodos conveys the space around the music and allows the music to breath naturally.

The sonatas are obviously the main issue here, but the Liszt arrangement is also superb. The sureness of Volodos' touch and the perfection of his conrol of musical line and part playing within all of the muscal textures is simply fabulous and again never self-serving or idiosyncratic.

Tracks:

Be My Love (The Toast Of New Orleans)
Serenade (The Student Prince)
Temptation (Going Hollywood)
Wanting You (The New Moon)
I'll Be Seeing You (The Royal Palm Revue)
With A Song In My Heart (Spring Is Here)
Without A Song (Great Day)
Danny Boy (Londonderry Air)
My Wild Irish Rose
And This Is My Beloved (Kismet)
Because
Only A Rose (The Vagabond King)
Funiculi, Funicula
Come Back To Sorrento
Maria Mari'
O Sole Mio
Neapolitan Love Song
Arriverderci, Roma
Ah! Sweet Mystery Of Life (Naughty Marietta)
Look For The Silver Lining (Sally)
Memories
The Song Is You (Music In The Air)
Ave Maria
You'll Never Walk Alone (Carousel)

Customer Reviews:

A mixed bag of romantic offerings.......2001-12-17

BMG's Lanza collections are usually a mixed bag, and this album of love songs is no exception. Interspersed with some magnificent performances are an assortment of the good, the bad, and the mediocre. Part of the problem, I suspect, is that BMG simply doesn't appreciate what treasures it has buried in its recording vaults. It's enough to bring back Lanza from the grave, swearing in High C (as Time Magazine once tut-tutted) at the injustice of it all.

Lanza, in fairness to BMG, was an inconsistent performer. In the earlier part of his brief career, he had a tendency to sing sharp, and at times his approach to various arias and songs lacked sensitivity. That's not to say he couldn't get it right. At his best he was extraordinary, combining one of the most powerful voices on record with just the right degree of melting mezza voce and a dazzling array of vocal colours. His sense of phrasing was, as Enrico Caruso Jr noted, "instinctively right", and his ability to get into the heart of a song was unquestionable. Even at his roughest, his singing was usually compelling, and one could never label any of his performances "boring".

The bad recordings generally fall into three periods of his life: the Coca-Cola Radio shows of 1951-52, the disastrous Lanza on Broadway album of 1956, and the illness-affected stereo remakes of his Christmas Carols and Student Prince albums, both recorded in 1959, the year of his death. The present CD includes material from the first two periods.

The "Coke" shows, as I've opined in a number of other reviews, produced some amazing performances of both arias and love songs. Unfortunately, however, lack of rehearsal time coupled with poor arrangements often led to the kind of wild, unrestrained singing that Lanza's detractors love to attack (while at the same time overlooking his great performances). On this CD, a number of Coke recordings were released for the first time: Danny Boy; My Wild Irish Rose; Neapolitan Love Song; and Torna a Surriento. The first two are lovely, notwithstanding a poor ending on Danny Boy and some uncertain moments in the tenor's lower register in this song. Victor Herbert's Neapolitan Song contains some piercingly sharp singing, a rough ending and some agreeable mezza voce. Torna a Surriento is too fast, too unpolished and not a patch on the piano accompaniment-only version that Lanza recorded three years later for the movie Serenade.

Among the other Coke selections is the sublime Memories, and the alternately touching and thrilling I'll Be Seeing You, with a B Flat climax that will knock your socks off. Wanting You is rough and exciting in equal measure - ditto the powerhouse Ah Sweet Mystery of Life with its ridiculously fast tempo.

Two songs from the ill-fated Lanza on Broadway album have been inexplicably included, though it must be said that at least these represent the better moments from this dreadful session. You'll Never Walk Alone contains more sharp singing, uneven rhythm and a certain bleariness, while the Borodin-adapted And This Is My Beloved is alternately belted and seductive. Incidentally, Lanza recorded a superior version of You'll Never Walk Alone for his Coke Shows; this is featured on the CD of the same name.

The real highlights for me are the immortal Serenade from The Student Prince; a thrilling Only a Rose (recorded three months after the Lanza on Broadway session and featuring a completely different voice); the aforementioned My Wild Irish Rose & I'll Be Seeing You and a mature rendition of Schubert's Ave Maria. Fans will also enjoy Arrivederci, Roma, and the ubiquitous Be My Love.

