Bernstein Century: Mahler - Kindertotenlieder/Symphony No. 8 "Symphony of a Thousand"

Track Listings

1. Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgehn !

2. Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen

3. Kindertotenlieder: Wenn Dein Mütterlein

4. Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen

5. Kindertotenlieder: In Diesem Wetter !

6. Symphony No. 8: Veni, Creator Spiritus!

7. Symphony No. 8: Imple Superna Gratia

8. Symphony No. 8: Infirma Nostri Corporis

9. Symphony No. 8: Tempo I. (Allegro, Etwas Hastig.)

10. Symphony No. 8: Infirma Nostri Corporis

11. Symphony No. 8: Accende Lumen Sensibus

12. Symphony No. 8: Qui Paraclitus Diceris

13. Symphony No. 8: Gloria Patri Domino

14. Symphony No. 8: Poco Adagio

15. Symphony No. 8: Più Mosso. (Allegro Moderato.)

16. Symphony No. 8: Waldung, Sie Schwankt Heran" -Heilige Anachoreten

17. Symphony No. 8: Ewiger Wonnebrand -Pater Ecstaticus

18. Symphony No. 8: Wie Felsenabgrund Mir Zu Füssen" -Pater Profundus

19. Symphony No. 8: Gerettet Ist das Edle Glied" -Chor Der Engel und Chor S

20. Symphony No. 8: Jene Rosen, Aus Den Händen" -Chor Der Jungeren Engel

See all 37 tracks on this disc

Tracks:

Adagio For Strings, Op. 11
Fantasia On A Theme Of Thomas Tallis
Fantasia On 'Greenleaves'
String Quartet No. 1,. Op. 11: 'Andante Cantabile' - Tchaikovsky
Symphony No. 5 In C Sharp Minor: 'Adagietto'

Customer Reviews:

Superb.......2007-05-15

Bernstein's usual wonderful interpretations of 5 pieces.
This is probably the best performance of Barber's Adagio you can find and I have heard them all. One other note is Williams' Fantasia on a theme by Thomas Tallis... it is spellbinding. This cd is definately worth the price if you are into slower strings.

Powerful and Moving.......2007-02-07

Barber's Adagio for Strings has become my favorite piece of music ever since hearing this recording several years ago. I definitely recommend this for anyone who likes violin music.

Barber's adagio.......2007-02-01

This sounds like a great recording of the Adagio adopted for orchestra.
I personally discovered another cd called Cathedral Classics recorded by Dale Warland Singers which gives a superior recording of the same music.
Dale Warland gives an unmatched quality that is available on the Internet.

My inner beauty.......2007-01-20

This music brings thoughts to my mind. I relax and think about good memories. But something in the music makes me sad sometimes and I can't stop listening to it because it is so beautiful. I want this CD to be played at my funeral. Only because it would bring good thoughts to people who know me now, but also just because it is so serene.

Oscar Wilde plays Barber?.......2005-07-12

Apparently, Thomas R. Brown is the only reviewer who has actually listened to this disc.

The performance of the Barber is not only the worst performance of the Adagio that I've ever heard; it's probably the worst performance of any piece by a major orchestra that I've ever heard, live or recorded. The complete lack of synchronization between the various string sections is embarrassing; the sloppy entrances are distracting and graceless. The orchestra sloshes from phrase to phrase like water in a bucket being carried over rough terrain. One wonders whether Bernstein was bothering to conduct at all, or was making everyone guess. This performance would have been unacceptable from my Youth Orchestra 25 years ago.

The other tracks are considerably better, but it's hard to make up for such a pathetic effort on the lead track.

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

Average customer rating:

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

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

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

ASIN: B00000HXKX
Release Date: 1999-01-12

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Barber's Adagio: Romantic Favorites for Strings

Average customer rating:

Not What I Expected
One of the best (and my favorite) "Adagio" albums has got even better...

Barber's Adagio: Romantic Favorites for Strings

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ASIN: B0002J58PQ
Release Date: 2004-07-27

Customer Reviews:

Not What I Expected.......2007-02-10

It's my fault. I didn't read the information about the CD close enough. I really like Barber's Adagio for Strings. I located this CD when I was in pursuit of music by Samuel Barber. Well, there is only 1 Barber piece on the CD which contains a collection of music that was determined to be "romantic". The CD is okay, but not a favorite. I would not recommend it.

One of the best (and my favorite) "Adagio" albums has got even better..........2005-07-08

Previously, the "Romantic Favorites for Strings" album done by Leonard Bernstein and the New York Philharmonic, was released in the CBS Great Performances series. Now, thanks to CBS's digital remastering... not the mention adding three bonus tracks (!!!!!), one of the best (and my favorite) "Adagio" albums has got even better. The following is what I reviewed in the original album...

"If you've seen 'Platoon', and 'Lorenzel's Oil', repeatedly hearing the same traumatic music, and want to own it to your music library, this would be the definite CD to buy. A tiny bit slower than what's heard on the screen, but with more emotive sounds on the strings, the New York Phil under Bernstein's baton would surely put you to tears for sure. I claim this is one of the best recording of Barber's Adagio for Strings.

Vaughn-William's Fantasia based on the music by Tallis is indeed haunting and beautiful, and Lenny's performance is highly stimulating, with the string ever so brilliantly played, undoubtly making one of the most acclaimed performaces. The 'Fantasia on Greensleeves' is beatifully played too.

Tchaikovsky's andante cantabile from his first string quartet is innocently emotive and wonderful piece. Leo Tolsoy was so moved by the music, he was in tears. The same may happen to you with Bernstein and the ever melancholy strings.

Mahler's adagietto from his fifth symphony is, like Tchaikovsky's andante cantabile, is another moving experience. Bernstein does it emphasize the composer's passion with his orchestra, even though its a tiny bit leaner that the DG performance with the Vienna Philharmonic Orchestra decades later.

Overall, I love this CD, with the ever emotion spilling Bernstein with the New York Phil strings. You should own it too if you love adagios. Lined with Karajan's collection of adagios, this CD won't disappoint you. Guaranteed!"

The bonus three tracks, especially Tchaikovsky's Elegie are all gorgeous on one way or another. Although not from the Romantic Period (one's Classical and the another is Baroque), the second movements of Mozart's famous Eine Kleine Nachtmusik, and Vivaldi's "Winter" Concerto do evoke some mood. Lenny doesn't take the tempi too quickly nor slowly in any of these pieces.

Once again, thank you CBS for this special upgrade. At a moderate price, this is an ultimate bargain and a must-buy for all adagio lovers. I could have given 6 stars for such deal!

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Marches - CD 1

Marches: The Greatest Hits

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ASIN: B000003QWZ
Release Date: 1994-04-13

Tracks:

Ride Of The Valkyries
Pictures At An Exhibition - Promenade
Aida - Triumphal March
The Nutcracker - March
Pomp And Circumstance
Symphonie Fantastique - March To The Scaffold
A Midsummer Night's Dream - Wedding March
Symphony No. 9, Choral - Alta Marcia
March Militaire No. 1
Entry Of The Gladiators
Love For Three Oranges - March
March Joyeuse
Symphony No. 1, Titan - Funeral March
Radetsky March
National Emblem March
The Washington Post

Tracks:

Coronation March
The Ruins Of Athens - Turkish March
Les Troyes - Marche Troyenne
Marche Slav
Swan Lake - Wedding March
Symphony No 3, Eroica - Funeral March
Babes in Toyland - March
West Side Story - America
The Carnival Of The Animals - Introduction And Royal March Of The Lion
Carmen - March Of The Toreadors
Carmen - March of the Smugglers
Colonel Bogey March
American Salute
Semper Fidelis
El Capitan
Seventy-Six Trombones
Americans We
Lassus Trombone
The Stars And Stripes

Customer Reviews:

Marches - CD 1.......2006-03-12

Fabulous pieces. It all started with hearing Pomp and Circumstance by Elgar ont he radio...

Bernstein Century - Mahler: Symphonies no 2 & 8 (Part 1), etc...

Average customer rating:

This is the one.
Mahler Symphony #2
A view of the afterlife
Which Mahler 2nd from Bernstein--early or late?
Powerful and moving

Bernstein Century - Mahler: Symphonies no 2 & 8 (Part 1), etc...

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Mahler: Symphony No. 8; Kindertotenlieder
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ASIN: B0000029XX
Release Date: 1997-10-28

Tracks:

Symphony No. 2 In C Minor 'Resurrection': I. Allegro maestoso
Symphony No. 2 In C Minor 'Resurrection': I. Sehr massig und zuruckhaltend
Symphony No. 2 In C Minor 'Resurrection': I. Schnell
Symphony No. 2 In C Minor 'Resurrection': I. Tempo I
Symphony No. 2 In C Minor 'Resurrection': I. Tempo sostenuto
Symphony No. 2 In C Minor 'Resurrection': II. Andante moderato
Symphony No. 2 In C Minor 'Resurrection': II. Energisch bewegt
Symphony No. 2 In C Minor 'Resurrection': II. Wieder in's Tempo zuruckgehen, Tempo I
III. In ruhig fliessender Bewegung
Symphony No. 2 In C Minor 'Resurrection': III. Vorwarts
Symphony No. 2 In C Minor 'Resurrection': III. Zum Tempo I, zuruckkehren

Tracks:

Symphony No. 2 In C Minor 'Resurrection': IV. 'Urlicht' - Sehr feierlich, aber schlicht
Symphony No. 2 In C Minor 'Resurrection': IV. Etwas bewegter
Symphony No. 2 In C Minor 'Resurrection': IV. Im Tempo des Scherzo. Wild herausfahrend
Symphony No. 2 In C Minor 'Resurrection': IV. Langsam
Symphony No. 2 In C Minor 'Resurrection': IV. Im Anfang sehr zuruckgehalten
Symphony No. 2 In C Minor 'Resurrection': IV. Maestoso
Symphony No. 2 In C Minor 'Resurrection': IV. Wieder zuruckhaltend
Symphony No. 2 In C Minor 'Resurrection': IV. Sehr langsam und gedehnt
Symphony No. 2 In C Minor 'Resurrection': IV. Langsam. Misterioso
Symphony No. 2 In C Minor 'Resurrection': IV. Etwas bewegter 'O glaube'
Symphony No. 2 In C Minor 'Resurrection': IV. Mit Aufschwung, aber nicht eilen 'O Schmerz!'
Symphony No. 2 In C Minor 'Resurrection': IV. Piu mosso 'Sterben'
Symphony No. 5: IV. Adagietto. Sehr langsam
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Veni, Creator Spiritus!'
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Imple superna gratia'
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Infirma nostri corporis'
Symphony No. 8 'Symphony Of A Thousand' (Part One): Tempo I. (Allegro, etwas hastig)
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Informa nostri corporis'
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Accende lumen sensibus'
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Qui Paraclitus deceris'
Symphony No. 8 'Symphony Of A Thousand' (Part One): 'Gloria Patri Domino'

Customer Reviews:

This is the one. .......2007-02-04

Without a doubt, this is the Mahler/Bernstein Resurrection Symphony to get. Not that his later DG recording with the same orchestra is bad, on the contrary, it's outstanding. However, I have become convinced that the present recording may be one of the greatest ever made - of any piece of music.

I purchased Bernstein's DG recording before I did this one (I can't quite remember why), and I was very pleased with what I got. With this in mind, and having four other recordings of the 2nd symphony already, I remember being a bit hesitant to purchase this one, not knowing really how much different the two interpretations could be. However, as a general rule I tend to prefer Bernstein's earlier CBS recordings (not just for the Mahler symphonies, but for most of the mainstream literature), and thus went ahead and bought this recording as well. Wow, was I in for a shock.

The two recordings are vastly different. For one, the tempi that Bernstein observes on this earlier version are much quicker, and I believe much more compelling - this is especially true for the final movement. In the final chorus of the later DG recording, Bernstein really just goes too slowly, and as a result, I believe the movement looses much of its impact. This is not the case with the present recording. The tempi in the final chorus are comparable to Walter's exceptional recording, and I have yet to hear a more powerful and awesome musical argument than the one Bernstein gives us here. This goes not just for the final chorus, but for all five movements.

So, if you must choose between the two Bernstein sets, then this is the one to get. Although there are many great moments in the DG recording, overall, it just can't hold up to this earlier one (you also get great fillers here - the Adagietto from the 5th symphony recorded live at the burial of Robert F. Kennedy, as well as the an amazing performance of part one of the 8th symphony recorded live at the opening of [what is now] Avery Fisher Hall). It all seemed to come together here for Lenny and the New York Philharmonic, and I really do believe this record to be one of the greatest musical achievements of the gramophone; I can't recommend it enough.

Mahler Symphony #2.......2007-01-07

This is one of the most dissappointing renditions of Mahler's second symphony.Mahler is my favorite composer and I admire and respect Bernstein's love for Mahlers works,but this interpretation is mystifying.It is alternately too fast in parts and too slow in others.I have heardmany other versions by other conductors that are better,namely--
B.Walter,G.Solti,Zubin Mehta,Clauddio Abbado etc.Don't buy this recording.

A view of the afterlife.......2006-04-20

This confirms what I've always thought about recordings of Mahler's works: without being able to put your finger on the reasons why, you just know when it's 'right'. Like LBs CBS Mahler 1,3,7 and 9, and for instance Barbirolli's Mahler 6, this Mahler Two is most definitely 'right'. Bernstein's later Mahler 2 for DG sounds contrived compared to this earlier CBS recording, which communicates like no other version I've heard. Simon Rattle's famous version sounds studied and earthbound by comparison to this, and to my ears the CBS recording is superior to the EMI one for Rattle, especially in the closing stages of the finale where LB gives a 'preview of the afterlife' that gave me goose-bumps all over. This is not just another performance of Mahler's 'Resurrection', this is a tremendous experience.

Which Mahler 2nd from Bernstein--early or late?.......2006-01-18

Bernstein so closely identified himself with the Mahelr Second that he made three recordings. For a long time two have stood out: the first, from 1963, with the New York Phil. (Sony) and the last, from 1988, from a live concert, also in New York (DG). Sony owns another live concert from 1974 with the London Sym. and the unmatched Janet Baker as soloist in "Urlicht," but it has boomy cathedral sound and is hard to find. Comparing the two major recordings brings out interesting contrasts.

Sony 1963: Bernstein was 45 and freshly arrived at Mahelr when he made this recording. The phrasing in every movemeent has a spontaneous freshness that few have ever duplicated, including Bernstien himself. Nothing is played for rhetorical effect. Tempos are moderate; the orchestra plays beautifully and is captured in spacious sonics at Manhattan Center. The two vocal soloists, mezzo Jennie Tourel and soprano Lee Verona, were Bernstein favorites, but neither is ideal. Tourel sounds mature and doesn't blend well with Verona in the finale; her Urlicht is sincere and moving, however. The professional chorus is excellent but recorded too far back for us to make out the words or for maximum impact.

DG 1988: Twenty-five years later, when Bernstein was 70, he retained the basic shape of his earlier interpretation but slowed it down, by almost 4 min. in the finale, which is quite broad now. Spontaneity has been exchanged for a deeper, more settled view but also some rhetoric. The sound is multi-miked, often close up, and with not as much air around it as for Sony. Also, there is more underlining for emphasis, but not to an extreme. I think the finale suffers from Bernstein's earnestness to make sure it sounds cosmic--yet the stupendous coda does indeed sound cosmic. He uses another aging mezzo, Christa Ludwig, for the Urlicht, which she sings beautifully. It's too bad that LB takes 2 min. longer in this short movement; it sounds funereal. Soprano Barbara Hendricks sounds ideal. The chrosu is also better than on Sony and recorded, like the organ in the finale, with much more impact than before; we canmake out more words thanks to the multi-miking.

As interpretations, I think there is little to choose for the first three movements. After that, Bernstein is more musically fresh in 1963 but captured in more dramatic sonics in 1988. Chorus and soloists are also better in the 1988 set. The later performance ends in wrenching catharsis, and for some lsiteners that will make the difference. Both sets are five-star readings on the highest plane of performance and musicality.

(One thing greatly in favor of the Sony set is the fillers: a moving live performance of the Adagietto from the Mahelr Fifth at the funeral service for Robert F. Kenney in St. Patrick's Cathedral, and a riveting "Veni Creator spiritus" from the Mahler Eighth, a live performance to celebrate the opening of Philharmonic Hall in 1962.)

Powerful and moving.......2004-03-05

Many have conceded that among 20th century conductors it was Leonard Bernstein who became the driving force in effectively meeting the challenge of making a convincing statement of Mahler's symphonic music. Others have cited some of the pioneering and insightful mono and stereo performances of Walter and Mitropoulos and those of Scherchen (occasionally considered idiosyncratic by some). In any event, there has been little doubt that Bernstein has almost always brought great intensity to his Mahler interpretations. But his tendency to sometimes engage in drawn out tempos has been, at times, controversial. This is evident particularly in his opening to Mahler's "Resurrection" Symphony, despite the composer's indication of allegro. Bernstein proceeds with what sounds, at least, like adagio. He later speeds up, then slows down again--perhaps, to listeners, a little exasperating. However, others might feel he is setting the mood for the rest of the first movement and even for the entire symphony. Include me in that company. Indeed, what Bernstein does bring to this magnificent work is passion, and there is little doubt in my mind, based on what I have encountered about Mahler, that this is precisely what the composer sought to convey himself through his compositions and his conducting.

Being familiar with a number of other versions of Mahler 2, I found it particularly interesting to compare Bernstein's account with that of Klemperer (with the Philharmonia Orchestra) who, not untypically, offers a view of considerable strength and stature. Despite these qualities and perhaps a greater sense of overall structural unity, Klemperer cannot quite match the range and depth of feeling wrought by Bernstein, though I admit there are times when Klemperer's characteristic sobriety helps to imbue his interpretation with a more primordial Mahlerian feel. On certain emotional/spiritual grounds however I find Bernstein somewhat more effective. Examples: In the first movement, he expresses some of the composer's phrases with a tenderness that Klemperer only hints at. In the final movement, themes from the previous movements return with more vividness and urgency. Further, in that movement the "fright fanfare", with its opening of the sky, is given a more menacing effect, while the procession of the dead is conveyed with a greater feeling of grandeur. When it comes to singing, mezzo-soprano Jennie Tourel clearly displays a wider range of feeling than Hilde Rossl-Majdan in the fourth movement "Ulricht". Lastly, in the sections for chorus and orchestra in the final movement, Bernstein is more apocalyptic. Overall, a most impressive performance. For a bit of a different take, try also Kubelik's very fine offering with the BRSO.

Average customer rating:

A fitting 'Tribute'

Leonard Bernstein: A Tribute

Manufacturer: Sony
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Binding: Audio CD

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ASIN: B0000027CE
Release Date: 1990-12-27

Tracks:

Chichester Psalms: I. Psalm 108, Verse 2 - Psalm 100, Entire - Maestoso ma energico - Allegro molto
Chichester Psalms: II. Psalm 23, Entire - Psalm 2, Verses 1-4* - Andante con moto, ma tranquillo - Allegro feroce
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Symphonic Dances From 'West Side Story': Prologue. Allegro moderato
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Symphonic Dances From 'West Side Story': Mambo. Presto
Symphonic Dances From 'West Side Story': Cha-Cha ('Maria'). Andantino con grazia
Symphonic Dances From 'West Side Story': Meeting Scene. Meno mosso
Symphonic Dances From 'West Side Story': 'Cool'. Fugue: Allegretto
Symphonic Dances From 'West Side Story': Rumble. Molto allegro
Symphonic Dances From 'West Side Story': Finale. Adagio
Rhapsody In Blue
Symphony No. 5: IV. Adagietto. Sehr langsam
The Unanswered Question

Customer Reviews:

A fitting 'Tribute'.......1999-11-10

This is a beautiful memorial to a great musician, containing some of his greatest, most inspired performances. The "Symphonic Dances" never sounded better, and his "Chichester Psalms" is as energetic as ever. Gershwin's "Rhapsody" is taken at a fine speed (even though they cut one section of the orchestral playing) and Bernstein's playing represents him extremely honorably as a performer. But he is best known as a conductor and particularly as a champion of Mahler and Ives, which makes the final two tracks the most touching. The Adagietto from Mahler 5 was the piece he owned; he conducted it at RFK's televised funeral (Solti led the CSO in it at the concert immediately proceeding LB's death) and it's quite fitting that his first recording of it with the NYPO is given hear. It's such a beautiful reading. And Ives' "Unanswered Question" was the great American piece Bernstein adopted, even conducting it on his tour of the Soviet Union in 1959. A haunting piece to close out the disc with, but a very appropriate one no less.

The Original Jacket Collection: Leonard Bernstein

Average customer rating:

A 10-CD box of top Bernstein performances
A Fascinating Overview of Bernstein's Art

The Original Jacket Collection: Leonard Bernstein

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Original Jacket Collection: Vladimir Horowitz
Tchaikovsky: The Complete Symphonies
Grofé: Grand Canyon Suite/Mississippi Suite

ASIN: B00005T7RB
Release Date: 2001-12-04

Tracks:

Symphony No.3 In E Flat Major, Op.55 'Eroica': I. Allegro Con Brio - Ludwig Van Beethoven
Symphony No.3 In E Flat Major, Op.55 'Eroica': II. Marcia Funebre. Adagio Assai - Ludwig Van Beethoven
Symphony No.3 In E Flat Major, Op.55 'Eroica': III. Scherzo. Allegro Vivace; Trio - Ludwig Van Beethoven
Symphony No.3 In E Flat Major, Op.55 'Eroica': IV. Finale. Allegro Molto; Poco Andante - Ludwig Van Beethoven
How A Great Symphony Was Written - Leonard Bernstein

Tracks:

Symphonic Dances From West Side Story: Prologue. Allegro Moderato - Leonard Bernstein
Symphonic Dances From West Side Story: 'Somewhere.' Adagio - Leonard Bernstein
Symphonic Dances From West Side Story: Scherzo. Vivace E Leggiero - Leonard Bernstein
Symphonic Dances From West Side Story: Mambo. Presto - Leonard Bernstein
Symphonic Dances From West Side Story: Cha-Cha ('Maria'). Andantino Con Grazia - Leonard Bernstein
Symphonic Dances From West Side Story: Meeting Scene. Meno Mosso - Leonard Bernstein
Symphonic Dances From West Side Story: 'Cool' Fugue. Allegretto - Leonard Bernstein
Symphonic Dances From West Side Story: Rumble. Molto Allegro - Leonard Bernstein
Symphonic Dances From West Side Story: Finale. Adagio - Leonard Bernstein
Symphonic Suite From The Film On The Waterfront: Andante (With Dignity) - Presto Barbaro - Leonard Bernstein
Symphonic Suite From The Film On The Waterfront: Adagio - Allegro Molto Agitato - Alla Breve (Poco Piu Mosso) - Presto Come Prima - Leonard Bernstein
Symphonic Suite From The Film On The Waterfront: Andante Largamente - More Flowing - Still More Flowing - Poco Meno Mosso - Leonard Bernstein
Symphonic Suite From The Film On The Waterfront: Moving Forward, With Warmth - Largamente - A Tempo - Calmato - Andante Come Prima - Sempre Avanti, With Intensity - Ancora Piu Mosso - Leonard Bernstein
Symphonic Suite From The Film On The Waterfront: Allegro Non Troppo, Molto Marcato - Poco Piu Sostenuto - Moving Forward - Meno Mosso - Leonard Bernstein
Symphonic Suite From The Film On The Waterfront: A Tempo - Leonard Bernstein

Tracks:

Rodeo: I. Buckaroo Holiday: Allegro Con Spirito - Aaron Copland
Rodeo: II. Corral Nocturne: Moderato - Aaron Copland
Rodeo: III. Saturday Night Waltz: Introduction - Slow Waltz - Aaron Copland
Rodeo: IV. Hoe-Down: Moderato - Aaron Copland
Billy The Kid: Introduction: The Open Prairie (Lento Maestoso) - Aaron Copland
Billy The Kid: Street In A Frontier Town (Moderato) - Aaron Copland
Billy The Kid: Mexican Dance And Finale - Aaron Copland
Billy The Kid: Prairie Night (Card Game At Night) - Aaron Copland
Billy The Kid: Gun Battle - Aaron Copland
Billy The Kid: Celebration (After Billy's Capture) - Aaron Copland
Billy The Kid: Billy's Death - Aaron Copland
Billy The Kid: The Open Prairie Again - Aaron Copland

Tracks:

Rhapsody In Blue - Leonard Bernstein
An American In Paris - George Gershwin

Tracks:

Symphony No. 82, Hob I:82 'The Bear' In C Major: I. Vivace Assai - Joseph Haydn
Symphony No. 82, Hob I:82 'The Bear' In C Major: II. Allegretto - Joseph Haydn
Symphony No. 82, Hob I:82 'The Bear' In C Major: III. Menuet - Trio - Joseph Haydn
Symphony No. 82, Hob I:82 'The Bear' In C Major: IV. Finale. Vivace - Joseph Haydn
Symphony No. 83, Hob I:83 'The Hen' In G Minor: I. Allegro Spiritoso - Joseph Haydn
Symphony No. 83, Hob I:83 'The Hen' In G Minor: II. Andante - Joseph Haydn
Symphony No. 83, Hob I:83 'The Hen' In G Minor: III. Menuet. Allegretto - Trio - Joseph Haydn
Symphony No. 83, Hob I:83 'The Hen' In G Minor: IV. Finale. Vivace - Joseph Haydn

Tracks:

Symphony No. 2: I. Andante Moderato - Charles Ives
Symphony No. 2: II. Allegro - Charles Ives
Symphony No. 2: III. Adagio Cantabile - Charles Ives
Symphony No. 2: IV. Lento Maestoso - Charles Ives
Symphony No. 2: V. Allegro Molto Vivace - Charles Ives
Leonard Bernstein Discusses Charles Ives - Leonard Bernstein

Tracks:

Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. Langsam (Adagio) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. Nicht Schleppen - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. Allegro Risoluto, Ma Non Troppo - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. A Tempo (Sempre L'istesso) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. Subito Allegro I. Ziemlich Ruhig - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. Adagio (Tempo Der Einleitung) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): First Movement: I. Maestoso. Allegro Come Prima - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Second Movement: II. Nachtmusik I. Allegro Moderato - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Second Movement: II. Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Second Movement: II. Tempo - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Third Movement: III. Scherzo, Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Third Movement: III. Trio - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Third Movement: III. Wieder Wie Zu Anfang (Nicht Eilen) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Fourth Movement: IV. Nachtmusik II. Andante Amoroso - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Fourth Movement: IV. [Figure 197] - Raymond Sabinsky
Symphony No. 7, Op. 55 In E Minor (Revised Version): Fifth Movement: V. Rondo-Finale. Tempo I (Allegro Ordinario) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Fifth Movement: V. Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Fifth Movement: V. Tempo I (Halbe Wie Die Viertel Des Tempo I) - Gustav Mahler
Symphony No. 7, Op. 55 In E Minor (Revised Version): Fifth Movement: V. Sempre L'istesso Tempo - Gustav Mahler

Tracks:

Symphony No. 5, Op. 47 In D Minor: I. Moderato - Dmitri Shostakovitch
Symphony No. 5, Op. 47 In D Minor: II. Allegretto - Dmitri Shostakovitch
Symphony No. 5, Op. 47 In D Minor: III. Largo - Dmitri Shostakovitch
Symphony No. 5, Op. 47 In D Minor: IV. Allegro Non Troppo - Dmitri Shostakovitch

Tracks:

Symphony No. 5, Op. 82 In E-flat Major: I. Tempo Molto Moderato - Largamente - Jean Sibelius
Symphony No. 5, Op. 82 In E-flat Major: II. Allegro Moderato - Presto - Jean Sibelius
Symphony No. 5, Op. 82 In E-flat Major: III. Andante Mosso, Quasi Allegretto - Jean Sibelius
Symphony No. 5, Op. 82 In E-flat Major: IV. Allegro Molto - Un Pochettino Largamente - Largamento Assai - Jean Sibelius
Pohjola's Daughter, Op. 49 - Jean Sibelius

Tracks:

The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Introduction. Lento - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: The Augurs Of Spring (Dance Of The Young Girls) - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Mock Abduction - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Spring Round Dances - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Games Of The Rival Tribes - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Procession Of The Wise Elder - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Adoration Of The Earth (The Wise Elder) - Igor Stravinsky
The Rite Of Spring (1913 Version): Part I, The Adoration Of The Earth: Dance Of The Earth - Igor Stravinsky
The Rite Of Spring (1913 Version): Part II, The Sacrifice: Introduction. Lento - Igor Stravinsky
The Rite Of Spring (1913 Version): Part II, The Sacrifice: Mystical Circles Of The Young Girls - Igor Stravinsky
The Rite Of Spring (1913 Version): Part II, The Sacrifice: Glorification Of The Chosen Victim - Igor Stravinsky
The Rite Of Spring (1913 Version): Part II, The Sacrifice: Summoning Of The Ancestors - Igor Stravinsky
The Rite Of Spring (1913 Version): Part II, The Sacrifice: Ritual Of The Ancestors - Igor Stravinsky
The Rite Of Spring (1913 Version): Part II, The Sacrifice: Sacrificial Dance (The Chosen Victim) - Igor Stravinsky

Customer Reviews:

A 10-CD box of top Bernstein performances.......2005-11-13

This mid-price "Original Jacket" set of classic Bernstien performances--most culled from the Sixties and all iwth the NY Phil.--could be put in a time capsule with a note: "These are the recordings that made Leonard Bernstien famous." I grew up with all of them, including the televized lecture on the Eroica. I have owned these performance since college, and this set includes some first-choice readings, basically all the CDs devoted to Copland, Gershwin, Sibelius, Haydn, Beethoven, and Stravinsky.

Reviewers here never tire of propagating the canard that LB was chiefly famous for his Mahler. Actually, he had a broad repertoire that he excelled in (I don't particularly favor the Mahler Fifth in this set--the only disappointment in a field of excellence).

The only problem with this collection is the price. It would be hard to find a music lover who doesn't already own several of these CDs separately, so instead of paying $100 for a new copy, one should search eBay or the used department here at Amazon.

A Fascinating Overview of Bernstein's Art.......2004-05-16

This collection not only provides a fascinating overview of the art of Leonard Bernstein, it also provides one with a fairly comprehensive view of what Lenny and the controversy surrounding his music making were all about.

All of the recordings here are with Bernstein conducting the New
York Philharmonic, which for my money, is by far the more interesting part of his career. As he got older, Lenny tended to go "molto" more often, take tempoes slower and, generally,
conduct with more self-indulgence than he did at this stage of things, when he was both more daring and more studious. The music contained here gives some idea of the range of Bernstein's
scope, and it is remarkable: from Haydn to Ives, from Beethoven
to Leonard Bernstein.

To start things off, there is one of the best performances of Beethoven's "Eroica" symphony on record, a wonderful document of just how excellent an orchestra the New York Philharmonic could be when they wanted to be. Lenny's reading of Beethoven's milestone score is both meticulous and passionate. You couldn't ask for anything more.

Disk 2 features two suites by the conductor as composer. The
suite from "On the Waterfront" fares better than the "Symphonic
Dances from West Side Story." It's hard to figure out why, but for some reason, the Philharmonic just refuses to swing through the overture ("Jet Song"), while handling all the other rythymic
intricacies in the score with incredible aplomb. The mambo section ("The Dance at the Gym") is particularly intense. Go figure! Just one more example of what a tempermental orchestra
the New York Philharmonic could be.

NOBODY ever conducted Aaron Copland's music better than Leonard
Bernstein. The "Billy the Kid" and "Rodeo" suites contained on Disk 3 provide excellent cases in point.

The Gershwin pieces on Disk 4 give testimony to Bernstein's legendary self-indulgence. Bernstein's rubato is broad and generous, tempoes fluctuate wildly from fast to slow and back again. Lenny seems more intent in showing off his own virtuousity (as both conductor and performer) than in getting to the heart of "Rhapsody in Blue" and "An American in Paris." The
odd thing is, for all their quirks and eccentricities, these performances "work." Sometimes they are charming and endearing, at others, they are off-putting. It all depends on the mood you are in.

Disk 5 features two Haydn symphonies, # 82, "The Bear" and # 83, "The Hen." Critical opinion of Bernstein's Haydn is sharply divided: for some tastes, Lenny's Haydn is too dramatic, for others, Bernstein was an instinctively great interpreter of Haydn. Listen here and make your own call.

While Bernstein often gets the credit for generating popular interest in Mahler's music in America (a credit which rightfully belongs to Mitropoulos), there is no question that he "discovered" Charles Ives for most Americans. Bernstein's radio broadcast of Ives' Symphony # 2 was its world premiere, and this recording shows Ives in all his glory. Quirky, polytonal, cantankerous, and funny as hell. A really marvelous
performance.

Disk 7 is given to perhaps Bernstein's favorite composer, Gustav Mahler. Unfortunately, the piece chosen is Mahler's 7th, the "orphan child" of Mahler's symphonies. The so-called "Symphony of the Night" remains more interesting for intellectual and musicological reasons (it was a major influence on Arnold Schoenberg and Alban Berg) than for emotional ones.
Rarely performed, and even more rarely recorded, this remains one
of the best recordings of this piece out there. It may take many, many listenings before you "get it" and start to like it, but if Lenny can't do it for you, it's doubtful anybody can.

Disk 8 contains Bernstein's controversial recording of the Shostakovich 5th Symphony. This is as rousing and heroic a performance of this music as you will ever hear. Whether that's how Shostakovich intended for it to be played is another matter.
Bernstein takes the tempo of the final movement at exactly double
the pace Shostakovich indicated in the score. The subtle, fatalistic satire of the composer is replaced by the conductor's
preference for triumphant heroism. Still, once you've heard this
recording, all other Shostakovich 5th's pale by comparison.

Disk 9 contains what remain my favorite performances of the Sibelius 5th symphony and "Pohjola's Daughter." The latter is particularly remarkable in its conjuring of magic and mysticism.
It's worth the money for the whole set, just on the basis of the
"Eroica," the Copland, the Stravinsky and these Sibelius performances! No joke!

Tracks:

4 Sea Interludes: Dawn
4 Sea Interludes: Sunday Morning
4 Sea Interludes: Moonlight
4 Sea Interludes: Storm
Symphony No. 7 In A Major, Op. 92: Poco Sostenuto
Symphony No. 7 In A Major, Op. 92: Allegretto
Symphony No. 7 In A Major, Op. 92: Presto
Symphony No. 7 In A Major, Op. 92: Allegro Con Brio

Tracks:

Concerto For Piano And Orchestra No. 5 In E Flat Major, Op. 73, 'Emporer': Allegro
Concerto For Piano And Orchestra No. 5 In E Flat Major, Op. 73, 'Emporer': Adagio Un Poco Moto - Attacca
Concerto For Piano And Orchestra No. 5 In E Flat Major, Op. 73, 'Emporer': Rondo: Allegro
Concerto for Violin, Cello and Orchestra in A minor, Op. 102: Allegro
Concerto for Violin, Cello and Orchestra in A minor, Op. 102: Andante
Concerto for Violin, Cello and Orchestra in A minor, Op. 102: Vivace Non Troppo

Tracks:

Ave Verum Corpus K. 618: Adagio
Exsultate, Jubilate K. 165: Exsultate, Jubilate (Allegro)
Exsultate, Jubilate K. 165: Fulget Amica Dies (Allegro)
Exsultate, Jubilate K. 165: Tu Virginum Corona (Andante)
Exsultate, Jubilate K. 165: Alleluja (Allegro)
Great Mass In C Minor K. 427: Andante Moderato
Great Mass In C Minor K. 427: Gloria In Excelsis Deo
Great Mass In C Minor K. 427: Laudamus Te (Allegro Aperto)
Great Mass In C Minor K. 427: Gratias Agimus Tibi (Adagio)
Great Mass In C Minor K. 427: Dominus Deus (Allegro Moderato)
Great Mass In C Minor K. 427: Qui Tollis Peccata Mundi (Largo)
Great Mass In C Minor K. 427: Quoniam Tu Solus Sanctus (Allegro)
Great Mass In C Minor K. 427: Jesu Christe (Adagio)
Great Mass In C Minor K. 427: Cum Sancto Spiritu
Great Mass In C Minor K. 427: Credo In Unum Deum (Allegro Maestoso)
Great Mass In C Minor K. 427: Et Incarnatus Est (Andante)
Great Mass In C Minor K. 427: Sanctus - Osanna in Excelsis (Largo - Allegro Comodo)
Great Mass In C Minor K. 427: Benedictus (Allegro Comodo)

Tracks:

Symphony No. 5: Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt
Symphony No. 5: Sturmisch Bewegt, Mit Grosster Vehemenz
Symphony No. 5: Scherzo. Kraftig, Nicht Zu Schnell
Symphony No. 5: Adagietto. Sehr Langsam
Symphony No. 5: Rondo-Finale. Allegro - Allegro Giocoso. Frisch

Tracks:

Rhapsody In Blue
Appalachian Spring
Symphony No. 3
Adagio For Strings

Tracks:

Concerto For Piano And Orchestra No. 17 In G Major, K. 453: Allegro
Concerto For Piano And Orchestra No. 17 In G Major, K. 453: Andante
Concerto For Piano And Orchestra No. 17 In G Major, K. 453: Allegretto

Amazon.com

There are so many ways to discover the genius of Leonard Bernstein, it's really a question of where to begin. Give a listen to his monumental Mahler cycle, or start with something easier to grasp, his definitive recordings of Copland? On the six-CD Lenny: The Legend Lives On, Deutsche Grammophon does its best to capture the conductor's finest from his last decade (1981-1990), giving us the added bonus of a previously unreleased recording of Mozart's Piano Concerto No. 17, with Lenny at the piano.

Not surprisingly, the set focuses on live material, but it begins on a somber note--Bernstein's final concert, recorded at Tanglewood with the Boston Symphony Orchestra. Gone is the impassioned energy that marks Lenny's earlier conducting, but the tension and electricity here on Beethoven's Seventh are unmistakable. Other discs feature Bernstein at full strength. Just listen to his sublimely warm recording of Mozart's Great Mass in C minor (K. 427) with the Bavarian Radio Chorus, or his expressive take on Mahler's Fifth Symphony with the Vienna Philharmonic. You also get your fill of Americana--Lenny playing Rhapsody in Blue and, of course, conducting Appalachian Spring. These may lack the passion of his younger recordings for Sony, but they're still thoughtful, great performances. The bonus disc with Mozart's Piano Concerto No. 17 and the Vienna Philharmonic is a special treat for Bernstein lovers. At times, the orchestra sounds a bit tentative, but Lenny is in fine form--slightly more subdued than on his earlier recording of the piece with the Columbia Symphony Orchestra, but still plenty playful. Any way you look at it, this is an incredible bargain for this much music and a wonderful introduction to the conducting great. --Jason Verlinde

Customer Reviews:

Great collection from a great conductor.......2005-04-01

This collection is a jewel, I cannot believe this price for such a great music.
The Symphony No. 7 sounds majestic in the last concert, the 4 Sea interludes from Britten are beatiful, The Mozart Mass in C minor its full of Lenny energy, and Rhapsody in Blue where Bernstein plays and conduct is sublime
All the recording are live, and you can feel the energy that Lenny past to you from the music
Truly a must have!!!

Average customer rating:

Classic Love

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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General | Soundtracks | Styles | Music
ASIN: B000000S9M
Release Date: 1996-09-03

Tracks:

Salut d'amour
Etude Op. 10, No. 3: Edude Op. 10, No. 3
Spartacus - Adagio Of Spartacus And Phrygia
Xerxes: Largo
Piano Concerto No. 23 In A Major, K. 488 - Adagio
Adagio For Oboe, Cello, Organ And String Orchestra
Piano Sonata Op. 27, No. 2 - Moonlight - Adagio sostenuto
Symphony No. 3 - Poco Allegretto
Piano Concerto No. 2 - Andante
Gymnopaedie No. 1
Clair de Lune
Fantasia on a Theme by Thomas Tallis
West Side Story: Somewhere
The Last Sleep of the Virgin
Kinderszenen Op. 15 Tramerei - Dreaming
Tristan And Isolde: Liebestod

Tracks:

Cello Concerto in E minor, Op.85. Adagio-Moderato
Concerto for Clarinet in A major, K.62. Adagio
Fse
Adagio in G minor
Fantasy Overture: Romeo and Juliet
Liebestraum
Piano Concerto Op. 16 in A minor. Adagio
Adagietto from Symphony No. 5
Adagio from Syphony No.2
Canon and Gigue in D Major
Adagio for Strings
Bolero

Amazon.com

Elgar's Salut d'amour performed by the BBC Symphony Orchestra under Andrew Davis opens this two-CD set. After that, we go on a bumpy ride over performances of drastically varying quality. The "Poco Allegretto" from Brahms's Symphony No. 3 under Christoph von Dohnányi and the Cleveland Orchestra is breathtaking. Throughout the program there are a number of bite-sized editions of selections apparently deemed too long to sit through in their natural state. These leave the listener strangely empty. And this disc also contains a very weird arrangement of "Somewhere" from Leonard Bernstein's West Side Story, scored for two pianos and percussion, played by Guher and Suher Pekinel and Peter Sadio. That one's absolutely awful.--Gwendolyn Freed

Leonard Bernstein - A Total Embrace: The Conductor

Average customer rating:

Leonard Bernstein - A Total Embrace: The Conductor

Manufacturer: Sony
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Binding: Audio CD

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A Total Embrace: The Composer

ASIN: B0000AQS3R
Release Date: 2003-09-09

Tracks:

IV. Finale: Allegro Con Fuoco
Finale
From Part Two: The Sacrifice 'Sacrificial Dance' (The Chosen Victim)
II. La Flute Enchantee
III. Presto
I. Allegro
V. Finale. Pesante-Presto
IV. Allegro Non Troppo
I. Nuages
Rhapsody In Blue

Tracks:

IV. Finale. Allegro
El Salon Mexico
IV. Finale. Vivace
Batuque (Finale From 'Reisado Do Pastoreio')
IV. Allegro Molto
I. Allegro Con Brio
The Unanswered Question
From V. Im Tempo Des Scherzos 'Sehr Langsam Und Gedehnt' To End

Tracks:

VI. Agnus Dei: Dona Nobis Pacem
Facciamo Il Parentado...Tutto Nel Mondo E Burla
Semper Fidelis
Tuba Mirum
III. Allegretto Grazioso
IV. Molto Deliberato
divum Jocastae Caput Motuum
La Valse
The Magic Circle: Song Of The Fisherman
Adagio For Strings
IV. Adagietto

Track Listings:

Track Listings

track listings

Track Listings

She Flies Like a Bird: The Anthology [Import]

The Wonders Of Opera, Vol. 1-4 [Box set]

Thanks for Bringing Love Around Again

Paris Impressions [Import]

Oceans and Airplanes

True Believer

The Star Dust Man

Vivaldi: II Cimento dell'Armonia e dell'Inventione (Vol.1)/Concerti Op.8, Nos.1-6

Under the Influence [Import]

The Trio

Two Way Monologue [Enhanced]

1. Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgehn !
2. Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen
3. Kindertotenlieder: Wenn Dein Mütterlein
4. Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen
5. Kindertotenlieder: In Diesem Wetter !
6. Symphony No. 8: Veni, Creator Spiritus!
7. Symphony No. 8: Imple Superna Gratia
8. Symphony No. 8: Infirma Nostri Corporis
9. Symphony No. 8: Tempo I. (Allegro, Etwas Hastig.)
10. Symphony No. 8: Infirma Nostri Corporis
11. Symphony No. 8: Accende Lumen Sensibus
12. Symphony No. 8: Qui Paraclitus Diceris
13. Symphony No. 8: Gloria Patri Domino
14. Symphony No. 8: Poco Adagio
15. Symphony No. 8: Più Mosso. (Allegro Moderato.)
16. Symphony No. 8: Waldung, Sie Schwankt Heran" -Heilige Anachoreten
17. Symphony No. 8: Ewiger Wonnebrand -Pater Ecstaticus
18. Symphony No. 8: Wie Felsenabgrund Mir Zu Füssen" -Pater Profundus
19. Symphony No. 8: Gerettet Ist das Edle Glied" -Chor Der Engel und Chor S
20. Symphony No. 8: Jene Rosen, Aus Den Händen" -Chor Der Jungeren Engel