Mahler: Symphony No.9, Songs [Import]
Track Listings
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1. Symphony No. 9
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2. Symphony No. 9
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3. Symphony No. 9
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4. Symphony No. 9
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5. Das Irdische Leben
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6. Verlo'ne
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7. Wo Die Schonen Trompeten Blasen
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8. Rheinlegendchen
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9. Wenn Mein Schatz Hochzeit Macht
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10. Ging Heut Morgen Ubers Feld
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11. Ich Hab'ein Gluhend Messer
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12. Die Zwei Blauen Augen Von Meinem Schatz
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Mahler: Symphony No.9, Songs, Music, Minton, Solti, Chicago Symphony Orchestra, Gustav Mahler, Georg Sir Solti, Classical
Average customer rating:
- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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ASIN: B00006O0NT
Release Date: 2002-12-03 |
Tracks:
- Overture To 'Tannhauser'
- Domna, Pos Vos Ay Chausida
- We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
- Hungarian Dance No.7
- The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
- Violin Concerto In D Major (Adagio)
- But For A Long Time It Was Seen As The Instrument Of The Devil.
- The Soldier's Tale: Triumphal March Of The Devil
- The Manipulative Seductiveness Of The Gypsy Violin.
- Csardas Music
- The Violin And The Initiation Of Nature
- The Four Seasons (Spring, Mvt 1)
- Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
- The Four Seasons (Summer, Mvt 1)
- Like The Devil, The Violin Is A Master Of Disguise.
- Old Viennese Dance No.3 'Schon Rosmarin'
- The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
- Tzigane
- Do We Now Have The True Measure Of This Instrument? Not Just Yet.
- Caprice No.24
- The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
- Variations On A Theme Of Frank Bridge (No.7)
- Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
- Romeo And Juliet: Act IV
- Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
- The Four Seasons (Winter, Mvt 1)
- The Violin Muted
- Clair De Lune
- The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
- Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
- The Pizzicato Violin
- Pizzicato Polka
- In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
- Violin Concerto No.2 In G Minor (Slow Mvt)
- Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
- The Planets (Mars - The Bringer Of War)
- The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
- Hungarian Dance No.4
- Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
- The Four Seasons (Autumn, Mvt 1)
- Now The Same Technique, But The Sound Might Have Come From Another World.
- Bolero
- Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
- Cadenza To The Violin Concerto By Brahms
- Now Compare That With A Real Violin Duet.
- Forty-Four Duos (No. 1: Teasing Song)
- Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
- Forty-Four Duos (No.2: Maypole Dance)
- And Now What May Be The Most Beautiful Accompanied Violin Duet In History
- Concerto In D Minor For Two Violins (Largo)
- The Soul Of The Violin Is In Song; But What About This Weird Passage?
- Violin Concerto No.1 In D Major (Mvt 2)
- The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
- Symphony No.1 'Titan' (Mvt 1, Opening)
- Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
- The Sleeping Beauty (Act II, No.15: Entr'Acte)
- Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
- The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
- Also Sprach Zarathustra (Of The Afterworldsmen)
- Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
- Variations On A Theme Of Frank Bridge (No. 4)
- Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
- Four Sea Interludes (Dawn) From 'Peter Grimes'
- To End This Outing With The Violins, A Charming Little Elfin Dance
- Elfenreigen
Tracks:
- Introduction To The Viola
- Viola Concerto (Mvt 1)
- Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- Gayane Suite No.1 (Armen's Solo)
- Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- Passacaglia, Op.33b From 'Peter Grimes'
- The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
- Harold In Italy (Mvt 4)
- The Muted Viola: Intimate, Gentle, Poignant In Dvork
- Cypresses (No.9)
- The Massed Violas Of The Modern Symphony Orchestra In Mahler
- Symphony No.4 (Mvt 3)
- The 'Period' Viola In Bach
- Brandenburg Concerto No.6 (Last Mvt)
- The Cello: A Voice Of Unique Nobility
- Suite No.1 For Unaccompanied Cello (Prelude)
- Brahms And The 'Soul' Of The Cello
- Piano Concerto No.2 In B Flat Major (Mvt 3)
- Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- Symphony No.3 'Eroica' (Finale)
- But The Cello Is Not Condemned To Spend Its Life In The Basement.
- Elfentanz, Op.39
- Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- The Protecting Veil (Opening)
- A Cello With An Identity-Crisis: The Pizzicato Flamencan
- Flamenco
- Double-Stopping In The Lower Reaches Of The Cello's Range
- Solo Suiet For Cello And Piano (Sardana)
- It's In The Middle Register That The Cello Really Comes Into Its Own.
- Oriental Dance, Op.2 No.2
- It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
- Symphony No.9 (Finale)
- Introduction To The Double-Bass
- The Carnival Of The Animals (The Elephant)
- But The Double-Bass Can Be Intensely Expressive And Graceful.
- Elegy No.1 In D Major
- The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
- Capriccio Di Bravura
- Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
- The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
- Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Tracks:
- The Antiquity And Magic Of The Flute
- Prelude A L'Apres-Midi D'Un Faune
- The Versatility And Agility Of The Flute
- Orchestral Suite No.2 In B Minor (Badinerie)
- The Flute In Fifteenth-Century Spain
- Sa'Dawi
- Other Flutes: The Bass And Alto
- Chamber Music No.II
- The Piccolo - Aptly Named
- La Naissance D'Osiris (Mvt 6)
- From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- Suite No.1 For Small Orchestra (Valse)
- A Variety Of Techniques
- Chamber Music No.II
- Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- The Nutcracker (Act II, No.2: Scene)
- From The Transverse To The Vertical: The Baroque Recorder
- Recorded Suite In A Minor (Menuet II)
- An Unfamiliar, Early Vision Of The Instrument
- Naelden, Naelden
- The Bachian Oboe
- Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- Introduction To The Cor Anglais Or 'English Born'
- Symphony No.9 'From The New World' (Mvt 2)
- The Loneliness Of The Cor Anglais
- The Swan Of Tuonela
- The Cor Anglais Joins The French Horn In Haydn.
- Symphony No.22 'The Philosopher' (Opening)
- Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- Bolero
- The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- Gayane Suite No. 1 (Mvt 5)
- The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- The Range Of The Normal Clarinet Parts Goes Quite High...
- The Snow Maiden (Scene 5: Melodrama)
- ...And Quite Low.
- Peter And The Wolf (The Cat)
- The Clarinet As Concerto Soloist
- Clarinet Concerto In A Major (Rondo)
- But That's Not The Instrument Mozart Wrote It For; This Is:
- Clarinet Concerto In A Major (Rondo)
- Introduction To The Saxophone
- Hary Janos Suite (Mvt 4)
- The Soprano Saxophone Has Quite A Different Feel To It.
- L'Arlesienne Suite No.1 (Minuet)
- The Little Sopranino Sax Goes Even Higher.
- Bolero
- The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- Pictures At An Exhibition (The Old Castle)
- The Saxophone Can Be Quite Contagiously Good-Humoured.
- Sax-O-Phun
- The Puffa-Puffa Image Of The Bassoon
- Peter And The Wolf (Grandfather)
- The Bachian Bassoon, In Accompanimental Mode
- Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- And Ravel, Also In Spanish Mode, Does Likewise.
- Bolero
- The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- Symphony No.3 (Opening)
- The Eerie Bassoon In Its Highest Register
- The Rite Of Spring (Opening)
- Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- The Firebird Suite (1919, Berceuse)
- The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- Bassoon Concerto In G Minor (Finale)
- The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- The French Horn Under Its Woodwind Hat
- Wind Quintet, Op.43 (Last Mvt)
- Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- The Horn In Harmonious Blend With Strings In Another Quintet
- Horn Quintet, K.407 (Finale)
Tracks:
- The Trumpet As Virtuoso Soloist
- Brandenburg Concerto No.2 (Last Mvt)
- The Special Brillance Of Paired Trumpets
- Concerto In C For Two Trumpets, RV537 (Mvt 1)
- The Ceremonial Trumpet
- Fanfare For The Common Man
- Trumpets And Drums - An Incomparable Alliance
- Messiah (The Trumpet Shall Sound)
- The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- Piano Concerto In F (Slow Mvt)
- The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- Carmen Suite No.2 (Habanera)
- The Trumpet As The Voice Of Strength And Courage
- Carmet Suite No.2 (Toreador's Song)
- The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- Billy The Kid
- The Trumpet As Character Actor
- Pictures At An Exhibition (No.6)
- The Trumpet As The Voice Of God
- Mass In B Minor ('Et Exspecto')
- The Birth Of The Trombone
- Aenmerckt Nu Hier
- The Birth Of The Brass As A Family
- Canzon 12 In Double Echo
- The Trombone In The Eighteenth Century
- Trombone Concerto In B Flat Major (Finale)
- The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- Hosannah
- The Trombones Become Part Of The Orchestra.
- Symphony No.5 (Finale)
- The Wagnerian Trombone:/Overture To 'Tannhauser'
- The Trombone As Caricaturist
- Pulcinella (No.19: Vivo)
- The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- The Horn And The Hunt
- Horn Concerto No.4 In E Flat, K.495 (Finale)
- The Challenging Horn Of The Baroque
- Abaris Ou Les Boreades (Menuet)
- The Scarcity Of First-Rate Players In Handel's Time
- Walter Music (Minuet 1)
- The Horn As Magician/The Firebird Suite (1919, Finale)
- Horns And The Sound Of Nobility
- Overture To 'Tannhauser' (Opening)
- The Special Sound Of The Horn In Its Higher Register
- Mass In B Minor ('Quoniam Tu Solus Sanctus')
- The Trumpet-Like Sound Of Massed Horns
- Symphony No.3 (Mvt 1, Opening)
- The Tuba - Unfairly Maligned?
- Symphony No.6 (Mvt 3)
- The Tuba Perfectly Cast By Ravel
- Pictures At An Exhibition (Bydlo)
Tracks:
- Introduction. And We Begin With A Bang.
- Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- At The Opposite Extreme Is The Triangle.
- Piano Concerto No.1 In E Flat (Scherzo)
- Categories Of Percussion: Tuned And Untuned. The Side Drum
- Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- The Tambourine. One Of The Oldest Instruments In The World
- Den Hoboecken Dans
- Even Older Is The Originally Oriental Gong.
- Ma Mere L'Oye - Mother Goose (Laideronette)
- No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- Gymnopedie No.2
- The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- Rodeo (Hoe-Down)
- Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- Scherzi Musicali (Damigella Tutta Belle)
- A Still Earlier Example From Fifteenth-Century Spain
- Yo M'Enamori D'Un Aire
- The Birth Of The Bongo
- Symphonic Dances From 'West Side Story'
- From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- Onwards To The Tuned Percussion. First, The Timpani
- Also Sprach Zarathustra (Introduction)
- But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- Taking Advantage Of Tunability
- Music For Strings, Percussion And Celeste (Mvt 2)
- The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- Saint-Saens And The Xylophone
- The Carnival Of The Animals (Fossils)
- Ravel And The Xylophone
- Ma Mere L'Oye - Mother Goose (Laideronette)
- Introducing The Marimba/Carmen Suite (First Intermezzo)
- Introducing The Vibraphone
- The Treasure Of The Sierra Madre (Narange Dolce)
- The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- Introducing The Hungarian Cimbalom
- Folk Dances
- The Cimbalom And The Symphony Orchestra
- Hary Janos Suite (Mvt 3)
- Introducing The Tubular Bells
- Hary Janos Suite (Viennese Musical Clock)
- A More 'Up-Front' Approach From Rodion Shchedrin
- Carmen Suite (Introduction)
- But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Introducing The Celeste
- The Nutcracker (Dance Of The Sugar Plum Fairy)
- Magic, In The Use Of Collective Percussion
- Miroirs (La Vallee Des Cloches)
- Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- Brandenburg Concerto No.2 (Slow Mvt)
- The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- Petrushka (Russian Dance)
- The Anti-Romantic Piano As An Integral Part Of The Orchestra
- Music For Strings, Percussion And Celeste (Last Mvt)
Tracks:
- Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- Symphony No.3 'Organ' (Finale)
- But Things In Handel's Day Were Very Different.
- Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- The Organ Is Difficult To Classify.
- An Unexpected, Organ-related Guest
- Concerto Pour Zampogna (Last Mvt)
- Peasant-Fancying... And A Touch Of The Roaming Cowboy
- Les Miserables (Drink With Me)
- Outside Artefacts And The Power Of Association
- Mahler's Sleighbells
- Symphony No.4 (Opening)
- A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- Don Quixote (Variation VIII)
- National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- The Sitar Of India/Evening Raga: Bhapoli
- The Accordion For France (Especially Paris)/Paris Canaille
- The Zither For Vienna/The Third Man (Theme)
- The Cimbalom For Hungary/Folk Dances
- The Guitar As An Integral Part Of The Orchestra/Rondena
- There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Nocturnes
- Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- The Carnival Of The Animals (The Cuckoo)
- The Flute As An All-purpose Aviary
- The Carnival Of The Animals (The Aviary)
- The Oboe As Duck
- Peter And The Wolf (The Duck)
- The Recording Of Reality. Does It Work As Well?
- The Pines Of Rome (The Pines Of The Janiculum)
- The Recording Of Reality Electronically Reborn In New Guises
- Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- Symphony No.6 'Pastoral' (Andante Molto Mosso)
- Some Improbable Casting: The Violin As Braying Donkey
- The Carnival Of The Animals (Persons With Long Ears)
- A Truly Orchestral Hee-haw To Be Reckoned With
- Overture To 'A Midsummer Night's Dream'
- A Thunderstorm In A Million
- Symphony No.6 'Pastoral (Allegro-Allegretto)
- the Instrumental Depiction Of A Silent World
- The Carnival Of The Animals (The Aquarium)
- Saint-Saens' Menagerie Takes A Curtain Call.
- The Carnival Of The Animals (Finale)
Tracks:
- The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- Forty-Four Duos (No.4)
- A Great Contrast, Of Both Pitch And Character: Violin And Viola
- Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- Arrival Of The Standard String Trio: Violin, Viola, And Cello
- String Trio In B Flat (Menuetto)
- The String Quartet: Two Violins, Viola, And Cello
- String Quartet In F, Op.18 No.1 (Mvt 3)
- The String Quintet - When The Extra Instrument Is A Second Viola
- String Quartet No.5 In D, K.593 (Adagio)
- The String Quintet - When The Extra Instrument Is A Second Cello
- String Quintet In C (Mvt 3)
- The String Sextet: Two Violins, Two Violas, And Two Cellos
- String Sextet In B Flat (Mvt 2)
- The String Octet: The Standard String Quaret Times Two
- Octet In E Flat, Op.20 (Mvt 1)
- Double The String Octet: A Fully Fledged String Orchestra
- String Symphony No.2 (Finale)
- The Massed Strings Of A Symphony Orchestra
- Fantasia On A Theme Of Thomas Tallis
- Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- Wind Quintet In A Minor, Op.100 No.5 (Theme)
- In The First Variation It's The Horn That Gets The Lion's Share.
- Wind Quintet In A Minor, Variation 1
- In Variation Two The Torch Is Handed To The Bassoon.
- Wind Quintet In A Minor, Variation 2
- In Variation Three The Oboe Leads.
- Wind Quintet In A Minor, Variation 3
- Variation Four: Conversation Before Returning To A Solo-dominated Texture
- Wind Quintet In A Minor, Variation 4
- And Variation Five is Dominated By The Clarinet.
- Wind Quintet In A Minor, Variation 5
- The Next To Be Featured Is The Virtuoso Flute.
- Wind Quintet In A Minor, Variation 6
- Individual Farewells And A Closing Chorus
- Wind Quintet In A Minor, Variation 7
- A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- Octet In F (Mvt 3)
- The Early Classical Symphony Orchestra Of Haydn And Mozart
- Symphony No.29 In A, K.201 (Finale)
- Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- Canzon 28
- Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- Symphony No.5 (Finale)
- From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- Symphoy No.6 'Tragic' (Mvt 1)
- The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- When Large Doesn't Necessarily Mean Loud: Debussy
- Images (Gigues)
- A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- Turangalila Symphony (Chant D'amour 1)
- The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- Balle De Xerxes (Gavotte En Rondeau)
- Computer And Synthesiser: Friends Or Foes?
- Concerto In D Minor For Two Violins (Largo)
- A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')
Customer Reviews:
Instruments of the Orchestra - Great Reference Material!.......2007-04-04
This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!
Beginner or Expert.......2007-03-12
This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!
Very Informative and Enjoyable.......2006-11-20
Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!
Frank's view.......2006-08-19
This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.
Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08
I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.
The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!
I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
- 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
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Similar Items:
- Mendelssohn: 5 Symphonies; 7 Overtures
- Schubert: 8 Symphonies
- Bruckner: The Complete Symphonies
- Johannes Brahms: The Symphonies
- Dvorák: The Symphonies
ASIN: B0000589BP
Release Date: 2001-01-30 |
Tracks:
- Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
- Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
- Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein
Tracks:
- Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Tracks:
- Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
- Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
- 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...
- 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...
- 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...
- 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...
- 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...
- 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...
- 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...
- 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:
- Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
- Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
- Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
- Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
- Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
- Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
- Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
- Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
- Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
- Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
- Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
- Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
- Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
- 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...
- 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...
- 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...
- Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- 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:
- Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
- Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
- Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
- Three Ruckert Songs: Um Mitternacht - Jennie Tourel
- Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
- Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
- Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
- Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
- Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
- Kindertotenlieder: In Diesem Wetter! - Jennie Tourel
Tracks:
- Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
- Sym No.4 in G: Movt I: Tempo I - Reri Grist
- Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
- Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
- Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
- Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
- Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
- Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
- Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
- Sym No.4 in G: Movt III: Andante - Reri Grist
- Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
- Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
- Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
- Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist
Tracks:
- Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
- Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
- Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
- Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
- Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein
Tracks:
- Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
- Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
- Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
- Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein
Tracks:
- Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
- Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
- Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
- Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
- Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
- Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
- Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
- Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
- Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
- Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
- Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
- Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
- Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
- Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
- Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
- Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
- Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
- Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
- Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Tracks:
- Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
- Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
- Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
- Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
- Kindertotenlieder: In Diesem Wetter! - Janet Baker
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein
Tracks:
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
- 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
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
- 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
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
- Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor
Tracks:
- Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
- Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein
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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:
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.
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.
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.
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.
Mahler complete symphonies........2006-02-24
"Mahler was an altogether great man" -One who also knows a thing or two.
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Release Date: 2003-02-13 |
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ASIN: B0002VEQIY
Release Date: 2004-09-07 |
Tracks:
- Sinfonietta - Simon Rattle
- El Combat Del Somni - Victoria De Los Angeles
- Piano Concerto - Sviatoslav Richter
- Don Giovanni - Carlo Maria Giulini
- Eroica - Otto Klemperer
- Gymnopedies - Aldo Ciccolini
- Don Carlo - Placido Domingo
- 24 Caprices - Itzhak Perlman
- Liederkreis Op.39 - Dietrich Fischer-Dieskau
- Cello Concerto - Sir John Barbirolli
- Alborada Del Gracioso - Dinu Lipatti
- 'Peter Grimes' - Andre Previn
- Das Lied Von Der Erde - Otto Klemperer
- Violin Concerto No.1 - David Oistrakh
- Boris Godunov - Boris Christoff
- Piano Concerto No.22 - Annie Fischer
- La Boheme - Jussi Bjorling
- Symphony No.2 'Resurection' - Otto Klemperer
Tracks:
- Bachianas Brasileiras - Heitor Villa-Lobos
- Die Zauberflote - Herbert Von Karajan
- Preludes II - Walter Gieseking
- Symphonie Fantastique - Sir Thomas Beecham
- Il Trovatore - Maria Callas
- String Quartet - Alban Berg Quartett
- Wesendonck-Lieder - Elisabeth Schwarzkopf
- Horn Concerto No.3 - Dennis Brain
- Fidelio - Otto Klemperer
- Piano Concerto In G - Arturo Benedetti Michelangeli
- Kindertotenlieder - Bruno Walter
- Dialogues Des Carmelites - Pierre Dervaux
- Violin Concerto - Yehudi Menuhin
- Salome - Herbert Von Karajan
- Tout Un Monde Lointain... - Mstislav Rostropovich
- Il Barbiere Di Siviglia - Vittorio Gui
- Fantasia On 'Greensleeves' - Sir John Barbirolli
- Die Lustige Witwe - Nicolai Gedda
- Symphony No.9 'Choral' - Wilhelm Furtwangler
Customer Reviews:
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.
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.
Average customer rating:
|
The Very Best of Christa Ludwig
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
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| Beethoven, Ludwig van
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| Brahms, Johannes
| ( B )
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| Mahler, Gustav
| ( M )
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| Mozart, Wolfgang Amadeus
| ( M )
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| Schubert, Franz
| ( S )
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| Schumann, Robert
| ( S )
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| Strauss, Richard
| ( S )
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| Verdi, Giuseppe
| ( V )
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| Wagner, Richard
| ( W )
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Ludwig, Christa
| ( L )
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General
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ASIN: B0000AHEAX
Release Date: 2003-09-02 |
Tracks:
- Ah, Scostatil... Smanie Implacabili
- Prendero Quel Brunettino
- E Amore Un Ladroncello
- Mira, O Norma... Si, Fino All'ore Estreme
- Liber Scriptus... Dies Irae
- Elsa! Wer Ruft?... Entweihte Gotter!
- Mir Ist Die Ehre Widerfahren
- Fischerweise
- An Die Musik
- Der Musensohn
- Ave Maria
- Die Forelle
- Fruhlingsglaube
- Erikonig
- Er, Der Herrlichste Von Allen
- Du Ring An Meinem Finger
- An Meinem Herzen
- Och Mod'r, Ich Well En Ding Han!
- We Kumm Ich Dann De Pooz Erenn?
- Dein Blaues Auge, Op. 59/8
- Standchen Op. 106/1
- Vergebliches Standchen Op.84/4
Tracks:
- Du Lieber Heiland Du... Bub' Und Reu'
- Erbarme Dich, Mein Gott
- Ach, Golgatha...Sehet, Jesus Hat Die Hand
- Abscheulicher!...Komm, Hoffnung
- In Quali Eccessi...Mi Tradi Quell'alma Ingrata
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Average customer rating:
|
The Vienna Farewell Concerto: Bruno Walter
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD
All Works by Mahler
| Mahler, Gustav
| ( M )
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| Schubert, Franz
| ( S )
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Romantic
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| Classical
| Styles
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General
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Vienna Philharmonic Orchestra
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ASIN: B0007SMD5U
Release Date: 2005-01-01 |
Average customer rating:
|
Greatest Hits: Mozart/Bach/Handel/Vivaldi
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD
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| ( N )
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Classical Music
| The Sony BMG Masterworks Store
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ASIN: B0000029NP
Release Date: 1995-12-05 |
Average customer rating:
- Decent Quality, But a Little Rushed
- Decent, but not exciting
- Decent, but not exciting
- Sounds good to me.
- Wonderful Selection
|
The Top 100 Masterpieces of Classical Music (Box Set)
Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD
Minuets
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All Works by Albinoni
| Albinoni, Tomaso
| ( A )
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| Bach, Johann Sebastian
| ( B )
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| Beethoven, Ludwig van
| ( B )
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| Brahms, Johannes
| ( B )
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All Works by Chopin
| Chopin, Frédéric
| ( C )
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General
| Delibes, Léo
| ( D )
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| ( D )
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| Elgar, Sir Edward
| ( E )
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| Gluck, Christoph W.
| ( G )
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Grieg, Edvard
| ( G )
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| Handel, George Frideric
| ( H )
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All Works by Franz Joseph Haydn
| Haydn, Franz Joseph
| ( H )
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| Liszt, Franz
| ( L )
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| Mahler, Gustav
| ( M )
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| Massenet, Jules
| ( M )
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| Mozart, Wolfgang Amadeus
| ( M )
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| Mendelssohn, Felix
| ( M )
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| Offenbach, Jacques
| ( O )
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| Pachelbel, Johann
| ( P )
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Purcell, Henry
| ( P )
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Ravel, Maurice
| ( R )
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| Rubinstein, Anton
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| Rossini, Gioacchino
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| Schubert, Franz
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| Schumann, Robert
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| Sibelius, Jean
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| Smetana, Bedrich
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Strauss Jr., Johann
| ( S )
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| Strauss, Richard
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| Tchaikovsky, Peter Ilyich
| ( T )
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| Verdi, Giuseppe
| ( V )
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| Vivaldi, Antonio
| ( V )
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| Wagner, Richard
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| Weber, Carl Maria von
| ( W )
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Similar Items:
- Classical Masterpieces of the Millennium [20 CD Set]
- Planet Earth - The Complete BBC Series
ASIN: B000001VUG
Release Date: 1994-07-14 |
Tracks:
- Toccata In D Minor: Toccata In D Minor (1709) - 100 Masterpieces Vol. 1 (1685-1730)
- Canon In D: Canon in D (1698) - 100 Masterpieces Vol. 1 (1685-1730)
- Brandenburg Concerto No. 3, 1st Movement: Brandenburg Concerto No. 3, 1st Movement (1721) - 100 Masterpieces Vol. 1 (1685-1730)
- Water Music, Suite No. 2 In D: 4.1 1st Movement - 4.2 Alla Hornpipe - 4.3 Minuet - 4.4 Lentement - 4.5 Bourree - 100 Masterpieces Vol. 1 (1685-1730)
- Trumpet Tune And Air: Trumpet Tune And Air (1685) - 100 Masterpieces Vol. 1 (1685-1730)
- Orchestral Suite No. 3 In D: Air - 100 Masterpieces Vol. 1 (1685-1730)
- The Four Seasons - Spring: The Four Seasons - Spring (1725): 7.1 Allegro - 7.2 Largo e painissimo - 7.3 Allegro Bela Banfalvi - 100 Masterpieces Vol. 1 (1685-1730)
- Adagio: Adagio (1730) - 100 Masterpieces Vol. 1 (1685-1730)
- Mandoline Concerto In C, RV 425: 9.1 Allegro - 9.2 Largo - 9.3 Allegro - 100 Masterpieces Vol. 1 (1685-1730)
- Orchestral Suite No. 2 in B Minor: Minuet and Badinerie (1721) : - 10.1 Minuet - 10.2 Badinerie - 100 Masterpieces Vol. 1 (1685-1730)
Tracks:
- Messiah: 'Hallelujah' (1742)
- 'Orpheus and Eurydice': Dance Of The Blessed Spirits (1762)
- 'Christmas Oratorio': Sinfonia In G (1734)
- Violin Concerto No.3 in G: Violin Concerto No.3 In G, 1st Movement (1775)
- 'Xerxes': Largo (1734)
- Flute Concerto In G 'La Notte': VI. Allegro (1731)
- 'Solomon': Arrival Of The Queen Of Sheba (1749)
- Oboe Concerto In D Minor: Oboe Concerto In D Minor, 2nd Movement (1731)
- Concerto grosso In A Minor Op.6 No.4: 9.1 Larghetto affettuoso - 9.2 Allegro - 9.3 Largo Piano - 9.4 Allegro
- Violin Concerto No.5 In A, 2nd Movement: Violin Concerto No.5 In A, 2nd Movement (1775)
Tracks:
- Eine kleine Nachtmusik: 1st movement (1787)
- Piano Concerto No. 21 in C: 2nd Movement (Elvira Madigan)
- The Marriage Of Figaro: Overture (1786)
- Flute Concerto No. 2 In D: 2nd Movement (1778)
- Piano Sonata In A (1778): Rondo Alla Turca
- Don Giovanni: Overture (1787)
- Horn Concerto No. 3 In E Flat: 2nd Movement
- Piano Concerto No. 23 in A: 1st Movement (1786)
- The Marriage Of Figaro: March (1786)
- Serenata Notturna: 10.1 Marcia. Maestoso - 10.2 Menuetto - 10.3 Rondeau. Allegretto
Tracks:
- Symphony No. 40: 1st Movement (1788) - 100 Masterpieces Vol. 4 (1788-1810)
- 'Moonlight' Sonata: 1st Movement (1801) - 100 Masterpieces Vol. 4 (1788-1810)
- Symphony No. 94: 'Surprise' ,2nd Movement (1791) - 100 Masterpieces Vol. 4 (1788-1810)
- The Magic Flute: Overture (1791) - 100 Masterpieces Vol. 4 (1788-1810)
- Fur Elise: Fur Elise (1810) - 100 Masterpieces Vol. 4 (1788-1810)
- String Quartet In C: Emporor's Hymn - 100 Masterpieces Vol. 4 (1788-1810)
- Symphony No. 5: 1st Movement (1808) - 100 Masterpieces Vol. 4 (1788-1810)
- Clarinet Concerto In A: 2nd Movement (1791) - 100 Masterpieces Vol. 4 (1788-1810)
- Minuet In G: Minuet in G (1796) - 100 Masterpieces Vol. 4 (1788-1810)
- Trumpet Concerto In E Flat: 3rd Movement - 100 Masterpieces Vol. 4 (1788-1810)
Tracks:
- The Barber Of Seville: Overture (1821)
- Symphiny No.8 In B Minor: 'Unfinished' 2nd Movement (1822)
- Spring Song: Spring Song (1841)
- Polonaise In A, Op.40 No.3: 'Military'
- Rosamunde: Ballet Music In G
- Der Freischutz: Overture (1820)
- Ave Maria: Ave Maria (1825)
- Symphony No.4 In A: 'Italian', 1st Movement (1833)
- Traumerei: Traumerei (1838)
- German Dance No. 1: German Dance No. 1 (1811)
Tracks:
- A Midsummer Night's Dream: Wedding March (1843) - 100 Masterpieces
- Liebestraum No. 3 In A flat: Liebestraum No. 3 In A Flat (1847) - 100 Masterpieces
- Nabucco: Overture (1842) - 100 Masterpieces
- The Merry Peasant: The Merry Peasant (1848) - 100 Masterpieces
- Hungarian Rhapsody No. 2: Hungarian Rhapsody No. 2 (1847) - 100 Masterpieces
- Lohengin: Prelude to Act 3 (1850) - 100 Masterpieces
- La Traviata: Prelude to Act 1(1853) - 100 Masterpieces
- Tannhauser: Arrival Of The Guests At Wartburg (1845) - 100 Masterpieces
- Violin Concerto In E Minor: Violin Concerto In E Minor, 2nd Movement (1845) - 100 Masterpieces
- Poet And Peasant: Overture (1846) - 100 Masterpieces
Tracks:
- Orpheus In The Underworld: Overture (1858)
- Melody In F: Melody In F (1858)
- Les Preludes: Les Preludes (1854)
- Waltz In A Flat: Waltz In A Flat (1865)
- The Force Of Destiny: Overture (1862)
- I Love You: I Love You (1864)
- The Bartered Bride: Overture (1866)
- The Tales Of Hoffmann: Barcarolle (1864)
- Tritsch Tratsch Polka: Tritsch Tratsch Polka (1858)
- Light Cavalry: Overture (1866)
Tracks:
- Piano Concerto No. 1 In B Flat Minor: 1st Movement (excerpt) (1875) - 100 Masterpieces
- Cradle Song: Cradle Song (1868) - 100 Masterpieces
- The Moldau: The Moldau (1875) - 100 Masterpieces
- The Valkyrie: Ride Of The Valkyries (1870) - 100 Masterpieces
- Peer Gynt: Morning (1876) - 100 Masterpieces
- Carmen: Les Toreadors (1875) - 100 Masterpieces
- Coppelia: Notturno (1870) - 100 Masterpieces
- Marche Slave, Op. 31: Marche Slave, Op. 31 (1876) - 100 Masterpieces
- L'Arlesienne: Intermezzo (1872) - 100 Masterpieces
- The Blue Danube: Waltz (1867) - 100 Masterpieces
Tracks:
- Eugene Onegin: Polonaise (1878) - 100 Masterpieces Vol. 9
- Symphony No.9 'From The New World': 2nd Movement (1893) - 100 Masterpieces Vol. 9
- The Nutcracker: Waltz of the Flowers (1892) - 100 Masterpieces Vol. 9
- Capriccio espagnol: Alborado (1887) - 100 Masterpieces Vol. 9
- The Last Spring - 100 Masterpieces Vol. 9
- Slavonic Dance No. 2: Slavonic Dance No. 2 (1886) - 100 Masterpieces Vol. 9
- The Sleeping Beauty: Introduction (1889) - 100 Masterpieces Vol. 9
- Twilight Of The Gods: Siegfred's Death And Funeral March (1877) - 100 Masterpieces Vol. 9
- Songs My Mother Taught Me: Songs My Mother Taught Me (1880) - 100 Masterpieces Vol. 9
- Emperor Waltz - 100 Masterpieces Vol. 9
Tracks:
- Also sprach Zarathustra: Fanfare (1896)
- Symphony No.5: Adagietto (1902)
- Finlandia: Finlandia (1899)
- Dance Of The Bumble Bee: Dance Of The Bumble Bee (1900)
- 'Thais': Meditation
- Pomp amd Circumstance: March No.1 (1901)
- Humoresque: Humoresque (1894)
- Valse Triste: Valse Triste (1903)
- Vienna Blood: Vienna Blood - Waltz (1899)
- Bolero: Bolero (1928)
Customer Reviews:
Decent Quality, But a Little Rushed.......2002-09-20
I have to agree that this is a good collection of music for the money, especially if you are a novice at the Classics like me. Each disc covers a 40 year period with an hour of music and a little bit of history in the cover slip. However, there were some oddities that made me question the quality of this product. First, a few of the songs seemed like the conductor was hurrying them along so the songs on a disc would add up to exactly one hour -- where's the love? I know I'm a novice, but there are just some songs that are so famous that you can pretty easily tell when they are being butchered or compressed. Second, the quality of the product was suspect. Some of the discs looked like they were manufactured in 1990 and some in 1994. The older ones just had the titles on the discs and the newer ones had a screen-printed color change with no information. They couldn't even use the same type of Jewel Case throughout the collection. In total, it's good for beginners and the money, but not much else.
Decent, but not exciting.......2002-09-01
Not bad, but not a perfect as well. The music selection is very questionable for my taste. The performers are not always very suitable for specific masterpieces. It is inherently, just because such mix of names cannot be bad ;). If I will compose such set a lot of forgotten things should take their place.
Decent, but not exciting.......2002-09-01
Not bad, but not a perfect as well. The music selection is very questionable for my taste. The performers are not always very suitable for specific masterpieces. It is inherently, just because such mix of names cannot be bad ;). If I will compose such set a lot of forgotten things should take their place.
Sounds good to me........2002-07-25
Bought this CD to calm and relax myself after a hard days work. CD seems like a great collection to me. It's got a lot of songs that I recognize and some that I don't. It does sooth me a bit after the the many stresses of everyday life.
I'm not really a classical music nut like "Frasier Crane" so I'm not sure how much merit I can bring to the table with this review. But I think it's great..!!!
Wonderful Selection.......2001-05-13
Some of the world's truly finest musicians perform some of the all time greatest and most loved musical masterpieces. The CD makes for easy and peaceful listening of an evening.
Average customer rating:
|
Greatest Hits: The Chorus
Manufacturer: Sony
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Binding: Audio CD
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ASIN: B0000029T3
Release Date: 1996-10-29 |
Tracks:
- Carmina Burana: O Fortuna From Carmina Burana
- Cantata No. 147: Jesu, Joy Of Man's Desiring
- Il Trovatore: Anvil Chorus
- Danny Boy
- Aida: Triumphal March
- Art Thou With Me
- Old American Songs: Simple Gifts
- Ave Verum Corpus In D Major, K 618
- Battle Hymn Of The Republic
- Messiah: Hallelujah Chorus
- Home On The Range
- Messa da requiem: Dies Irae, Dies Illa
- Nearer My God To Thee
- Symphony No. 3: V. Lustig Im Tempo Und Keck Im Ausdruck
- The Creation: The Heavens Are Telling
- Prince Igor: Polovtsian Dance
- Mass In B Minor, BWV 232: Ex Resurrexit
- Snow White And The Seven Dwarfs: Medley: Whistle While You Work - Heigh-Ho! Heigh Ho!
- Symphony No. 9 - Choral: IV. Allegro Assai Vivace Alla Marcia
Average customer rating:
- Wonderful
- Terrific recording
- Christa in her prime
- Christa Ludwig is in great shape
|
Christa Ludwig - Les Introuvables
Johannes Brahms , Gustav Mahler , Robert Schumann , Max Reger , Franz Schubert , Hugo Wolf , Richard Strauss , Maurice Ravel , Camille Saint-Saens , Sergey Rachmaninov , Gioachino Rossini , Richard Wagner , George Frideric Handel , Johann Sebastian Bach , London Philharmonia Orchestra , Berlin Symphony Orchestra , Otto Klemperer , Horst Stein , Karl Forster , Christa Ludwig , Gerald Moore , Geoffrey Parsons , Herbert Downes , Amaryllis Fleming , Douglas Whittaker , Alexander Pushkin , and Mathilde Wesendonk
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- The Very Best of Christa Ludwig
ASIN: B000002S2Z
Release Date: 1992-04-14 |
Tracks:
- Sapphische Ode, Op. 94 Nr. 4
- Liebestreu, Op. 3 Nr. 1
- Der Schmied, Op. 19 Nr. 4
- Die Mainacht, Op. 43 Nr. 2
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): He, Zigeuner
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Hochgeturmte Rimaflut
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Wisst ihr, wann mein Kindchen
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Lieber Gott, du weisst
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Brauner Bursche
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Roslein dreie
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Kommt dir manchmal in den Sinn
- 8 Zigeunerlieder (d'apres les quatuors vocaux Op. 103): Rote Abendwolken ziehn
- 2 deutsche Volkslieder: Och mod'r, ich well en Ding han!
- 2 deutsche Volkslieder: We kumm ich dann de Pooz erenn?
- Dein blaues Auge, Op. 59 Nr. 8
- Von ewiger Liebe, Op. 43 Nr. 1
- Das Madchen spricht, Op. 107 Nr. 3
- O wusst ich doch, Op. 63 Nr. 8
- Wie Melodien zieht es mir, Op. 105 Nr. 1
- Madchenlied, Op. 107 Nr. 5
- Vergebliches Standchen
- Der Tod, das ist die kuhle Nacht, Op. 96 Nr. 1
- Auf dem See, Op. 59 Nr. 2
- Feldeinsamkeit, Op. 86 Nr. 2
- In stiller Nacht ('Deutsche Volkslieder' Nr. 42)
- Schwesterlien ('Deutsche Volkslieder', Nr. 15)
- Immer leiser wird mein Schlummer, Op. 105 Nr. 2
- Standchen, Op. 106 Nr. 1
- Gestillte Sehnsucht, Op. 91 Nr. 2
- Geistilches Wiegenlied, Op. 91 Nr. 2
Tracks:
- Ich ging mit Lust durch einen grunen Wald ('Des Knaben Wunderhorn')
- Hans und Grete
- Fruhlingsmoren
- Wo die schonen Trompeten blasen ('Des Knaben Wunderhorn')
- Der Schildwache Nachtlied ('Des Knaben Wunderhorn')
- Um schlimme Kinder ('Des Knaben Wunderhorn')
- Ich atmet' einen linden Duft
- Liebst du um Schonheit
- Um Mitternacht
- Das irdische Leben ('Des Knaben Wunderhorn')
- Wer hat dies Liedlein erdacht ('Des Knaben Wunderhorn')
- Lob des hohen Verstandes ('Des Knaben Wunderhorn')
- Ich bin der Welt abhanden gekommen
- Des Antonius von Padua Fischpredigt ('Des Knaben Wunderhorn')
- Rheinlegendchen ('Des Knaben Wunderhorn')
- Frauenliebe und Leben, Op. 42: Seit ich ihn gesehen
- Frauenliebe und Leben, Op. 42: Er, der Herrlichste von allen
- Frauenliebe und Leben, Op. 42: Ich kann's nicht fassen
- Frauenliebe und Leben, Op. 42: Du Ring, an meinem Finger
- Frauenliebe und Leben, Op. 42: Helft mir, ihr Schwestern
- Frauenliebe und Leben, Op. 42: Susser Freund, du blickest
- Frauenliebe und Leben, Op. 42: An meinem Herzen
- Frauenliebe und Leben, Op. 42: Nun hast du mir den ersten Schmerz getan
- Der Brief, Op. 76 No. 8
- Waldeinsamkeit, Op. 76 No. 3
Tracks:
- Die Allmacht, D. 852
- Fischerweise, D. 881
- An die Musik, D. 547
- Der Musensohn, D. 764
- Ganymed, D. 544
- Auf dem Wasser zu singen, D. 774
- Ave Maria, D. 839
- Die Forelle, D. 550
- Gretchen am Spinnrade, D. 118
- Fruhlingsglaube, D. 686
- Der Tod und das Madchen, D. 531
- Lachen und Weinen, D. 777
- Litanel auf das Fest 'Aller Seelen', D. 343
- Erikonig, D. 328
- Der Hirt auf dem Feisen, D. 965
- Gesang Weylas
- Auf einer Wanderung
- Die Nacht, Op. 10 Nr. 3
- Allerseelen, Op. 10 Nr. 8
- Schlechtes Wetter, Op. 69 Nr. 5
Tracks:
- 3 Chansons madecasses: Nahandove
- 3 Chansons madecasses: Aoua! Aoua!
- 3 Chansons madecasses: Il est doux
- Une flute invisible
- Chanson georgienne: 'Oh! cesse de chanteer, gentille jeune fille,' Op. 4 No. 4
- 'Moisson de tristesse'
- La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta avanti la regata
- La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta co passa la regata
- La regata veneziana: 3 canzonettas en dialecte ventien: Anzoleta dopo la regata
- Wesendonk-Lieder: Der Engel
- Wesendonk-Lieder: Stehe still!
- Wesendonk-Lieder: Im Treibhaus
- Wesendonk-Lieder: Schmerzen
- Wesendonk-Lieder: Traume
- Julius Caesar: Acte I: 'Es blaut die Nacht' (Cleopatra)
- Johannes-Passion, BWV 245: Nr. 58 - Aria: 'Es ist volbracht!'
- Tristan und Isolde: III Akt: 'Mild und leise (Isoldes Liebestod)
Customer Reviews:
Wonderful.......2003-07-20
This is a wonderful set. I would like to correct an error below. The climax in the Liebestod is a high A flat not high C. But you have to cut through the dense orchestration. That's why it's hard.
Terrific recording.......2003-07-06
I write this as s service to Christa Ludwig fans. This is a set of Lieder. Christa Ludwig is fabulous - as usual.
But if you want to hear Christa ludwig in a set of operatic recitals that will knock of your socks and blow you to bits. Look for this CD called "Celebrating Christa Ludwig". It has Christa Ludwig singing excerpts from Elektra (as Elektra!!!), Ariadne auf Maxos (as Ariadne!!), Die Frau Ohne Schatten (as the Dyer's Wife), Barber of Serville (as rosina) and the Immolation Scene of Gotterdammerung (as Brunnhilde!!!). She will blow you to bits with her unmatchable dramatic sense, vocal power and beauty of tone - the greatest Brunnhilde that never was and the greatest Elektra that never was. She did sing Ariadne once in Salzburg in 1964, and she sang the Dyer's Wife for 10 years from 1964 (Vienna State Opera) to 1974 (Salzburg Festival). Her complete Ariadne is available under Myto records.
Christa in her prime.......2001-09-19
Being an admirerer of Christa Ludwig, I went into purchasing this recording with great expectations, and it did not disappoint in any way. Ludwig is in her prime and is heard in wonderful interpretations and beautiful singing from among several composers and works. I not only enjoy listening to her personally, but am also able to put it to great use use in my Vocal Literature class here at the college in which I teach.
Christa Ludwig is in great shape.......2000-04-15
She sang all the major mezzo roles, and also some in the dramatic soprano repertory, notably Leonora in Fidelio, Lady Macbeth and the Marschallin.
Her voice is a rich, expressive mezzo capable of dramatic incisiveness and even throughout its considerable range. Her upper register in mezzo music is excintingly projected.
Although this compilation is composed of different recordings in different settings in different years, all of them show a young Ludwig when she had not yet acquired her prime and her status of, arguably, the best mezzo of the world, which would arrive in the years to come.
Ludwig, thirteen years Schwarzkopf's junior, was also a member of the legendary Ensamble of Berlin, which meant that each appearance of hers in any opera produced in Berlin, Munich, Vienna, London, Paris....by this Ensamble was backed by many hours of rehearsals with the same group of musicians. Usually this group comprised Schwarzkopf, Grümmer, Seefried, Berger, Güeden, Dermota, Tauber, and of course Furtwängler. This is how the legendary recording of COSI FAN TUTTE was made, in which she shared credits with Schwarzkopf.
Disc one is devoted to Brahms -not less than 30 Lieder are here. She doesn't sing Brahms with intimacy, rather she attacks each song with open throat. Her diction, her care for words is now proverbial. My favorite Lied in this disc is In stiller Nacht. She sets the melancholic mood of the song with her rich, vibrant contralto-like tones.
Disc two brings us Ludwig singing Mahler, Schumann and Reger. From the melodic lines of Mahler's Des Knaben Wunderhorn to the tortuous inflexions of Max Reger's two songs, she shows an extreme afinity with these composers. Schumann is taken very sensously, one can almost feel her velvety and creamy narrations of the woman-in-love of the song cycle.
Disc three is devoted to Schubert, Wolf and Strauss. Ludwig was not compelled to sing too much Wolf or Strauss (only 5 Lieder by these composers). It is her Schubert that shows her in splendid form. Auf dem Wasser zu singen is sung at such a low speed that her tone can only be described as luxurious. Erlkönig finds in her voice an ideal interpreter for the four characters of the song. In Wolf's Gesang Weylas, Gerald Moore has produced some magical arpeggios in the piano accompaniment, but of course this in only natural in him being the best accompanist ever.
Disc four is a miscellaneous melange of Ravel, Saint-Saëns, Rossini, Wagner, Händel and Bach. Ludwig never tried to sing on stage Isolde, but she recorded it; the Liebestod is taken at an exciting pace and one is only waiting for the climax to see if she can do it (the top c's). Yes, she can do it. Händel's aria from Julius Caesar is, again, sensous and exciting. Händel is another composer with whom she felt communicated. Ravel's Chansons Madécasses can only be described as magical. And of course she was outstanding in Bach oratorios, as is the case of Johannes Passion.
Wagner's Wessendonk Lieder are sung lustrously. I especially enjoyed Träume, which actually is sung, as its title suggests, dreamily.
Praised be the two accompanists for the majority of the recordings, Gerald Moore and Geoffrey Parsons. Both have gone now and the musical world seems so empty without their supreme touch. I do believe that 50% of Christa Ludwig's success as a Lieder Singer was due to them.
Thank you to EMI for this reissue.
Track Listings:
- María Bayo - Mozart ~ Exsultate, Jubilate & Arias
- Martinu: Sinfonietta Giocosa/Toccata E Due Canzoni/Sinfonietta La Jolla
- Medieval Dreams [Live]
- Mendelssohn: Complete Works for Cello & Piano
- Morales: Mass for the Feast of St. Isidore of Seville
- Mormoniana
- Morning After
- MOZART: Complete Horn Concertos / Tuckwell
- Mozart Concertos for Fortepiano No. 14 in Eb, K.449 and No. 21 in C, K.467
- Mozart: Marriage of Figaro [Box set] [Import]
Track Listings
track listings
Track Listings
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It Takes Two, Vol. 1
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germanbooks88.com Music: Adam Harasiewicz Plays Frédéric Chopin
Joules Graves Live! [Live]
Jamin' At Jan's
Ignition
La Pasion
El Rodrigazo [Import]
Under the Western Sky
Natural Elements