All in all an enjoyable hour, but if only more thought had been put into some of the selections...

The best tenor ever.......2001-03-01

Mario Lanza is indeed my favourite of all tenors either living or not. I must have almost everything he ever recorded. This album has a whopping 24 tracks including 5 previously unreleased recordings, which make this a must for any true fan of Lanza. This album has some of his most romantic songs, mostly from stage and film. You won't find any opera here, which is fine, there's plenty of his other albums that have that. These are songs that are guaranteed to stir your heart and soul while Mario's voice will melt them. This is a must-have and at this price there's no reason not to have it.

The greatest singer of all time!.......2000-06-29

This is one of the greatest compilations of Tenor Mario Lanza, The Voice of the Century, ever made. Mario Lanza had such a broad, well focused voice and he is represented to good measure here on songs like "Wanting You", "Neapolitan Love Song", and "Without a Song". On these selections one hears how the Lanza voice had a largeness, depth, and warmth from the bottom all the way to the very top. One will never hear songs like "O Danny Boy", "My Wild Irish Rose", "You'll Never Walk Alone", "Torna Surriento", "O Solo Mio", and "Ah! Sweet Mystery of Life" sung any better or with more feeling. My favorite on this CD, "And this is my Beloved" from Kismet displays the full Lanza Range. This, in my opinion, is one of the greatest single recordings ever made. Here Mario sings the most melting pianissimo and builds to an exciting, full bodied, heart stopping fortissimo High B flat. What passion! The particular recording of "Only a Rose" on this album has been regrettably absent from the catalogs for quite some time. It is a shame too, because Lanza makes this Vagabond King selection sound free and effortless like only Mario Lanza could. Lanza takes the listener through a guided tour, so speak, of truly the greatest singing the world has ever heard. After hearing the final selection, "You'll Never Walk Alone", there won't be a dry eye in the house. This, along with the "Don't Forget Me" Lanza CD, is one of the greatest single CD collections ever put together of Mario, or anyone else for that matter. Lanza was the greatest singer of all time and this is a must have album. The sooner you own this one, the better.

Average customer rating:

Fantastic
a pianist's pianist performing musical gems...
Exquisite,elegant,nostalgic pieces we seem to have ignored

Stephen Hough's New Piano Album

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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ASIN: B000031WGH
Release Date: 1999-11-16

Customer Reviews:

Fantastic.......2007-06-12

Stephen Hough plays with such heart that it's amazing he's still in one piece. His mastery of both lyrical and athletic genres is incredible. His recordings never fail to move me.

a pianist's pianist performing musical gems..........2002-08-15

While not as well known to the world at large, Stephen Hough is well known among pianists. He's had the knack for finding music that has been neglected and bringing it to light. The music on this CD is a collection of gems -- whose luster Hough brings to light. If you enjoy piano music, this is a "must have" disc.

Some anthologies, become tiresome. Not this one. This is an album you can put on and listen to -- and then listen to the whole disc again...and again. Then I've gone back and listened to some individual tracks still again. The music is compelling, and the performances are masterful.

Let's hope for another disc such as this from the great Stephen Hough.

Exquisite,elegant,nostalgic pieces we seem to have ignored.......2001-01-02

If you have thought the loftier magnetic emotive fields of postmodernity, its conceptual excesses as having abandoning the virtues of obvious enchantments,contentment and reveries as flowing backwards this selection here is an ardent affirmation. All the selections are a celebration of the lost world of piano elegance, of a deeply thought through timbral curiosity reserved for the character piece. We often have simply placed on the shelves of music history these elegant particles of emotion in search for loftier weightier heights via the symphony or concerto. I dare say that time has been wasted. The sentimental the lost time is here evidenced in all these selections, Schubert/Liszt Soirees de Viene easily transports one back, nostalgically for we are escaping here the turmoils of the Hapsburg and Hollenzollerns kingdoms. Likewise the ardent piano composer Leopold Godowsky here his "Alt Wien" is like a New Years celebration. You will find neglected parts of the repertoire as well here pursued by Hough. The Moszkowski is like a crosshanded tribute to Scarlatti, little impeccably crafted textures and pianistic colours are here in Etincelles. Hough's arrangement of Kalman's "Was weiss ein nie gekusster Rosenmund" is simply for seriouslovers of any persuaion, like Marlene Dietrich's "I am driven to you like a moth to a flame". Hough plays all this music with the visionary reserve the music needs, I can easily see this music being romanticized where certain chord progressions certain emotive inflections at the ends of phrases,are(rubatisized) milked for all their worth. Hough here keeps/maintains a discipline.

The character pieces here of the Russian soul has also been neglected,We wanting the East to only join the West in loftier subject matter. Rachmaninov and Tchaikovsky,in pairs of Humoresques have inspired memorable experiences based on simple melodies. There are as ever bit as a challenge to create as their colossol concertos. It is a skill of a different sort,but one just as vigorous creativily and challenging.

Richard Rodgers is also a serious creator of the memorable from within this mileau,"Hello young Lovers" is played as you've never heard it before. This music has a sustenance that simply will not fade with time. It seesm we need this music more than ever.

Complete Works for Solo Piano
Average customer rating:

wonderful music

Complete Works for Solo Piano
Poulenc , and Parkin
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006JN9R
Release Date: 2002-10-22

Tracks:

Suite For Piano In C Major: I Presto
Suite For Piano In C Major: II Andante
Suite For Piano In C Major: III Vif
Adagietto (From Les Biches)
Trois Mouvements Perpetuels: I Assez Modere
Trois Mouvements Perpetuels: II Tres Modere
Trois Mouvements Perpetuels: III Alerte
Les Soirees De Nazelles-Suite For Piano: Preambule
Les Soirees De Nazelles-Suite For Piano: Cadence
Les Soirees De Nazelles-Suite For Piano: I Le Comble De La Distinction
Les Soirees De Nazelles-Suite For Piano: II Le Coeur Sur La Main
Les Soirees De Nazelles-Suite For Piano: III La Desinvolture Et La Discretion
Les Soirees De Nazelles-Suite For Piano: VII Le Gout Du Malheur
Les Soirees De Nazelles-Suite For Piano: VIII L'Alerte Vieillesse
Les Soirees De Nazelles-Suite For Piano: Cadence
Les Soirees De Nazelles-Suite For Piano: Final
Intermezzo In A Flat Major
Valse-Improvisation Sur Le Nom De Bach
Trois Pieces: I Pastorale
Trois Pieces: II Hymne
Trois Pieces: III Toccata
Badinage
Napoli-Suite For Piano: I Barcarolle
Napoli-Suite For Piano: II Nocturne
Napoli-Suite For Piano: III Caprice Italien

Tracks:

Humoresque
Deux Novelettes: Novelette No. 1 In C Major
Deux Novelettes: Novelette No. 2 In B Flat Minor
Novelette Sur Un Theme De Manuel De Falla In E Minor
Villageoises - Petites Pieces Enfantines: I Valse Tyrolienne
Villageoises - Petites Pieces Enfantines: II Staccato
Villageoises - Petites Pieces Enfantines: III Rustique
Villageoises - Petites Pieces Enfantines: IV Polka
Villageoises - Petites Pieces Enfantines: V Petite Ronde
Villageoises - Petites Pieces Enfantines: VI Coda
Improvisations: Improvisation No. 1 In B Minor
Improvisations: Improvisation No. 2 In A Flat Major
Improvisations: Improvisation No. 3 In B Minor
Improvisations: Improvisation No. 4 In A Flat Major
Improvisations: Improvisation No. 5 In A Minor
Improvisations: Imrovisation No. 6 In B Flat Major
Improvisations: Improvisation No. 7 In C Major
Improvisations: Improvisation No. 8 In A Minor
Improvisations: Improvisation No. 9 In D Major
Improvisations: Improvisation No. 10 'Eloge Des Gammes' In F Major
Improvisations: Improvisation No. 11 In G Minor
Improvisations: Improvisation No. 12 'Hommage A Schubert' In E Flat Major
Improvisations: Improvisation No. 13 In A Minor
Improvisations: Improvisations No. 14 In D Flat Major
Improvisations: Improvisation No. 15 'Hommage A Edith Piaf' In C Minor
Deux Intermezzi: Intermezzo No. 2 In D Flat Major
Deux Intermezzi: Intermezzo No. 1 In C Major
Suite Francaise D'Apres Claude Gervaise: I Bransle De Bourgogne
Suite Francaise D'Apres Claude Gervaise: II Pavane
Suite Francaise D'Apres Claude Gervaise: III Petite Marche Militaire
Suite Francaise D'Apres Claude Gervaise: IV Complainte
Suite Francaise D'Apres Claude Gervaise: V Bransle De Chmpagne
Suite Francaise D'Apres Claude Gervaise: VI Sicilienne
Suite Francaise D'Apres Claude Gervaise: VII Carillon
Presto In B Flat Major
Melancolie
Theme Varie: Theme. Tres Calme Et Sans Hate
Theme Varie: I Joyeuse
Theme Varie: II Noble
Theme Varie: III Pastorale
Theme Varie: IV Sarcastique
Theme Varie: V Melancolique
Theme Varie: VI Ironique
Theme Varie: VII Elegiaque
Theme Varie: VIII Volubile
Theme Varie: IX Fantasque
Theme Varie: X Sybilline
Theme Varie: XI Finale
Theme Varie: Coda. Molto Agitato

Tracks:

Pastourelle
Two Pieces From 'Les Biches': Rondeau
Two Pieces From 'Les Biches':Andantino
Feuillets D'Album: 1 Ariette
Feuillets D'Album: 2 Reve
Feuillets D'Album: 3 Gigue
Piece Breve Sur Le Nom D'Albert Roussel
Intermede
Francaise
Nocturnes: Nocturnes No. 1 In C Major
Nocturnes: Nocturne No. 2 'Bal De Jeunes Filles' In A Major
Nocturnes: Nocturne No. 3 'Les Cloches De Malines' In F major
Nocturnes: Nocturne No. 4 'Bal Fantome' In C Minor
Nocturnes: Nocturne No. 5 'Phalenes' In D Minor
Nocturnes: Nocturne No. 6 In G Major
Nocturnes: Nocturne No. 7 In E Flat major
Nocturnes: Nocturne No. 8 'Pour Servir De Coda Au Cycle' In G major
Valse In C Major
Cinq Impromptus: 1 Tres Agite
Cinq Impromptus: 2 Allegro Vivace
Cinq Impromptus: 3 Tres Modere
Cinq Impromptus: 4 Violent
Cinq Impromptus: 5 Andante
Bourree Au Pavillion D'Auvergne
Caprice
Promenades: 1 A Pied
Promenades: 2 En Auto
Promenades: 3 A Cheval
Promenades: 4 En Bateau
Promenades: 5 En Avion
Promenades: 6 En Autobus
Promenades: 7 En Voiture
Promenades: 8 En Chemin De Fer
Promenades: 9 A Bicyclette
Promenades: 10 En Diligence

Customer Reviews:

wonderful music.......2007-07-03

I listened to this disc collection at least a hundred times. Poulenc is a great composer and Eric Parkins interpretation is really enjoyable

Average customer rating:

Sacred Works

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ASIN: B00062IEHS
Release Date: 2004-10-12

Tracks:

Allelula - Leontyne Price
Miserere - Roy Goodman
Ave Verum Corpus, K. 618 - Peter White
Ave Maria - Frederico Von Stade
Sheep May Safely Graze - Stuttgart Chamber Orchestra
Jesu, Joy Of Man's Desiring - Stuttgart Chamber Orchestra
Ave Maria - Lisa Otto
Gloria In Excelsis
Et In Terra Pax
Laudamus Te
Gratias Agimus Tibi
Propter Magnam Gloriam
Domine Deus
Domine Fili Unigenite
Domine Deus, Agnus Dei
Qui Tollis
Qui Sedes Ad Dexteram
Quoniam Tu Solus Sanctus
Cum Sancto Spiritu

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Excellent Webern from the master Boulez and company.
Webern may grow on you and Boulez et al. are worth every penny.
Interesting and Challenging
The original and still the best
Boulez's Webern -- brilliant modern miniatures

Anton Webern: Complete Works, Opp. 1-31
Anton Webern , Pierre Boulez , Heather Harper , Charles Rosen , Isaac Stern , Halina Lukomska , Colin Bradbury , John [guitar] Williams , Daniel Majeske , Robert Marcellus , Abraham Weinstein , and Barry McDaniel
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ASIN: B000002707
Release Date: 1991-02-08

Tracks:

Passacaglia fur grobes Orch Op.1 - LSO/Pierre Boulez
'Entflieht auf leichten Kahnen' Op.2 (Text: Stefan George) - John Alldis Chor/Pierre Boulez
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: I. Dies ist ein Lied fur dich allein... - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: II. Im Windesweben-Sehr fliebend - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: III. Am Bachesranft-Ziemlich rasch - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: IV. Im Morgentaun-Fliebend - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: V. Kahl reckt der Baum-Langsam - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: I. Eingang-Ruhevoll - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: II. Noch zwingt mich Treue-Bewgt - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: III. Ja Heil und Dank-Sehr langsam - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: IV. So ich traurig bin-Sehr fliebend und zart - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: V. Ihr tratet zu dem Herde-Langsam - Heather Harper/Charles Rosen
Funf Satze fur Streichquartett Op.5: I. Heftig bewegt - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: II. Sehr langsam - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: III. Sehr bewget - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: IV. Sehr langsam - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: V. In zarter Bewegung - Juilliard Str Qt
Sechs Stucke fur grobes Orch Op.6: I. Etwas bewegte Achtel - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: II. Bewgt - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: III. Zart bewegt - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: IV. Langsam - LSO/Pierre Boulez L
Sechs Stucke fur grobes Orch Op.6: V. Sehr langsam - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: VI. Zart bewegt - LSO/Pierre Boulez
Vier Stucke fur Geige und Klavier Op.7: I. Sehr langsam - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: II. Rasch - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: III. Sehr langsam - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: IV. Bewegt - Isaac Stern/Charles Rosen
Zwei Lieder fur mittlere Stimme und acht Instrumente Op.8, nach gedichten von Rainer Maria Rikle:... - Heather Harper
Zwei Lieder fur mittlere Stimme und acht Instrumente Op.8, nach gedichten von Rainer Maria Rikle:... - Heather Harper
Sechs Bagatellen fur Streichquartett Op.9: I. Mabig - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: II. Leicht bewegt - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: III. Zeimlich fliebend - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: IV. Sehr langsam - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: V. Auberst langsam - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: VI. Fliebend - Juilliard Str Qt
Funf Stucke fur Orchester Op.10: I. Sehr ruhig und zart - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: II. Lebhaft und zart bewegt - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: III. Sehr langsam und auberst ruhig - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: IV. Fliebend, auberst zart - LSO/Pierre Boulez L
Funf Stucke fur Orchester Op.10: V. Sehr fliebend - LSO/Pierre Boulez
Drei kleine Stucke fur Violoncello und Klavier Op.11: I. Mabige Achtel - Gregor Piatigorsky/Charles Rosen
Drei kleine Stucke fur Violoncello und Klavier Op.11: II. Sehr bewegt - Gregor Piatigorsky/Charles Rosen
Drei kleine Stucke fur Violoncello und Klavier Op.11: III. Auberst ruhig - Gregor Piatigorsky/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: I. Der Tag ist vergangen (Volkslied)-Sehr ruhig - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: II. Die geheimnisvolle Flote (Li Tai po/Bethge)-... - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: III. Schein mir's als ich sah die (aus August ... - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: IV. Ein Winterabend (Goethe0-Sehr flieBend - Heather Harper/Charles Rosen

Tracks:

Vier Lieder fur Sopran und Orch Op.13: I. Wiese im Park (karl Kraus)-Sehr ruhig - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: II. Die Einsame (Wang Xen Yu/Bethge)-Bewegt - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: III. In der Fremde (Li Tai Po/Bethge)-FlieBend - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: IV. Ein Winterabend (Georg Trakl)-Sehr ruhig - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: I. Die... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: II. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: III. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: IV. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: V. Nachts... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: VI. Gesang.. - Heather Harper
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: I. Das Kreuz-Getragen - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: II. Morgenlied (aus'Des Knaben... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: III. In Gottes Namen aufstehn-... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: IV. Mein Weg geht jetzt voruber-... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: V. Fahr hin , o Seel'-FlieBend - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: I. Christus... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: II. Dormi... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: III. Crux... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: IV. Asperges... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: V. Crucem... - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: I. Armer Sunder, du - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: II. Liebste Jungfrau, wir sind dein - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: III. Heiland, unsre Missetaten - Halina Lukomska
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: I. Schatzerl klein - Halina Lukomska/John Williams/Colin Bradley
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: II. Erlosung - Halina Lukomska/John Williams/Colin Bradley
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: III. Ave Regina - Halina Lukomska/John Williams/Colin Bradley
Zwei Lieder fur gemischten Chor und funf Instrumente Op.19, aus'Chinesisch-deutsche Jahres-... - John Alldis Choir/Pierre Boulez
Zwei Lieder fur gemischten Chor und funf Instrumente Op.19, aus'Chinesisch-deutsche Jahres-... - John Alldis Choir/Pierre Boulez
Streichtrio Op.20: I. Sehr langsam - Members of the Juilliard Str Qt
Streichtrio Op.20: II. Sehr getragen und ausdrucksvoll - Members of the Juilliard Str Qt
Sym Op.21: I. Ruhig schreitend - LSO/Pierre Boulez
Sym Op.21: II. Variationen - LSO/Pierre Boulez
Qt fur Geige, Klarinette, Tenorsaxophon un Klavier Op.22: I. Sehr maBig - Charles Rosen/Daniel Majeske/Robert Marcellus/Abraham Weinstein
Qt fur Geige, Klarinette, Tenorsaxophon un Klavier Op.22: II. Sehr schwungvoll - Charles Rosen/Daniel Majeske/Robert Marcellus/Abraham Weinstein
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: I. Das dunkle Herz-Getragen - Halina Lukomska/Charles Rosen
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: II. Es sturzt aus hohen Frisch-Bewegt - Halina Lukomska/Charles Rosen
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: III. Herr Jesus mein-Langsam - Halina Lukomska/Charles Rosen
Konzert fur neum Instrumente Op.24: I. Etwas lebhaft - Members of the LSO/Pierre Boulez
Konzert fur neum Instrumente Op.24: II. Sehr langsam - Members of the LSO/Pierre Boulez
Konzert fur neum Instrumente Op.24: III. Sehr rasch - Members of the LSO/Pierre Boulez
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: I. Wie bin ich... - Halina Lukomska/Charles Rosen
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: II. Des Herzens... - Halina Lukomska/Charles Rosen
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: III. Sterne, Ihr... - Halina Lukomska/Charles Rosen

Tracks:

'Das Augenlicht' fur gemischten Chor und Orch Op.26, Worte von Hildegard Jone - John Alldis Chor/Pierre Boulez
Variationen fur Klavier Op.27: I. Sehr maBig - Charles Rosen
Variationen fur Klavier Op.27: II. Sehr schnell - Charles Rosen
Variationen fur Klavier Op.27: III. Ruhig flieBend - Charles Rosen
Streichquartett Op.28: I. MaBig - Juilliard Str Qt
Streichquartett Op.28: II. Gemachlich - Juilliard Str Qt
Streichquartett Op.28: III. Sehr flieBend - Juilliard Str Qt
Kantate Nr.1 Op.29, Worte von Hildegard Jone: I. Zundender Lichtblitz-Getragen - Halina Lukomska/John Alldis Chor
Kantate Nr.1 Op.29, Worte von Hildegard Jone: II. Kleiner Flugel, Ahornsamen-Leicht bewegt - Halina Lukomska/John Alldis Chor
Kantate Nr.1 Op.29, Worte von Hildegard Jone: III. Tonen die seligen Saiten -Ruhig - Halina Lukomska/John Alldis Chor
Variationen fur Orch Op.30 - LSO/Pierre Boulez
Kantate Nr.2 Op.31: I. BaB. Schweigt auch die Welt - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: II. BaB. Sehr tiefverhalten - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: III. Chor. Schopfen aus Brunnen des Himmels - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: IV. Sopran. Leichteste Burden der Baume - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: V. Chor. Freundselig ist das Wort - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: VI. Chor. Gelockert aus dem SchoBe - Halina Lukomska/Barry McDaniel/John Alldis Chor
Funf Satze fur Streinchquartett Op.5: I. Heftig bewegt - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: II. Sehr langsam - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: III. Sehr bewegt - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: IV. Sehr langsam - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: V. In zarter Bewegung - LSO/Pierre Boulez
J.S. Bach/A. Webern: Fuga (Ricercata) Nr.2 aus dem 'Musikalischen Opfer' - LSO/Pierre Boulez
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): I. - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): II. (I.Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): III. (I.Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): IV. - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): V. (IV. Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): VI. (IV. Da capo) - Frankfurter Funkorchester/Anton Webern

Amazon.com essential recording

This collection presents all Webern's works with opus numbers in chronological order, allowing listeners to scrutinize the inner workings of this influential composer's intense, compressed style from the lush Passacaglia to the starkness of his late vocal works. A broadcast recording of Webern conducting a group of Schubert Dances makes a lively bonus. --Jed Distler

Customer Reviews:

Excellent Webern from the master Boulez and company........2006-09-12

Boulez has a DG recording, which I have several singles from that set. The DG is very good and recommended as a second set. This Sony recording is outstanding and the finest in my Webern collection. If you have this set , you still may want to look at the DG set. Why? Because this music is so wonderful, so that another experience is well worth the price of say $40. But if you have the DG set, you definetly want to keep that set and also get this Sony set.
Notice how few new Webern recordings are released. When conductors hear this set, I guess they feel its pointless to try to meet these standards. The artists here are all in excellent form and understanding of this extremely difficult but rewarding music.

Webern may grow on you and Boulez et al. are worth every penny........2005-09-18

If you are looking for an introduction to Webern, give this a try. It has the advatage of being comprehensive and well played. If you don't like all of Webern, so be it. If you buy this recording and give it a few listenings you will have heard enough to make an informed judgement.

I have found that Webern's music demands mutiple hearings before you can say you've really heard it. When you are in the mood for some 20th century pioneering work, turn to this recording and listen. Over time, you will be glad you did.

Interesting and Challenging.......2004-04-09

I don't know if I "like" Webern, but he is certainly interesting and challenging. The textures of his music are very fragile and transparent. The pieces are extraordinarily economical (the average Webern piece, I would guess, is about two minutes in duration, maybe less). The dissonances are extreme (strange to say, twelve-tone music can vary in how dissonant it sounds, as some twelve-tone composers (Berg, for example) use "easier" tone rows as the bases of their works). Webern was a musician of great integrity, and he pushed twelve-tone music to the radical extreme (as compared his more conservative teacher, Schoenberg, and fellow-pupil, Berg.) Again, I don't know if it works, and I don't know if I like it. I will definitely continue to listen to it. What I definitely like is this wonderful recording, with performances lovingly rendered. For this reason, I'm giving the recording five stars. However, if you want an "easier" introduction to twelve-tone and atonal music, get Berg's Violin Concerto, or even Schoenberg's piano concerto. With respect to the Schoenberg piano concerto, Mitsuko Uchida's disc is wonderful, and is highly recommended.

The original and still the best.......2003-11-25

Boulez's seminal original recordings of Webern are still important today. They capture the extraordinary distance this composer travelled from his tonal opus 1 passacaglia, though the atonal expressionism of the opus 5 and opus 6 pieces, the extreme compression of the opus 9 bagatelles, the contrapuntal abstraction of the mid-period songs to the serial masterpieces of his later years. These pieces still divide concert audiences today--I've been to Webern performances where half the audience was electrified and the other half clearly wanted to be elsewhere--but their historical significance cannot be denied. I believe their musical significance cannot either: close on a dozen of these works are amongst the finest pieces the 20th century has to offer. This set of performances, dating from the late 1960s and early 1970s and largely recorded under the direction by Pierre Boulez, has long since been regarded as being as close to definitive as one can get. I wouldn't go so far--there are occasional less impressive performances (such as the saxophone quartet) amongst the very fine ones. However, as complete sets go, I find the performances here largely superior to Boulez's more recent traversal on DG.

Technically, this set is not a Complete Works. It only includes those works that Webern published with an opus number, with the addition of the composer's wonderful orchestral transcription of the Ricercare a 6 from Bach's Musical Offering, and an old recording of Webern conducting his orchestrations of Schubert's German Dances. There are more works included on Boulez's rival set on DG--at twice the price--but most of what you gain are juvenilia.

And, for those who remain unconvinced that they'd like Webern, check out http://www.antonwebern.com -- a website that has free streaming mp3s of several of the recordings on this set. Listen to a few of them a few times (though skip the opus 16-18 songs, some of his driest works), and then decide.

Boulez's Webern -- brilliant modern miniatures.......2001-11-27

All 31 works that Webern gave official Opus numbers on 3 discs, conducted by Boulez (not Kolbe!), with the Juilliard Quartet and the London Symphony Orchestra, and a superb booklet with commentary and lyrics -- so why only 4 stars? My objection is the strictly chronological presentation, and the fact that I am not won over by Webern's vocal works -- I would vastly prefer grouping the music by form. Everything is brilliantly performed, and Charles Rosen, who accompanies sopranos on piano on several pieces, plays with sparkling luminosity. But the reason I sought out this collection is because I wanted to hear Boulez's versions of Webern's masterpieces, the "Symphony (Op. 21)" and "Variations for Orchestra (Op. 30)," as well as the string trios and quartets. Here these instrumental works are mixed among the lieders, Webern's many vocal works, and I find this frustrating. I prefer hearing the instrumental pieces grouped together, as on the Dohnanyi or Sinopoli discs of orchestral works (see my reviews of both), or the Schoenberg or Emerson Quartet's discs of the string trios and quartets (see my reviews of both). Unfortunately there is not a Boulez disc comparable to the Dohnanyi (on London) or Sinopoli (on Teldec). So it's either this Sony box or the several more recently recorded discs on DG, unless of course you are a total Webern fanatic and want the Ultra-Complete box with all the numbered AND un-numbered pieces...

It's really hard to fault this excellent Webern collection. Obviously if you have a more catholic appreciation of Webern's music than I (including the vocal works), my criticism is irrelevant. If you are a completist on a budget, this is a clear choice over the more expensive box. But if you are looking for an introduction to Webern's music, the best of which is some of the best of the 20th century in my opinion, I suggest that you begin with 1) Dohnanyi and the Cleveland Orchestra, and 2) the Schoenberg Quartet.

[There is a mistake on the site. Pierre Boulez is the conductor, not Helmuth Kolbe. Careful inspection of the box reveals that Kolbe was the engineer...]

Average customer rating:

Complete Violin Works / Octet
Schubert , Afanassiev , Maisenberg , Coe , and Kremer
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006L76Z
Release Date: 2003-04-08

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A Match Made in Heaven

Air - Works for Recorder and Guitar

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Bach: Six Sonatas
The Ultimate Recorder Collection

ASIN: B000003G8W
Release Date: 1997-10-14

Tracks:

Gymnopedie No. 1
Leaping Dance, Op. 17 Nos. 1 & 3
Cattle Call, Op. 17 No. 22
Elve's Dance, Op. 12 No. 4
Lullaby, Op. 66 No. 15
Stumping Dance, Op. 17 No. 8
Orfeo ed Euridice: Dance Of The Blessed Spirits And Air
Gestern Abend war Vetter Michel da: Variations
Gymnopedie No. 3
The Bee, Op. 13 No. 9
Suite in D: Air On The G String
Palleas et Melisande: Sicilienne
Sonata In G Minor 'Le Trille du diable': Andante
Sonata In G Minor 'Le Trille du diable': Allergro
Sonata In G Minor 'Le Trille du diable': Grave - Allegro assai
The Mother, Op. 41: The Fog Is Lifting
Sonatina In C Minor, WoO 43a
Sonatina In C Major, WoO 43a
Le Triomophe de la republic: Tambourin
Gymnopedie No. 2
Sonata In F Major, BWV 1033: Andante
Sonata In F Major, BWV 1033: Allegro
Sonata In F Major, BWV 1033: Adagio
Sonata In F Major, BWV 1033: Menuett

Customer Reviews:

A Match Made in Heaven.......2001-11-21

The guitar and recorder are a lovely sonic match, blending into a lyrical intimacy. Michala Petri has been the international champion of the recorder since her teen years, combining unequalled technical mastery with musical expression seemingly beyond the ability of this relatively primitive and limited instrument. Now in her forties and as ever breaking new ground for the recorder, she has combined with her husband, the excellent guitarist Lars Hannibal, to record an album of transcriptions for recorder and guitar.

While it is not at all unusual to hear recorder and guitar together, it is unusual to hear them playing music written less than two centuries ago. Most of the pieces transcribed here date from the romantic and post-romantic. Most are familiar short works by such as Grieg, Satie, Faure, and Nielsen. There is a bent toward the haunting, such as the lost-in-time 'Sicilienne' from Faure's 'Pelleas et Melisande', and some of Grieg's piano miniatures evoking (or invoking) his special Nordic forest magic. In every case, the two master performers blend seamlessly, and range from amazing feats to the most intense expressiveness.

This album excels our time-in-CD-player test, and is the album most likely to be listened to by my wife and I as we fall asleep. Sometimes, though, I stay awake because I can't stop listening.

P.S. We were once blessed to visit with Michala Petri following a recital in Toronto. She is as gracious in person as on stage.

Track Listings: