Mahler: Symphony No.9, Songs [Import]

Track Listings
1. Symphony No. 9    
2. Symphony No. 9    
3. Symphony No. 9    
4. Symphony No. 9    
5. Das Irdische Leben    
6. Verlo'ne    
7. Wo Die Schonen Trompeten Blasen    
8. Rheinlegendchen    
9. Wenn Mein Schatz Hochzeit Macht    
10. Ging Heut Morgen Ubers Feld    
11. Ich Hab'ein Gluhend Messer    
12. Die Zwei Blauen Augen Von Meinem Schatz    

Mahler: Symphony No.9, Songs, Music, Minton, Solti, Chicago Symphony Orchestra, Gustav Mahler, Georg Sir Solti, Classical
Instruments of the Orchestra
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Manufacturer: Naxos
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Binding: Audio CD

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ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

  1. Overture To 'Tannhauser'
  2. Domna, Pos Vos Ay Chausida
  3. We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
  4. Hungarian Dance No.7
  5. The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
  6. Violin Concerto In D Major (Adagio)
  7. But For A Long Time It Was Seen As The Instrument Of The Devil.
  8. The Soldier's Tale: Triumphal March Of The Devil
  9. The Manipulative Seductiveness Of The Gypsy Violin.
  10. Csardas Music
  11. The Violin And The Initiation Of Nature
  12. The Four Seasons (Spring, Mvt 1)
  13. Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
  14. The Four Seasons (Summer, Mvt 1)
  15. Like The Devil, The Violin Is A Master Of Disguise.
  16. Old Viennese Dance No.3 'Schon Rosmarin'
  17. The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
  18. Tzigane
  19. Do We Now Have The True Measure Of This Instrument? Not Just Yet.
  20. Caprice No.24
  21. The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
  22. Variations On A Theme Of Frank Bridge (No.7)
  23. Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
  24. Romeo And Juliet: Act IV
  25. Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
  26. The Four Seasons (Winter, Mvt 1)
  27. The Violin Muted
  28. Clair De Lune
  29. The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
  30. Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
  31. The Pizzicato Violin
  32. Pizzicato Polka
  33. In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
  34. Violin Concerto No.2 In G Minor (Slow Mvt)
  35. Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
  36. The Planets (Mars - The Bringer Of War)
  37. The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
  38. Hungarian Dance No.4
  39. Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
  40. The Four Seasons (Autumn, Mvt 1)
  41. Now The Same Technique, But The Sound Might Have Come From Another World.
  42. Bolero
  43. Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
  44. Cadenza To The Violin Concerto By Brahms
  45. Now Compare That With A Real Violin Duet.
  46. Forty-Four Duos (No. 1: Teasing Song)
  47. Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
  48. Forty-Four Duos (No.2: Maypole Dance)
  49. And Now What May Be The Most Beautiful Accompanied Violin Duet In History
  50. Concerto In D Minor For Two Violins (Largo)
  51. The Soul Of The Violin Is In Song; But What About This Weird Passage?
  52. Violin Concerto No.1 In D Major (Mvt 2)
  53. The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
  54. Symphony No.1 'Titan' (Mvt 1, Opening)
  55. Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
  56. The Sleeping Beauty (Act II, No.15: Entr'Acte)
  57. Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
  58. Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
  59. Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
  60. The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
  61. Also Sprach Zarathustra (Of The Afterworldsmen)
  62. Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
  63. Variations On A Theme Of Frank Bridge (No. 4)
  64. Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
  65. Four Sea Interludes (Dawn) From 'Peter Grimes'
  66. To End This Outing With The Violins, A Charming Little Elfin Dance
  67. Elfenreigen

Tracks:

  1. Introduction To The Viola
  2. Viola Concerto (Mvt 1)
  3. Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
  4. Gayane Suite No.1 (Armen's Solo)
  5. Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
  6. Passacaglia, Op.33b From 'Peter Grimes'
  7. The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
  8. Harold In Italy (Mvt 4)
  9. The Muted Viola: Intimate, Gentle, Poignant In Dvork
  10. Cypresses (No.9)
  11. The Massed Violas Of The Modern Symphony Orchestra In Mahler
  12. Symphony No.4 (Mvt 3)
  13. The 'Period' Viola In Bach
  14. Brandenburg Concerto No.6 (Last Mvt)
  15. The Cello: A Voice Of Unique Nobility
  16. Suite No.1 For Unaccompanied Cello (Prelude)
  17. Brahms And The 'Soul' Of The Cello
  18. Piano Concerto No.2 In B Flat Major (Mvt 3)
  19. Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
  20. Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
  21. In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
  22. Symphony No.3 'Eroica' (Finale)
  23. But The Cello Is Not Condemned To Spend Its Life In The Basement.
  24. Elfentanz, Op.39
  25. Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
  26. The Protecting Veil (Opening)
  27. A Cello With An Identity-Crisis: The Pizzicato Flamencan
  28. Flamenco
  29. Double-Stopping In The Lower Reaches Of The Cello's Range
  30. Solo Suiet For Cello And Piano (Sardana)
  31. It's In The Middle Register That The Cello Really Comes Into Its Own.
  32. Oriental Dance, Op.2 No.2
  33. It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
  34. Symphony No.9 (Finale)
  35. Introduction To The Double-Bass
  36. The Carnival Of The Animals (The Elephant)
  37. But The Double-Bass Can Be Intensely Expressive And Graceful.
  38. Elegy No.1 In D Major
  39. The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
  40. Capriccio Di Bravura
  41. Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
  42. The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
  43. Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

  1. The Antiquity And Magic Of The Flute
  2. Prelude A L'Apres-Midi D'Un Faune
  3. The Versatility And Agility Of The Flute
  4. Orchestral Suite No.2 In B Minor (Badinerie)
  5. The Flute In Fifteenth-Century Spain
  6. Sa'Dawi
  7. Other Flutes: The Bass And Alto
  8. Chamber Music No.II
  9. The Piccolo - Aptly Named
  10. La Naissance D'Osiris (Mvt 6)
  11. From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
  12. Suite No.1 For Small Orchestra (Valse)
  13. A Variety Of Techniques
  14. Chamber Music No.II
  15. Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
  16. The Nutcracker (Act II, No.2: Scene)
  17. From The Transverse To The Vertical: The Baroque Recorder
  18. Recorded Suite In A Minor (Menuet II)
  19. An Unfamiliar, Early Vision Of The Instrument
  20. Naelden, Naelden
  21. The Bachian Oboe
  22. Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
  23. Introduction To The Cor Anglais Or 'English Born'
  24. Symphony No.9 'From The New World' (Mvt 2)
  25. The Loneliness Of The Cor Anglais
  26. The Swan Of Tuonela
  27. The Cor Anglais Joins The French Horn In Haydn.
  28. Symphony No.22 'The Philosopher' (Opening)
  29. Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
  30. Bolero
  31. The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
  32. Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
  33. As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
  34. Gayane Suite No. 1 (Mvt 5)
  35. The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
  36. The Range Of The Normal Clarinet Parts Goes Quite High...
  37. The Snow Maiden (Scene 5: Melodrama)
  38. ...And Quite Low.
  39. Peter And The Wolf (The Cat)
  40. The Clarinet As Concerto Soloist
  41. Clarinet Concerto In A Major (Rondo)
  42. But That's Not The Instrument Mozart Wrote It For; This Is:
  43. Clarinet Concerto In A Major (Rondo)
  44. Introduction To The Saxophone
  45. Hary Janos Suite (Mvt 4)
  46. The Soprano Saxophone Has Quite A Different Feel To It.
  47. L'Arlesienne Suite No.1 (Minuet)
  48. The Little Sopranino Sax Goes Even Higher.
  49. Bolero
  50. The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
  51. Pictures At An Exhibition (The Old Castle)
  52. The Saxophone Can Be Quite Contagiously Good-Humoured.
  53. Sax-O-Phun
  54. The Puffa-Puffa Image Of The Bassoon
  55. Peter And The Wolf (Grandfather)
  56. The Bachian Bassoon, In Accompanimental Mode
  57. Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
  58. Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
  59. And Ravel, Also In Spanish Mode, Does Likewise.
  60. Bolero
  61. The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
  62. Symphony No.3 (Opening)
  63. The Eerie Bassoon In Its Highest Register
  64. The Rite Of Spring (Opening)
  65. Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
  66. The Firebird Suite (1919, Berceuse)
  67. The Bassoon As Concerto Soloist, Avoiding All Exaggeration
  68. Bassoon Concerto In G Minor (Finale)
  69. The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
  70. Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
  71. The French Horn Under Its Woodwind Hat
  72. Wind Quintet, Op.43 (Last Mvt)
  73. Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
  74. Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
  75. The Horn In Harmonious Blend With Strings In Another Quintet
  76. Horn Quintet, K.407 (Finale)

Tracks:

  1. The Trumpet As Virtuoso Soloist
  2. Brandenburg Concerto No.2 (Last Mvt)
  3. The Special Brillance Of Paired Trumpets
  4. Concerto In C For Two Trumpets, RV537 (Mvt 1)
  5. The Ceremonial Trumpet
  6. Fanfare For The Common Man
  7. Trumpets And Drums - An Incomparable Alliance
  8. Messiah (The Trumpet Shall Sound)
  9. The Versatility Of The Trumpet, From The Most Public To The Most Lonely
  10. Piano Concerto In F (Slow Mvt)
  11. The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
  12. Carmen Suite No.2 (Habanera)
  13. The Trumpet As The Voice Of Strength And Courage
  14. Carmet Suite No.2 (Toreador's Song)
  15. The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
  16. Billy The Kid
  17. The Trumpet As Character Actor
  18. Pictures At An Exhibition (No.6)
  19. The Trumpet As The Voice Of God
  20. Mass In B Minor ('Et Exspecto')
  21. The Birth Of The Trombone
  22. Aenmerckt Nu Hier
  23. The Birth Of The Brass As A Family
  24. Canzon 12 In Double Echo
  25. The Trombone In The Eighteenth Century
  26. Trombone Concerto In B Flat Major (Finale)
  27. The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
  28. Hosannah
  29. The Trombones Become Part Of The Orchestra.
  30. Symphony No.5 (Finale)
  31. The Wagnerian Trombone:/Overture To 'Tannhauser'
  32. The Trombone As Caricaturist
  33. Pulcinella (No.19: Vivo)
  34. The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
  35. The Horn And The Hunt
  36. Horn Concerto No.4 In E Flat, K.495 (Finale)
  37. The Challenging Horn Of The Baroque
  38. Abaris Ou Les Boreades (Menuet)
  39. The Scarcity Of First-Rate Players In Handel's Time
  40. Walter Music (Minuet 1)
  41. The Horn As Magician/The Firebird Suite (1919, Finale)
  42. Horns And The Sound Of Nobility
  43. Overture To 'Tannhauser' (Opening)
  44. The Special Sound Of The Horn In Its Higher Register
  45. Mass In B Minor ('Quoniam Tu Solus Sanctus')
  46. The Trumpet-Like Sound Of Massed Horns
  47. Symphony No.3 (Mvt 1, Opening)
  48. The Tuba - Unfairly Maligned?
  49. Symphony No.6 (Mvt 3)
  50. The Tuba Perfectly Cast By Ravel
  51. Pictures At An Exhibition (Bydlo)

Tracks:

  1. Introduction. And We Begin With A Bang.
  2. Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
  3. At The Opposite Extreme Is The Triangle.
  4. Piano Concerto No.1 In E Flat (Scherzo)
  5. Categories Of Percussion: Tuned And Untuned. The Side Drum
  6. Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
  7. The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
  8. The Tambourine. One Of The Oldest Instruments In The World
  9. Den Hoboecken Dans
  10. Even Older Is The Originally Oriental Gong.
  11. Ma Mere L'Oye - Mother Goose (Laideronette)
  12. No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
  13. Gymnopedie No.2
  14. The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
  15. Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
  16. More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
  17. Rodeo (Hoe-Down)
  18. Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
  19. Scherzi Musicali (Damigella Tutta Belle)
  20. A Still Earlier Example From Fifteenth-Century Spain
  21. Yo M'Enamori D'Un Aire
  22. The Birth Of The Bongo
  23. Symphonic Dances From 'West Side Story'
  24. From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
  25. Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
  26. From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
  27. Onwards To The Tuned Percussion. First, The Timpani
  28. Also Sprach Zarathustra (Introduction)
  29. But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
  30. Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
  31. Taking Advantage Of Tunability
  32. Music For Strings, Percussion And Celeste (Mvt 2)
  33. The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
  34. Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
  35. Saint-Saens And The Xylophone
  36. The Carnival Of The Animals (Fossils)
  37. Ravel And The Xylophone
  38. Ma Mere L'Oye - Mother Goose (Laideronette)
  39. Introducing The Marimba/Carmen Suite (First Intermezzo)
  40. Introducing The Vibraphone
  41. The Treasure Of The Sierra Madre (Narange Dolce)
  42. The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
  43. Introducing The Hungarian Cimbalom
  44. Folk Dances
  45. The Cimbalom And The Symphony Orchestra
  46. Hary Janos Suite (Mvt 3)
  47. Introducing The Tubular Bells
  48. Hary Janos Suite (Viennese Musical Clock)
  49. A More 'Up-Front' Approach From Rodion Shchedrin
  50. Carmen Suite (Introduction)
  51. But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
  52. Introducing The Celeste
  53. The Nutcracker (Dance Of The Sugar Plum Fairy)
  54. Magic, In The Use Of Collective Percussion
  55. Miroirs (La Vallee Des Cloches)
  56. Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
  57. A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
  58. The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
  59. Brandenburg Concerto No.2 (Slow Mvt)
  60. The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
  61. Petrushka (Russian Dance)
  62. The Anti-Romantic Piano As An Integral Part Of The Orchestra
  63. Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

  1. Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
  2. Symphony No.3 'Organ' (Finale)
  3. But Things In Handel's Day Were Very Different.
  4. Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
  5. The Organ Is Difficult To Classify.
  6. An Unexpected, Organ-related Guest
  7. Concerto Pour Zampogna (Last Mvt)
  8. Peasant-Fancying... And A Touch Of The Roaming Cowboy
  9. Les Miserables (Drink With Me)
  10. Outside Artefacts And The Power Of Association
  11. Mahler's Sleighbells
  12. Symphony No.4 (Opening)
  13. A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
  14. Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
  15. Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
  16. Don Quixote (Variation VIII)
  17. National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
  18. And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
  19. And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
  20. The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
  21. The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
  22. The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
  23. The Sitar Of India/Evening Raga: Bhapoli
  24. The Accordion For France (Especially Paris)/Paris Canaille
  25. The Zither For Vienna/The Third Man (Theme)
  26. The Cimbalom For Hungary/Folk Dances
  27. The Guitar As An Integral Part Of The Orchestra/Rondena
  28. There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
  29. The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
  30. Nocturnes
  31. Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
  32. The Carnival Of The Animals (The Cuckoo)
  33. The Flute As An All-purpose Aviary
  34. The Carnival Of The Animals (The Aviary)
  35. The Oboe As Duck
  36. Peter And The Wolf (The Duck)
  37. The Recording Of Reality. Does It Work As Well?
  38. The Pines Of Rome (The Pines Of The Janiculum)
  39. The Recording Of Reality Electronically Reborn In New Guises
  40. Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
  41. Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
  42. Symphony No.6 'Pastoral' (Andante Molto Mosso)
  43. Some Improbable Casting: The Violin As Braying Donkey
  44. The Carnival Of The Animals (Persons With Long Ears)
  45. A Truly Orchestral Hee-haw To Be Reckoned With
  46. Overture To 'A Midsummer Night's Dream'
  47. A Thunderstorm In A Million
  48. Symphony No.6 'Pastoral (Allegro-Allegretto)
  49. the Instrumental Depiction Of A Silent World
  50. The Carnival Of The Animals (The Aquarium)
  51. Saint-Saens' Menagerie Takes A Curtain Call.
  52. The Carnival Of The Animals (Finale)

Tracks:

  1. The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
  2. Forty-Four Duos (No.4)
  3. A Great Contrast, Of Both Pitch And Character: Violin And Viola
  4. Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
  5. Arrival Of The Standard String Trio: Violin, Viola, And Cello
  6. String Trio In B Flat (Menuetto)
  7. The String Quartet: Two Violins, Viola, And Cello
  8. String Quartet In F, Op.18 No.1 (Mvt 3)
  9. The String Quintet - When The Extra Instrument Is A Second Viola
  10. String Quartet No.5 In D, K.593 (Adagio)
  11. The String Quintet - When The Extra Instrument Is A Second Cello
  12. String Quintet In C (Mvt 3)
  13. The String Sextet: Two Violins, Two Violas, And Two Cellos
  14. String Sextet In B Flat (Mvt 2)
  15. The String Octet: The Standard String Quaret Times Two
  16. Octet In E Flat, Op.20 (Mvt 1)
  17. Double The String Octet: A Fully Fledged String Orchestra
  18. String Symphony No.2 (Finale)
  19. The Massed Strings Of A Symphony Orchestra
  20. Fantasia On A Theme Of Thomas Tallis
  21. Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
  22. Wind Quintet In A Minor, Op.100 No.5 (Theme)
  23. In The First Variation It's The Horn That Gets The Lion's Share.
  24. Wind Quintet In A Minor, Variation 1
  25. In Variation Two The Torch Is Handed To The Bassoon.
  26. Wind Quintet In A Minor, Variation 2
  27. In Variation Three The Oboe Leads.
  28. Wind Quintet In A Minor, Variation 3
  29. Variation Four: Conversation Before Returning To A Solo-dominated Texture
  30. Wind Quintet In A Minor, Variation 4
  31. And Variation Five is Dominated By The Clarinet.
  32. Wind Quintet In A Minor, Variation 5
  33. The Next To Be Featured Is The Virtuoso Flute.
  34. Wind Quintet In A Minor, Variation 6
  35. Individual Farewells And A Closing Chorus
  36. Wind Quintet In A Minor, Variation 7
  37. A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
  38. Octet In F (Mvt 3)
  39. The Early Classical Symphony Orchestra Of Haydn And Mozart
  40. Symphony No.29 In A, K.201 (Finale)
  41. Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
  42. Canzon 28
  43. Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
  44. Symphony No.5 (Finale)
  45. From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
  46. Beethoven Changed The Face Of The Symphony And The Orchestra Forever
  47. Symphoy No.6 'Tragic' (Mvt 1)
  48. The Cult Of Orchestral Elephantiasis Reaches Its Peak.
  49. Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
  50. When Large Doesn't Necessarily Mean Loud: Debussy
  51. Images (Gigues)
  52. A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
  53. Turangalila Symphony (Chant D'amour 1)
  54. The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
  55. Balle De Xerxes (Gavotte En Rondeau)
  56. Computer And Synthesiser: Friends Or Foes?
  57. Concerto In D Minor For Two Violins (Largo)
  58. A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

5 out of 5 stars Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

5 out of 5 stars Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

5 out of 5 stars Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

3 out of 5 stars Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

5 out of 5 stars Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Mahler: The Complete Symphonies
Average customer rating: 4.5 out of 5 stars
  • Groundbreaking but partly outdated
  • Outstanding Mahler Compilation
  • Bernstein or Tennstedt: read on....
  • Comparing the two Bernstein Mahler cycles
  • Mahler complete symphonies.
 Mahler: The Complete Symphonies
Dame Janet Baker , Jennie Tourel , Lili Chookasian , Martha Lipton , Israel Philharmonic Orchestra , New York Philharmonic , Hans Vollenweider , Adele Addison , Dame Gwyneth Jones , Erna Spoorenberg , Lee Venora , Lucine Amara , Reri Grist , John Mitchinson , and Richard Tucker
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Mendelssohn: 5 Symphonies; 7 Overtures
  2. Schubert: 8 Symphonies
  3. Bruckner: The Complete Symphonies
  4. Johannes Brahms: The Symphonies
  5. Dvorák: The Symphonies

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

  1. Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
  2. Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
  3. Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
  4. Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
  5. Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
  6. Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
  7. Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
  8. Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
  9. Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
  10. Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
  11. Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
  12. Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
  13. Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
  14. Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
  15. Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
  16. Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
  17. Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
  18. Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
  19. Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
  20. Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
  21. Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
  22. Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

  1. Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  2. Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  3. Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  4. Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  5. Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  6. Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  7. Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  8. Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  9. Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  10. Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  11. Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan

Tracks:

  1. Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  2. Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  3. Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  4. Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  5. Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  6. Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  7. Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  8. Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  9. Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  10. Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  11. Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  12. Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
  13. Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
  14. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  15. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  16. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  17. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  18. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  19. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  20. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
  21. Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...

Tracks:

  1. Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
  2. Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
  3. Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
  4. Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
  5. Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
  6. Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
  7. Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
  8. Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
  9. Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
  10. Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
  11. Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
  12. Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
  13. Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
  14. Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  15. Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  16. Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  17. Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  18. Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...

Tracks:

  1. Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  2. Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  3. Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  4. Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  5. Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  6. Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
  7. Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
  8. Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
  9. Three Ruckert Songs: Um Mitternacht - Jennie Tourel
  10. Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
  11. Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
  12. Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
  13. Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
  14. Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
  15. Kindertotenlieder: In Diesem Wetter! - Jennie Tourel

Tracks:

  1. Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
  2. Sym No.4 in G: Movt I: Tempo I - Reri Grist
  3. Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
  4. Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
  5. Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
  6. Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
  7. Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
  8. Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
  9. Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
  10. Sym No.4 in G: Movt III: Andante - Reri Grist
  11. Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
  12. Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
  13. Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
  14. Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

  1. Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
  2. Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
  3. Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
  4. Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
  5. Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein

Tracks:

  1. Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
  2. Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
  3. Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
  4. Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein

Tracks:

  1. Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
  2. Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
  3. Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
  4. Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
  5. Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
  6. Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
  7. Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
  8. Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
  9. Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
  10. Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
  11. Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
  12. Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
  13. Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
  14. Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
  15. Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
  16. Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
  17. Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
  18. Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
  19. Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein

Tracks:

  1. Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
  2. Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
  3. Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
  4. Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
  5. Kindertotenlieder: In Diesem Wetter! - Janet Baker
  6. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
  7. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
  8. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
  9. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
  10. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
  11. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
  12. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
  13. Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein

Tracks:

  1. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
  2. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
  3. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
  4. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
  5. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
  6. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
  7. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
  8. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
  9. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
  10. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
  11. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
  12. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
  13. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
  14. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
  15. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
  16. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
  17. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
  18. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
  19. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
  20. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
  21. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
  22. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
  23. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
  24. Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

  1. Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
  2. Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
  3. Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
  4. Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
  5. Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
  6. Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
  7. Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
  8. Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
  9. Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
  10. Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
  11. Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
  12. Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
  13. Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
  14. Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
  15. Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
  16. Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
  17. Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
  18. Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
  19. Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
  20. Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
  21. Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
  22. Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
  23. Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
  24. Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
  25. Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
  26. Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
  27. Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
  28. Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein

Amazon.com

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde

Customer Reviews:

3 out of 5 stars Groundbreaking but partly outdated.......2007-03-26

Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.

How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.

The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.

The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.

If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.

Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.

5 out of 5 stars Outstanding Mahler Compilation.......2007-01-29

I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.

Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.

Great price, great compilation. Lot of Mahler.

5 out of 5 stars Bernstein or Tennstedt: read on...........2006-07-12

If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:

No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.

5 out of 5 stars Comparing the two Bernstein Mahler cycles.......2006-06-27

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.



5 out of 5 stars Mahler complete symphonies........2006-02-24

"Mahler was an altogether great man" -One who also knows a thing or two.
Top 100 Masterpieces of Classical Music (Collectors Edition) (Box Set)
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    		Top 100 Masterpieces of Classical Music (Collectors Edition) (Box Set)

    Manufacturer: Delta
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    3. Masters of Classical Music (Box Set)

    ASIN: B00008L428
    Release Date: 2003-02-13
    A Celebration of Defining Moments in Recording History
    Average customer rating: 2.5 out of 5 stars
    • Interesting, and so cheap!
    • Not that great
    		 A Celebration of Defining Moments in Recording History

    Manufacturer: EMI Classics
    ProductGroup: Music
    Binding: Audio CD

    QuartetsQuartets | Chamber Music | Classical | Styles | Music
    GeneralGeneral | Chamber Music | Classical | Styles | Music
    All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by BerliozAll Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by BrittenAll Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by DutilleuxAll Works by Dutilleux | Dutilleux, Henri | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by DebussyAll Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by ElgarAll Works by Elgar | Elgar, Sir Edward | ( E ) | Featured Composers, A-Z | Classical | Styles | Music
    Janácek, LeosJanácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by MussorgskyAll Works by Mussorgsky | Mussorgsky, Modest | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by MendelssohnAll Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Paganini, Niccolò | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by PoulencAll Works by Poulenc | Poulenc, Francis | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by PucciniAll Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by ProkofievAll Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
    Ravel, MauriceRavel, Maurice | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by RossiniAll Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by SatieAll Works by Satie | Satie, Erik | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by Robert SchumannAll Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by StraussAll Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
    Vaughan Williams, RalphVaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
    Villa-Lobos, HeitorVilla-Lobos, Heitor | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by WagnerAll Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
    PreludesPreludes | Forms & Genres | Classical | Styles | Music
    RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
    SinfoniaSinfonia | Symphonies | Forms & Genres | Classical | Styles | Music
    GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
    GeneralGeneral | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    GeneralGeneral | Villa-Lobos, Heitor | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    Chamber MusicChamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    Vocal & SongVocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    General ContemporaryGeneral Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    French HornFrench Horn | Brass | Instruments | Classical | Styles | Music
    GeneralGeneral | Keyboard | Instruments | Classical | Styles | Music
    PianoPiano | Keyboard | Instruments | Classical | Styles | Music
    CelloCello | Strings | Instruments | Classical | Styles | Music
    ViolinViolin | Strings | Instruments | Classical | Styles | Music
    GeneralGeneral | Symphonies | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    London Philharmonic OrchestraLondon Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
    National Philharmonic Orchestra LondonNational Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music
    Paris Symphony OrchestraParis Symphony Orchestra | ( P ) | Featured Performers, A-Z | Classical | Styles | Music
    Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
    CompilationsCompilations | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
    FrenchFrench | Languages | Opera & Vocal | Styles | Music
    GermanGerman | Languages | Opera & Vocal | Styles | Music
    ItalianItalian | Languages | Opera & Vocal | Styles | Music
    RussianRussian | Languages | Opera & Vocal | Styles | Music
    OperettasOperettas | Opera & Vocal | Styles | Music
    Similar Items:
    1. Great Artists of the Century: 25 Launch Releases
    2. American Classics Sampler
    3. Berlioz: Symphonie fantastique Op14; Damnation of Faust Op24
    4. Lakme
    5. Dutilleux: Cello Concerto, Lutoslawski: Cello Concerto

    ASIN: B0002VEQIY
    Release Date: 2004-09-07

    Tracks:

    1. Sinfonietta - Simon Rattle
    2. El Combat Del Somni - Victoria De Los Angeles
    3. Piano Concerto - Sviatoslav Richter
    4. Don Giovanni - Carlo Maria Giulini
    5. Eroica - Otto Klemperer
    6. Gymnopedies - Aldo Ciccolini
    7. Don Carlo - Placido Domingo
    8. 24 Caprices - Itzhak Perlman
    9. Liederkreis Op.39 - Dietrich Fischer-Dieskau
    10. Cello Concerto - Sir John Barbirolli
    11. Alborada Del Gracioso - Dinu Lipatti
    12. 'Peter Grimes' - Andre Previn
    13. Das Lied Von Der Erde - Otto Klemperer
    14. Violin Concerto No.1 - David Oistrakh
    15. Boris Godunov - Boris Christoff
    16. Piano Concerto No.22 - Annie Fischer
    17. La Boheme - Jussi Bjorling
    18. Symphony No.2 'Resurection' - Otto Klemperer

    Tracks:

    1. Bachianas Brasileiras - Heitor Villa-Lobos
    2. Die Zauberflote - Herbert Von Karajan
    3. Preludes II - Walter Gieseking
    4. Symphonie Fantastique - Sir Thomas Beecham
    5. Il Trovatore - Maria Callas
    6. String Quartet - Alban Berg Quartett
    7. Wesendonck-Lieder - Elisabeth Schwarzkopf
    8. Horn Concerto No.3 - Dennis Brain
    9. Fidelio - Otto Klemperer
    10. Piano Concerto In G - Arturo Benedetti Michelangeli
    11. Kindertotenlieder - Bruno Walter
    12. Dialogues Des Carmelites - Pierre Dervaux
    13. Violin Concerto - Yehudi Menuhin
    14. Salome - Herbert Von Karajan
    15. Tout Un Monde Lointain... - Mstislav Rostropovich
    16. Il Barbiere Di Siviglia - Vittorio Gui
    17. Fantasia On 'Greensleeves' - Sir John Barbirolli
    18. Die Lustige Witwe - Nicolai Gedda
    19. Symphony No.9 'Choral' - Wilhelm Furtwangler

    Customer Reviews:

    4 out of 5 stars Interesting, and so cheap!.......2005-03-17

    In response to the reviewer below, yes, some of the recordings do not have the best sound quality. But that's not what this is about, it's about great recordings of the century.
    There are two discs, each with about 18 tracks, averaging about 4 minutes each, of excerpts and individual movements of the some of the most famous of the 150 "GROCs."

    In the booklet it has a few interesting (sometimes not that interesting) facts about each of the 150 performances.

    If you don't mind excerpts of pieces or isolated movements, this would be a worthwhile purchase, especially for the bizarrely reasonable price.

    1 out of 5 stars Not that great.......2004-11-19

    If this is supposed to be an album of "the greatest" -- I wasn't too impressed. The quality didn't seem that good and the selections, well, not all that popular to my mind.
    The Very Best of Christa Ludwig
    Average customer rating: Not rated
      		The Very Best of Christa Ludwig

      Manufacturer: EMI Classics
      ProductGroup: Music
      Binding: Audio CD

      All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
      Bellini, VincenzoBellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by BrahmsAll Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by SchubertAll Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by Robert SchumannAll Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by StraussAll Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
      All Works by WagnerAll Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
      GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
      GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
      Vocal & SongVocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances
      RequiemsRequiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music
      General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
      Chamber MusicChamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
      Vocal & SongVocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
      Ludwig, ChristaLudwig, Christa | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
      London Philharmonic OrchestraLondon Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
      Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
      GeneralGeneral | Symphonies | Classical | Styles | Music
      GeneralGeneral | Sacred & Religious | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      GeneralGeneral | Opera & Vocal | Styles | Music
      Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
      Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
      GermanGerman | Languages | Opera & Vocal | Styles | Music
      ItalianItalian | Languages | Opera & Vocal | Styles | Music
      PassionsPassions | Vocal Non-Opera | Opera & Vocal | Styles | Music
      RequiemsRequiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
      GeneralGeneral | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
      Similar Items:
      1. The Very Best of Renata Scotto
      2. Very Best of
      3. The Very Best of Lucia Popp
      4. The Very Best of Victoria de los Angeles
      5. Very Best of

      ASIN: B0000AHEAX
      Release Date: 2003-09-02

      Tracks:

      1. Ah, Scostatil... Smanie Implacabili
      2. Prendero Quel Brunettino
      3. E Amore Un Ladroncello
      4. Mira, O Norma... Si, Fino All'ore Estreme
      5. Liber Scriptus... Dies Irae
      6. Elsa! Wer Ruft?... Entweihte Gotter!
      7. Mir Ist Die Ehre Widerfahren
      8. Fischerweise
      9. An Die Musik
      10. Der Musensohn
      11. Ave Maria
      12. Die Forelle
      13. Fruhlingsglaube
      14. Erikonig
      15. Er, Der Herrlichste Von Allen
      16. Du Ring An Meinem Finger
      17. An Meinem Herzen
      18. Och Mod'r, Ich Well En Ding Han!
      19. We Kumm Ich Dann De Pooz Erenn?
      20. Dein Blaues Auge, Op. 59/8
      21. Standchen Op. 106/1
      22. Vergebliches Standchen Op.84/4

      Tracks:

      1. Du Lieber Heiland Du... Bub' Und Reu'
      2. Erbarme Dich, Mein Gott
      3. Ach, Golgatha...Sehet, Jesus Hat Die Hand
      4. Abscheulicher!...Komm, Hoffnung
      5. In Quali Eccessi...Mi Tradi Quell'alma Ingrata
      6. Das Irdische Leben
      7. Ich Atmet' Einen Linden Duft
      8. Wo Die Schonen Trompeten Blasen
      9. Von Der Schonheit
      10. Im Treibhaus
      11. Schmerzen
      12. Traume
      13. Mild Und Leise
      The Vienna Farewell Concerto: Bruno Walter
      Average customer rating: Not rated
        		The Vienna Farewell Concerto: Bruno Walter

        Manufacturer: Music & Arts Program
        ProductGroup: Music
        Binding: Audio CD

        All Works by MahlerAll Works by Mahler | Mahler, Gustav | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
        All Works by SchubertAll Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
        RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
        General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
        GeneralGeneral | Symphonies | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
        ASIN: B0007SMD5U
        Release Date: 2005-01-01
        Greatest Hits: Mozart/Bach/Handel/Vivaldi
        Average customer rating: Not rated
          		Greatest Hits: Mozart/Bach/Handel/Vivaldi

          Manufacturer: Sony
          ProductGroup: Music
          Binding: Audio CD

          DancesDances | Ballets & Dances | Classical | Styles | Music
          All Works by J.S. BachAll Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
          All Works by HandelAll Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
          All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart,