Berg & Bartók: Violin Concertos

1. Violin Concerto
Composed by Alban Berg
Performed by Chicago Symphony Orchestra with Kyung-Wha Chung
Conducted by Georg Solti

2. Violin Concerto (No. 1), for violin & orchestra, Sz. 36, BB 48a
Composed by Bela Bartok
Performed by Chicago Symphony Orchestra with Kyung-Wha Chung
Conducted by Georg Solti

Tracks:

Op. 18 No. 1 In F Major: I: Allegro Con Brio - Alban Berg Quartett
Op. 18 No. 1 In F Major: II: Adagio Affettuoso Ed Appassionato - Alban Berg Quartett
Op. 18 No. 1 In F Major: III: Scherzo (Allegro Molto) & Trio - Alban Berg Quartett
Op. 18 No. 1 In F Major: IV: Allegro - Alban Berg Quartett
Op. 59 No. 1 In F Major 'Rasumovsky': I: Allegro - Alban Berg Quartett
Op. 59 No. 1 In F Major 'Rasumovsky': II: Allegretto Vivace E Sempre Scherzando - Alban Berg Quartett
Op. 59 No. 1 In F Major 'Rasumovsky': III: Adagio molto e mesto : IV: Allegro (Th russe) - Alban Berg Quartett

Tracks:

Op. 18 No.2 In G Major: I: Allegro - Alban Berg Quartett
Op. 18 No.2 In G Major: II: Adagio cantabile - Alban Berg Quartett
Op. 18 No.2 In G Major: III: Scherzo (Allegro) & Trio - Alban Berg Quartett
Op. 18 No.2 In G Major: IV: Allegro molto, quasi presto - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: I: Allegro con brio - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: II: Adagio, ma non troppo - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: III: Scherzo (Allegro) & Trio - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: IV: Adagio (La Malinconia) - Allegretto quasi Allegro - Alban Berg Quartett
Op. 135 In F Major: I: Allegretto - Alban Berg Quartett
Op. 135 In F Major: II: Vivace - Alban Berg Quartett
Op. 135 In F Major: III: Lento assai, cantante e tranquillo - Alban Berg Quartett
Op. 135 In F Major: IV: Grave, ma non troppo tratto - Allegro - Alban Berg Quartett

Tracks:

Op. 18 No. 3 In D Major: I. Allegro
Op. 18 No. 3 In D Major: II. Andante con moto
III. Allegro
Op. 18 No. 3 In D Major: IV. Presto
Op. 18 No. 5 in A Major: I. Allegro
Op. 18 No. 5 in A Major: II. Menuetto & Trio
Op. 18 No. 5 in A Major: III. Andante cantabile
Op. 18 No. 5 in A Major: IV. Allegro
Op. 95 In F Minor: I. Allegro con brio
Op. 95 In F Minor: II. Allegretto ma non troppo
Op. 95 In F Minor: III: Allegro assai vivace, ma serioso

Tracks:

Op. 18 No. 4 In C Minor: I. Allegro ma non tanto
Op. 18 No. 4 In C Minor: II. Scherzo (Andante scherzoso quasi Allegretto)
Op. 18 No. 4 In C Minor: III. Menuetto (Allegretto) & Trio
Op. 18 No. 4 In C Minor: IV. Allegro
Op. 130 in B flat Major: I. Adagio ma non troppo - Allegro
Op. 130 in B flat Major: II. Presto
Op. 130 in B flat Major: III. Andante con moto, ma non troppo
Op. 130 in B flat Major: IV. Alla danza tedesca (Allegro assai)
Op. 130 in B flat Major: V Cavatina (Adagio molto espressivo)
Grosse Fuge In B Flat Major, Op. 133
Op. 130 in B flat Major: VI. Finale (Allegro)

Tracks:

Op. 59 No. 2 In E Minor 'Rasumovsky': I: Allegro
Op. 59 No. 2 In E Minor 'Rasumovsky': II: Molto Allegro
Op. 59 No. 2 In E Minor 'Rasumovsky': III: Allegretto
Op. 59 No. 2 In E Minor 'Rasumovsky': IV: Finale (Presto)
Op. 127 In E Flat Major: I: Maaestoso - Allegro
Op. 127 In E Flat Major: II: Adagio ma non troppo, molto cantabile
Op. 127 In E Flat Major: III: Scherzando vivace
Op. 127 In E Flat Major: IV: Finale

Tracks:

Op. 59 No. 3 In C Major 'Rasumovsky': I: Introduzione (Andante con moto) - Allegro vivace
Op. 59 No. 3 In C Major 'Rasumovsky': II: Andante con moto quasi allegretto
Op. 59 No. 3 In C Major 'Rasumovsky': III: Menuetto (Grazioso) & Trio
Op. 131 In C Sharp Minor: I: Adagio ma non troppo e molto espressivo
Op. 131 In C Sharp Minor: II: Allegro molto vivace
Op. 131 In C Sharp Minor: III: Allegro moderato
Op. 131 In C Sharp Minor: IV: Andante ma non troppo e molto cantabile
Op. 131 In C Sharp Minor: V: Presto
Op. 131 In C Sharp Minor: VI: Adagio quasi un poco andante
Op. 131 In C Sharp Minor: VI: Adagio quasi un poco andante

Tracks:

Op. 74 In E Flat Major 'Harp': I Poco adagio - Allegro - Beethoven
Op. 74 In E Flat Major 'Harp': II. Adagio ma non troppo - Beethoven
Op. 74 In E Flat Major 'Harp': III. Presto - Beethoven
Op. 74 In E Flat Major 'Harp': IV: Allegretto con Variazioni - Beethoven
Op.132 In A Minor: I: Allegro sostenuto - Allegro - Beethoven
Op.132 In A Minor: II: Allegro ma non tanto - Beethoven
Op.132 In A Minor: III: Molto adagio - Beethoven
Op.132 In A Minor: IV: Alla marcia, assai vivace - Beethoven

Customer Reviews:

A wonderful Beethoven cycle.......2007-06-18

This is a fine recording, remastered for the reissue. Intelligent, driving, finely played. Excellent musicianship. Buy it. You won't be sorry you did.

A LONG TIME COMING AT THIS PRICE .......2007-06-02

On LP I own any number of complete Beethoven String Quartets by the great masters of that genre. I bought them all as a teenager and in college. When I started buying CDs a complete Beethoven set for over $100 by a great quartet became out of my price range at the time. To find the Berg Quartet, (a favorite group of mine), surveying these great works at this price from Amazon is one of the best bargains going.

I went immediately to Op. 135 and found it marvelous in concept, execution and recording. I've now listened to almost all the quartets, and the consistency is wonderful. Because I'm in the business I'm using only high end professional equipment for playback and the sound is truly "You Are There". The recordings capture the upper overtones of all the instruments without the least harhsness, no mean feat. The blend of the group and the hall is articulated in a way that happens on only a very few recordings. Ocassionally one can hear a minor difference in what might be placement of microphones, even from movement to movement. This could, in fact, be the result of a temperature or humidity change in the recording venue. You have to pay very close attention to notice this and it does nothing to diminish these sonic wonders) Worth thrice the price.

What more can be said?.......2007-02-03

There are many wonderful performances of these remarkable pieces. Which is the finest? Only God, in his wisdom, will ever be able to answer such a question, but I'm sure with his celestial headphones on he'll be listening to the Alban Berg Quartet. For me this quartet is able to "read" each individual quartet with such clarity, from the light hearted humor of the Op.18 to the intense and darkly passionate Op.95 through to the strangely happy yet unearthly Op.135, with many other wonderful moments, that I can hardly imagine any better. You won't go wrong buying this.

With the Best of the Best.......2006-12-14

I know it's saying a great deal with the excellent full sets of these quartets to choose from, but these overall are my favorites. The playing is excellent, balanced and perfectly toned. There are unquestionably the deep emotional commitment of the Vegh Quartet, the intelligence of the Juilliard, the parlor intimacy of the Talisch and the muscular intensity of the Italiano. And the serious collector needs to listen to these sets, or selections of, for a rounded understanding of these works. But for a consistency of quality and feeling throughout a traversal of all the quartets I believe the Berg set wins an arguably close contest--at least for me.

What sound problems????.......2006-11-14

I am only writing this review in dispute of RB Townsend remarks below.
I have been listening to this mostly Live set for a few years now on high end Audiophile equipment and notice NO problems with sound at all.
It is clear, clean, crisp, transparent and rich with no "glare" at all.
if it is "well lit", this would suit Beethoven's strings perfectly.
An absolutely stunning performance with a Superb sound stage and sound.
All the other reviewers and the buyers who agree with their assessments (a hundred of them) can't be wrong.
With all due respect, Perhaps Mr. Townsend is listening to this on an Aiwa bookshelf System. Perhaps.

Average customer rating:

Sublime and ridiculous
Eeeeeeeeeeewwwwwww
Better than I thought it would be
Brava Renee
Art is always new.

Haunted Heart
Paul McCartney , Gustav Mahler , Joni Mitchell , Emile Paladilhe , Arthur Schwartz , James ("Jimmy") Van Heusen , Various Composers , Heitor Villa-Lobos , Jimmy Webb , Richard A. Whiting , Stevie Wonder , Guy Wood , Bill Frisell , Fred Hersch , and Renée Fleming
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Sacred Songs
Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
Renée Fleming
Handel
Renee Fleming: By Request

ASIN: B0007Z9QUS
Release Date: 2005-05-10

Tracks:

Haunted Heart
River
When Did You Leave Heaven?
You've Changed
Answer Me
My Cherie Amour
In My Life
The Moon Is A Harsh Mistress
Wozzeck/The Midnight Sun
Liebst du um Schit
My One And Only Love/This Is Always
Can do Amor
Psych
Hard Times Come Again No More

Amazon.com

While countless fans flock to see soprano Renee Fleming's performances of the Countess in The Marriage of Figaro because she's got the voice and the dramatic ability to handle such meaty roles, the versatile singer throws her fans a curveball on Haunted Heart, singing popular standards and ballads as well as a few altered classical pieces. In her liner notes, Fleming calls this album a "look back at the road not taken" -- she played a weekly gig in a jazz club while in school. Nonetheless, her feel for the material here is undeniable. Interestingly, she drops her voice a full octave from her usual tessitura, and the change reveals a robust gospel-oriented approach filled with dramatic breaths and moans. The lyrical Fred Hersch (piano) and the idiosyncratic Bill Frisell (guitar) provide support, and both are adventurous jazz players who create subtle and uniquely haunting backdrops. It adds up to an interesting cross-section of ideas well carried off by the generous talents of all involved. --Tad Hendrickson

Interview with Renee Fleming
Renee Fleming speaks about recent projects, including her memoir The Inner Voice and her recent Handel CD, in our interview.

Customer Reviews:

Sublime and ridiculous.......2007-06-13

The sublime: much of the artistry of this recording is about sound, and the subtle blending/responding of voice with guitar sounds and / or piano sounds. It is in the sensitive musical interplay between the artists where this effort shines. Definitely not recommended for road trips!

The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly quite awful: really tasteless, clumsy, and overused big time and I'm amazed at how this ever got released. Without these ersatz testifyin' noises this CD would be stunning.

So, if you have the ability and inclination to edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).

Eeeeeeeeeeewwwwwww.......2007-06-06

Ugh. Like a manufactured home vs. a stick-built house, Fleming's manufactured (aka "training and technique") blues voice compares unfavorably to other jazz/blues singers/lounge acts. Would not, COULD not, listen to this recording straight through--one big long, breathy, minor key train wreck in the making. Took the CD on a road trip and had to pull over and remove from queue--either that or drive into a wall.

Better than I thought it would be.......2007-04-10

I have to admit, Haunted Heart was a lot better than I thought it would be,especially her recordings of "River", "The Moon's a Harsh Mistress, "My Cherie Amour" and "In my life".
I think this is the most artistically successful recording of Pop/Jazz by a classical singer. I enjoyed it even better than the Anna Sophie Von Otter'/ Elvis Costello CD.
The perspective I am coming from is that of a classical singer who started out as a pop singer/songwriter. I perform and teach cross-genre but love a world class instrument such as Flemming's
I wanted to get the perspective of a friend who used to sing jingles and is also a trained singer but is usually critical of any attempts that opera singers make at crossing -over.
My friend is very familiar with Flemming's voice, but did not recognise it in this context when I played the CD for her. Her reaction was very complimentary, although she did comment that the diction was a bit strange.
She then played it for her brother a well known jazz singer and arranger who had a somewhat negative reaction.He found the singing to be overly dark and round. He prefers a cleaner more 'spoken' approach to this style of singing. I understand this perspective and therefore personally prefer Ella to Sarah as well, but let's not get too picky. Obviously, Rene Flemming is of the Sarah Vaghan School of jazz singing, which is not too shabby.

I will continue to enjoy this CD and will wait for another opera diva to top this one. But, somehow I think the next really good CD of Pop/ jazz from an opera star will also come from Rene.

To those who have been unreasonably mean and negative towards her, I can only say you are not fit to polish her shoes!

Brava Renee.......2007-04-09

This talented woman can sing anything. I really enjoyed this cd with the lights turned down and a glass of wine to relax after a very stressful day at work. Renee could definitely have another singing career outside of opera should she choose. Hearing her drop that gorgeous voice down one octave rivals the best chanteuses in the business - Cassandra Wilson, Nancy Wilson, Regina Belle, Sarah Vaughan, etc. This cd of different musical styles reminds me of Nina Simone and Cassandra Wilson, two great singers whom could interpret any song genre and make their versions special. I loved all the songs and the standouts here are "Haunted Heart", "River", "My One and Only Love", "My Cherie Amour", "Cancao do Amor", and Beatles "In My Life", and "Hard Times Come Again No More".
I hope Renee keeps recording whatever catches her fancy because I'll certainly always listen.

Art is always new. .......2007-03-10

Renee Fleming is an artist bringing us something new, and beautiful. The poor will always be with us as manifest in those who resent other's movement from their established zones. Renee Fleming is a great female voice with accomplishments her detractors will never have, but in their dreams.

I welcome Renee's elan demonstrated with her recent recordings, Love sublime with Brad Mehldau, and Haunted Heart with Fred Hersch and Bill Frissell. Bravery, fun, and talent combined by artists and for people who are listening. Hearing long time favorites Mehldau, Hersch, and Frissell is all the more sublime.

Average customer rating:

an outstanding survey of the best of Mozart's quartets
Doesn't get any better than this.
A bargain - and perfectg ensemble
Penguin Guide "Recommended Recording"
Highest quality for the lowest price.

Mozart: String Quartets Nos. 14 - 23
Alban Berg Quartet , and Wolfgang Amadeus Mozart
Manufacturer: Wea International
ProductGroup: Music
Binding: Audio CD

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Mozart: The Six String Quintets
Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart: Complete String Trios & Duos
Beethoven: String Quartets
Complete String Quintets

ASIN: B000024MCP
Release Date: 2002-08-12

Tracks:

String Quartet No.14 In G Major, K.387 (Allegro Vivace Assai)
String Quartet No.14 In G Major, K.387 (Menuetto: Allegretto Trio)
String Quartet No.14 In G Major, K.387 (Andante Cantabile)
String Quartet No.14 In G Major, K.387 (Molto Allegro)
String Quartet No.17 In B Flat Major, K.458 (Allegro Vivacee Assai)
String Quartet No.17 In B Flat Major, K.458 (Menuetto: Moderato Trio)
String Quartet No.17 In B Flat Major, K.458 (Adagio)
String Quartet No.17 In B Flat Major, K.458 (Allegro Assai)
String Quarter No.15 In D Minor, K.421 (Allegro)
String Quarter No.15 In D Minor, K.421 (Andante)
String Quarter No.15 In D Minor, K.421 (Menuetto: (Allegretto) Trio)
String Quarter No.15 In D Minor, K.421 (Allegretto Ma Non Troppo)
String Quartet No.16 In E Flat Major, K.428 (Allegro Ma Non Troppo)
String Quartet No.16 In E Flat Major, K.428 (Andante Con Moto)
String Quartet No.16 In E Flat Major, K.428 (Menuetto: Allegretto Trio)
String Quartet No.16 In E Flat Major, K.428 (Allegro Vivace)
String Quartet No.20 In D Major, K.499 (Allegretto)
String Quartet No.20 In D Major, K.499 (Menuetto: Allegretto Trio)
String Quartet No.20 In D Major, K.499 (Adagio)
String Quartet No.20 In D Major, K.499 (Allegro)
String Quartet No.18 In A Major, K.464 (Allegro)
String Quartet No.18 In A Major, K.464 (Menuetto Trio)
String Quartet No.18 In A Major, K.464 (Andante)
String Quartet No.18 In A Major, K.464 (Allegro)
String Quartet No.19 In C Major, K.465 (Adagio Allegro)
String Quartet No.19 In C Major, K.465 (Andante Cantabile)
String Quartet No.19 In C Major, K.465 (Menuetto: Allegro Trio)
String Quartet No.19 In C Major, K.465 (Allegro)
String Quartet No.21 In D Major, K.575 (Allegretto)
String Quartet No.21 In D Major, K.575 (Andante)
String Quartet No.21 In D Major, K.575 (Menuetto: Allegretto Trio)
String Quartet No.21 In D Major, K.575 (Allegretto)
String Quartet No.22 In B Flat Major, K.589 (Allegro)
String Quartet No.22 In B Flat Major, K.589 (Larghetto)
String Quartet No.22 In B Flat Major, K.589 (Menuetto: Moderato Trio)
String Quartet No.22 In B Flat Major, K.589 (Allegro Assai)
String Quartet No.23 In F Major, K.590 (Allegro Moderato)
String Quartet No.23 In F Major, K.590 (Andante)
String Quartet No.23 In F Major, K.590 (Menuetto: Allegretto Trio)
String Quartet No.23 In F Major, K.590 (Allegro)

Album Details

Before Signing with EMI and Recording all of Mozart String Quartets at Least Once and Often Twice, the Alban Berg Quartet Recorded Nearly Half of them First for Teldec and Many Regard them Still as their Freshest and Most Vital Performances. This Four CD Budget Box is an Outstanding Bargain and all Unfamiliar with their Earlier Performances and who Simply Treasure These Quartets Are Strongly Encouraged to Give this Set a Listen.

Customer Reviews:

an outstanding survey of the best of Mozart's quartets.......2007-07-15

Some may argue that everything Mozart wrote was inspired, but just not equally inspired; & this seems especially true of his quartets. His mature quartets are much stronger than his earlier ones, just as his later symphonies are much more developed than those he wrote earlier on. Nevertheless, those who want a complete set of the Mozart quartets might want to investigate the Talich's set on Calliope. It comes highly recommended by a number of critics (Grammophone, Penguin Guide, Classics Today etc) & was also awarded the Grand Prix du Disque & the Diapasson d'Or.

This set of later Mozart quartets (#14-23) by the Alban Berg Quartett is an outstanding way to go for those who want to focus on the most interesting works. Other reviewers have pointed out the ABQ's merits, however, to correct a minor error in an Amazon review here, these Teldec recordings were not made in the 1990's but instead date from 1976-79. The sound is excellent - I found the Tallich Quartet's recordings, which date from 1984-1993, unnaturally subdued by comparison.

I own the both the ABQ & the Tallich sets & can say that had I bought this ABQ set first, I never would have purchased the complete Tallich set. As it turns out, I rarely listen to the early works & the compressed sound is a negative.

Those who are looking for the later Mozart quartets, of which there are no shortage of recordings, will be very satisfied with this set.

Highly recommended!

Doesn't get any better than this........2006-09-30

I am assuming if you are reading this, I don't really have to say anything technical about Mozart or these GREAT late string quartets.
I am only writing this review to let you know...
For anyone who is disappointed with the performance and sound quality of The Berg Quartet's EMI Mozart collection of these same quartets, this is a horse of a different color.
Recorded in the early 90s for Teldec before the Berg's signed with EMI, These performances are sublime.
You would not belive this is the same group that made those horrid EMI records.
This is THE Bergs we all know and love and nobody before or since has made Mozart's string quartets sound this good.
Perfect intonation, TONE, blend, dynamics and yes, PASSION.
I've had many collections of these works and this leads the field. BY FAR.
THIS ONE HAS IT ALL....
And the Teldec sound stage is the cleanest and crystal clear you'll ever hear.
With wonderful front to back depth and air around every note.
Demonstration sound with great imaging and transparency.
You can "literally" step inside this recording. Well you know what I mean.
It really doesn't get any better than this.

A bargain - and perfectg ensemble.......2005-10-18

The Alban Berg Quartet are legendary and these CD's contain some of their best work. They seem like one instrument and it is difficult to imagine a closer ensemble.

Particularly affecting are the slower movements, where Mozart's sublime music is allowed time to breathe and expand as it should.

BUY THESE DISCS AND YOU WON'T REGRET IT!

Penguin Guide "Recommended Recording".......2005-05-08

This 4-CD set contains Mozart's most monumental (and last) quartets, including the six quartets dedicated to his dear friend and colleage Joseph Haydn, the lone "Hoffmeister quartet" and the last "Prussian" quartets. All are masterpieces of the genre, especially the "Haydn's" which Mozart (uncharacteristically) toiled long and carefully to compose out of respect and admiration for his elder friend. Upon hearing these performed, Haydn pronounced to Mozart's father the now-famous quote about young Mozart being the greatest composer he knew in person or by reputation. As the pioneer of the modern quartet, Haydn knew great quartet writing when he heard it and he was right - these turned out to be among Mozart's greatest chamber works. (the quintets perhaps being the only greater works).

The Austrian Alban Berg Quartet executes these quartets with their characteristic and supreme suppleness, precision and elegance. "Polished" is a common description I see concerning their style. The music here sounds really, really great - for the perfectly honed compositions of Mozart to the impeccable performances of the Berg to the clear, vibrant sound quality. I normally favor the Quatuor Mosaiques for quartets, but here for Mozart's quartets, I think The Alban Berg Quartet is hard to beat. Indeed, this is what Penguin Guide concluded who awarded this set with a "Recommended Recording" and described it as "one of the most distinguised sets of the late quartets that has not been surpassed." What also makes this set so valuable is that it contains the last three quartets in addition to the Haydn Quartets - an obvious but not so common coupling. So, all the above factors make this set highly desirable and a fabulous value. (I think Teldec "left some money on the table" here ...). PS: Their complete cycle of Beethoven's string quartets also get rave reviews for similar reasons.

Highest quality for the lowest price........2004-01-10

I hesitate to express my wonder at the price of this set, should some company executive realize his mistake.

Here are 4 discs featuring ALL of Mozart's mature quartets performed by one of the world's finest quartets (in my opinion, the finest). The recordings were made in the 1970s, but the sound quality is excellent - not too "close" or "dead", nor too much reverb. Just right for chamber music for strings alone.

The performances are wonderful. If you're looking for a performance that is passionate or that idiosyncratically interprets the music, look elsewhere. The Berg Quartet is much better than that in that they allow Mozart to speak for himself. The A major and C major quartets from the "Haydn" set are particularly good. The overall quality of this entire set is so excellent that I would recommend this recording over all others for an example of what quartet playing should and ought to be.

If you've been wanting to add these works to your collection or upgrade your Mozart quartet set, I cannot recommend this recording highly enough. At this price, how can you afford not to order it?

Almost Famous EP
Average customer rating:
Almost Famous EP
Yung Berg
Manufacturer: Epic
ProductGroup: Music
Binding: Audio CD

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T.I. vs T.I.P.

Young Jeezy Presents U.S.D.A.: Cold Summer

Epiphany

Special Occasion

Because Of You

ASIN: B000QFAG1C
Release Date: 2007-07-24

Tracks:

Sexy Lady
Into It
Where Do We Go
Almost Famous
Sexy Lady
Painkiller

Average customer rating:

Love this CD
The Like has a lot to like
Catchy power-pop, very much to my liking!
A great debut album
Pretty good

Are You Thinking What I'm Thinking?
The Like
Manufacturer: Geffen Records
ProductGroup: Music
Binding: Audio CD

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Hearts and Unicorns
Dying to Say This to You
Somebody's Miracle
Show Your Bones
Morningwood

ASIN: B000ALM4FS
Release Date: 2005-09-13

Tracks:

June Gloom
What I Say And What I Mean
You Bring Me Down
(So I'll Sit Here) Waiting
Bridge To Nowhere
Once Things Look Up
Under The Paving Stones
Too Late
We Are Lost
The One
Mrs. Actually
Falling Away
Waves That Never Break

Amazon.com

To dismiss the first album by L.A. girl band The Like as the product of mere nepotism -- band members Z. Berg (guitar/vocals), Charlotte Froom (bass) and Tennessee Thomas (drums) are the progeny of A&R man Tony Berg, producer Mitchell Froom and Attractions drummer Pete Thomas, respectively, while the album title winks at a hit by the equally gene-connected `60s teen-rock trio Dino, Desi and Billy - would be to miss one of the most assured and satisfying debuts in many a year. If anything, that music biz lineage has only steeped them in a rich, impressively eclectic range of influences. Deftly produced with an ear towards sonic depth and emotional complexity by former Prince bandmate Wendy Melvoin, the ethos here is considerably more intriguing than cliched, jangly West Coast Bangles guitar pop. Though barely out of high school, the trio instead dishes up elegiac, shimmering gems like "We Are Lost," and "The One" with wistful weariness, while injecting more indie-spirited songs like the hook-rich "Bridge to Nowhere," "Mrs. Actually" and the thumping openers "June Gloom" and "What I Say.." with inflections of everything from The Pretenders to more contemporary UK acts like Ride and The Sundays. Berg's voice is a marvel of mature, expressive restraint that belies her tender age, while the rhythm section of Froom and Thomas power it all with inventive, airtight chops throughout. --Jerry McCulley

Customer Reviews:

Love this CD.......2007-04-17

I was a big fan of The Sundays, The Cranberries, The GoGos, etc. so "discovering" The Like was fun for me.
Saw them on London Live and then bought this CD. A very good debut album. Great CD for jogging/working out too (I mean there's a couple of slow ones I bypass if I'm running.)
You won't be disappointed with this CD - HIGHLY recommended.

The Like has a lot to like.......2006-11-18

I saw these girls opening for Muse this fall, and while I should mention that I'm the kind of guy who gets easily bored with opening acts, I have to say that I was quite entertained by them. The Like might be compared to girl bands like The Donnas, but while The Donnas seem to play the same old punk riffs, The Like seems to have more substance and the songs sound non-repetitive. Some few tracks sound a bit bland, but nonetheless The Like seems very promising. I had the chance to meet them after the show and they were incredibly nice. Sadly they were sold-out of albums because I really wanted to signed copy.

I'm looking forward for their next work

Catchy power-pop, very much to my liking!.......2006-08-05

The Like's debut album, "Are You Thinking What I'm Thinking?", leads off with its two strongest songs. "June Gloom" is instantly infectious and just the right song to get you moving and excited about the rest of the CD, followed by "What I Say and What I Mean," which is an edgier song but still catchy. If the whole CD had been like these first two songs, it might be one of the best CD's I've heard in a long time.

Make no mistake, though, it's still an excellent CD. While the rest of the album is not quite up to the standard of the first two songs, it's still quite good and holds up to multiple hearings very well. Other standout songs are "The One," "Under the Paving Stones," and "Falling Away." Performances throughout the CD are consistently good and surprisingly mature. Z's vocals have pretty impressive range and depth, while Charlotte's bass and Tennessee's beats provide the perfect musical landscape. For the most part, the music here is well-produced and just fun to listen to, but there is a hint of emotional depth in songs like "Waves That Never Break" that will keep you coming back for more.

Taken all in all, "Are You Thinking What I'm Thinking?" is an impressive debut. It will be something I listen to often, and I'll definitely want to hear what's coming next from The Like.

A great debut album.......2006-04-24

This intriguing first album from this all-girl band shows great promise. The singer,Z Berg, sounds like a young,breathy version of Debbie Harry and has a formidable vocal style.The group shows off a distinctive,punky,solid sound and is an excellent instrumental band in their own right despite a solid musical pedigree.
They consist of Z Berg(vocals),Charlotte Froom(bass,vocals) and Tennessee Thomas(drums,vocals}.

The opener"June Gloom",has Z Berg crooning like she means it,with quite a powerful chorus line -"looks like the end of days,but it takes so much more,for anyone to say"
I really liked this song.
The mood continues,with the more upbeat"What I Say And What I Mean",with Z's intense vocal:"Never going back and forth I'm only going forwards,that's what I keep saying".
This girl could be going places.She has the charisma and the voice for success.

On "You Bring Me Down" she sings "you wake me up when you're around". It's a love song,quite subtle,analytical and clever,with a smooth tune;and quite singable.
There's an undercurrent to it and a melancholic feel.

The next track "So I'll Sit Here Waiting",with its dreamlike quality,churning guitars and decisive drumming.Ms Berg's voice suits this song well-she has some lovely flowing vocals here and the backing is excellent. This should be the next single release,by rights.
"Bridge To Nowhere" is more straightforward - it doesn't quite hook you in the same way as the previous few tracks,but nevertheless the effect produced has no less impact on the ears and the senses.

"Once Things Look Up"is rather ballady,with Ms Berg's voice hitting all the right notes,but it is a little predictable.

"Under The Paving Stones",another ballad-style song,but a bit more lively and yes, dare I say it,again rather predictable.Are The Like running out of steam halfway through their debut?

And they started so promisingly!

Ms Berg's breathy vocals carry this tune along;she has her own singing style and manages to resurrect what could have been a rather humdrum song by injecting feeling and passion into it.

More breathy words from Z, on "Too Late,"backed by some imaginative and tuneful guitars. However,this could be perked up a little,in spite of the dreamlike quality of the backing.

Back to predictability again,on "We Are Lost". Similar guitarwork backing as on the previous song, and the same dreamlike quality. This could get into a rut,in spite of some pretty harmonies from Ms Berg.

"The One"- the next song,carries much more substance,with a clearly identifiable tune and some good lyrics.

"I'm not shouting-I'm just talking
You're not listening-you're just larking
Take one hint to get another
In one ear and out the other."

I found myelf singing along out loud to this song.
It even has,dare I say it? drama, and a large dollop of 60s harmony in there in that chorus-hang on tight to it.

The next song is back to more plodding predictableness,but held together by Z Berg's breathy,emotive voice.

On "Falling Away",Ms Berg sings "In your arms my whole world's falling away"(this one has a definitive chorus)
"I'm sorry that you couldn't stop to stay"
she sings,somewhat sarcastically.

One of the best songs on this album,with the most impact.
The next song,"Waves That Never Break" is a slow,sad ballad,rather beautiful.....
"Waiting alone in the darkness
Smiling and falling
Too frightened to say
We can't live this way"
Ms Berg's imploring tone makes us feel for her in this song.

"One Step Ahead"-a passionate song,shows Berg's voice in good control above the band's measured backing,
"It's hard to stay
one step ahead of you"

This first album from The Like shows surprising control and maturity from the three girl band members,who are blossoming into a force to be reckoned with.
Let's hope this debut brings them recognition.

Submitted by Juliet R

Pretty good.......2006-04-07

this album is a nice album. its pretty good and i like that they're a girl band and they sound like girls, but not mariah carey girly or tori amos. they are harmonious and smooth and you could lie and daydream to this album. its a good album. i only gave it 3 stars, though (i woulda gave it 3 and a half) because at times i wish they'd gotten louder or more raw. and at other times i wished they'd deviated from the regular... verse-chorus-verse-chorus-bridge-chorus repeat sequence. i think they're next album will be killer if they choose to experiment a little more.

Dvorak - Stabat Mater / Goerke · M. Simpson · Olsen · N. Berg · Atlanta SO · R. Shaw

Average customer rating:

Personal Dvorak
A little-known classic
Sorely missed
A Perfect 10 !!!
This piece and this recording should be much better known

Dvorak - Stabat Mater / Goerke · M. Simpson · Olsen · N. Berg · Atlanta SO · R. Shaw
Antonin Dvorák , Robert Shaw , Christine Goerke , Marietta Simpson , Atlanta Symphony Orchestra and Chorus , and Stanford Olsen
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Janacek; Dvorak: Glagolitic Mass; Te Deum, Op. 103
Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
Fauré · Duruflé - Requiem / J. Blegen · J. Morris · Atlanta SO · Shaw
Verdi: Requiem & Operatic Choruses
Schubert: Masses Nos. 2 & 6

ASIN: B00001QGKI
Release Date: 1999-09-28

Tracks:

I. Stabat Mater Dolorosa
II. Quis Est Homo, Qui Non Fleret
III. Eja, Mater, Fons Amoris
IV. Fac, Ut Ardeat Cor Meun
V. Tui Nati Vulnerati
VI. Fac Me Vere Tecum Flere
VII. Virgo Virinum Praeclara

Tracks:

VIII. Fac, Ut Portem Christi Mortem
IX. Inflammatus Et Accensus
X. Quando Corpus Morietur
Robert Shaw Discusses Dvorak's Stabat Mater With Martin Goldsmith Of National Public Radio

Amazon.com

Conductor Robert Shaw's death three months after this recording was made brought to an unexpected close a rare and distinguished career that always was dominated by Shaw's activities as a choral conductor. As with Leonard Bernstein's final recording--a live concert performance at Tanglewood--there is a sense of determination and drive and assuredness in this Dvorák performance that can come only from a lifetime of experience, of being involved, of being constantly in the midst of the action. Shaw's even-handed manner throughout--no extremes of tempo or dynamics, none of the quirky phrasing conductors sometimes exhibit late in their careers--owes much to the fact that he gave long consideration to this piece, and knew exactly what he wanted. Not surprisingly, Telarc's recording sets the balance in favor of the chorus, and Shaw has no problem letting the singers really sing out, especially in the frequent climaxes. Consonants tend toward the hard side, vowels are open: this is a true American chorus, the very concept of which Shaw spent a lifetime refining and nurturing. This Stabat Mater is a very big piece, and it can be quite unwieldy because nearly all of its 10 movements require different combinations of performing forces, from chorus alone to solo quartet to different soloists with chorus. Shaw makes sure that everything moves and flows, and the Telarc engineers capture every quiet ripple and surging crescendo. Sometimes the placement of soloists seems too close, and occasionally, Shaw's beat is just too deliberate for text and music--especially in the delicate opening movement choral passages. But together, these soloists are the best on disc, and Shaw's orchestra gives him everything a conductor could ask. All concerned have much to be proud of here--a first rate production about which Shaw must still be smiling. --David Vernier

Customer Reviews:

Personal Dvorak.......2005-11-30

The Stabat Mater is a Latin poem which takes place at the death of Jesus. But the subject is not about Jesus, instead, the focus is on Mary, the grieving mother. The poem opens viewing Mary from afar at the cross describing the moment and the scene. The poem moves to a more personal point of view, first expressing empathy, than a want to share the pain of the Virgin mother, moving through prayerfulness, supplication, and eventually acceptance. The end of the poem tells of the sacrifice of Jesus, of Mary, and the eventual resurrection of the soul.

The music is not typical Dvorak. We are familiar with his folk-based works, his symphonies and other settings, but rarely do we hear his orchestrated vocal music, the Stabat Mater is one of the most played choral works. The music is not necessarily rooted in the folk music of his homeland, but it seems the music, the vocal parts, are evocative of the Italian tradition. One wonders if Dvorak knew of the Verdi Requiem, because much of the vocal writing and some of the instrumental settings are reminiscent of Verdi. The Stabat Mater is divided into 10 movements, all are very personal, moving from grief and pain to hope and eventual realization. Dvorak's melodies are short and tuneful, and he uses them over and over, each depicting the text rather well. The soloists play against the chorus, sometimes echoing each other. The choral parts are not extremely difficult (except for the jubilant last movement), but this creates the intimate nature of the text. The music is interesting and is a monumental effort (well over an hour of music), perhaps not as well known as the Verdi or Pergolesi setting, but unique on its own.

Robert Shaw and the Atlanta Symphony provide a stalwart performance of a lesser-known work. The soloists are solid (if not too closely miked), and the chorus is in fine form (the final movement is a good showcase for the choir). Along with an interview with Robert Shaw this is a welcome CD. While the classic Kubelik, Sinopoli, and Macal are good, this CD is a consummate performance.

A little-known classic.......2005-07-23

Although this is not one of the most popular of Dvorak's works, it is undoubtedly a little gem of classical music that deserves more recognition for its offerings.

Sorely missed.......2004-10-15

Robert Shaw died four months before my chorus was scheduled to sing with him. For that concert, we changed the program to include one of the works he had programmed, but the second half was entirely Shaw/Parker arrangements of a cappella spirituals.

Hearing the wonderful interview on this recording brought back memories of the many times we did perform with him, times I cherish. I have "Shaw-isms" (pieces of great musical, choral, and philosophical wisdom) scribbled throughout many choral scores.

This recording is a superb example of Shaw's genius. While I often prefer other interpretations of many works on disc to Shaw's, in this case, his is IT. I can feel the counting out that his choruses were invariably required to do while learning a piece ("one and two and tee and four and..."), and I can hear the incredible attention to detail that he put into everything he conducted. "Take care of the details," he said, "and the rest is assured."

The soloists are terrific (Shaw knew them all and invariably had the best on his recordings).

If you're not familiar with this piece, listen. It's a piece for connoisseurs of choral music, and perhaps not as instantly accessible or awe-inspiring as, say, the Verdi or Berlioz Requiems, or perhaps Rossini's setting of the Stabat Mater, but it's worth getting to know. The subtleties are as wonderful as are the contrasts. Shaw more than does it justice.

I've sung it, and hope to sing it again someday.

A Perfect 10 !!!.......2004-08-21

Robert Shaw delivers on his last recording before his untimely death. The recording flows smoothly from start to finish, and the choir follows Shaw's every move. Other recordings haven't delivered the inspired performance that this recording conveys. The NPR interview was also a nice touch as a lasting tribute.
THIS IS A MUST HAVE--RECOMMENDED!!!!!

This piece and this recording should be much better known.......2002-07-16

I bought this disk because I had heard Stanford Olsen sing here in Ann Arbor. He has a wonderful voice - flexible, strong, and able to hit the high notes with a gorgeous tone quality from the bottom to the top. He does an especially nice job at finding the means of expression within the music, that is - he uses the music's own means of expression to bring us to the music rather than imposing an interpretation on it.

But I have to tell you, this recording is much much more than Stanford Olsen. He does a great job, but so do the other soloists, the chorus, and the orchestra - all lead by the great late and lamented Robert Shaw.

This music is very good and is sung most expressively. It is a long work (two disks), but never FEELS long. You feel involved and emotionally captured all the way through (unless you are disposed to dislike 19th century romantic music that wears its heart on its sleeve - no 20th century irony here).

I encourage you to get to know this piece and this is a very good recording of this great work.

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

Average customer rating:

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

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

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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

ASIN: B00000HXKX
Release Date: 1999-01-12

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

Nothing but hits

Essential Hyperion, Vol. 2

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

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The Essential Hyperion (Label Highlight Compilation)
Essential Purcell

ASIN: B00004RITB
Release Date: 2001-01-09

Customer Reviews:

Nothing but hits.......2001-01-31

As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

Schubert - String Quintet in C / Alban Berg Quartet · Schiff

Average customer rating:

A highly polished reading
Best Rendition of Favourite Piece
The best...very Viennese...very Schubert
I expecteded more from the Berg Quartett --- 3 1/2 stars

Schubert - String Quintet in C / Alban Berg Quartet · Schiff
Franz Schubert , Alban Berg Quartett , Heinrich Schiff , Günther Pichler , Thomas Kakuska , and Gerhard Schulz
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Franz Schubert: Quintet/Symphony No.5
Schubert: 24 Lieder
Schubert: Piano Sonata D. 960/3 Klavierstücke D. 946
Schubert: String Quartets Nos. 13 "Rosamunde" & 14 "Death and the Maiden"
Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy

ASIN: B00000I7WA
Release Date: 1999-03-09

Tracks:

I: Allegro Ma Non Troppo
II: Adagio
III: Scherzo (Presto) & Trio (Andante Sostenuto)
IV: Allegretto

Amazon.com

This is an impressive reading of the quintet, notable for its energy and lyrical beauty, and cellist Heinrich Schiff certainly throws the considerable weight of his tone behind the fine, blended sound of the Alban Berg Quartet. The original 1982 recording was first-rate, and EMI's engineers have done a superb job of capturing its ambience and warm tone on this remastering in the Great Recordings of the Century series. The only drawback is that the players omit the exposition repeat in the quintet's first movement, depriving it of the "heavenly length" it should have. --Ted Libbey

Customer Reviews:

A highly polished reading.......2005-06-17

Many consider Schubert's String Quintet D956 one of the pinnacle masterpieces in the entire chamber repertoire. With its diverse emotional moods, memorable lyrical themes, and dense, rich textures from the added cello, Schubert's only string quintet is clearly a masterpiece. The Austrian Alban Berg quartet gives a plush, poised reading of this great work, worthy of a "Great Performance" accolade. Their style and sound is often described as "polished" which can be clearly heard in this recording or in their wonderful performances of Mozart's final great quartets (4-CD set on Teldec). Their precise, silky and tonally rich playing combined with very good sound quality all make for a strong choice - although the 46 minutes is a bit chinsy for one CD. Other fine performances of this great quintet to consider: the bold reading from the Emerson String Quartet with Rostropovich (DG 3-CD set with the last string quartets) or the live, spirited recording from Pamela Frank and the Marlboro Festival players (Sony).

Best Rendition of Favourite Piece.......2005-01-01

Whilst a pianist, Schubert's Quintet in C just strikes a chord with me that other music of a solo or orchestral nature simple doesn't. As such I have several recordings of this piece. This was the first one I acquired and from the tentative opening note to the swagger and aplomb of the finale it will draw you in and leave you wishing for more yet realising that more simply isn't humanly possible.

For this recording specifically the first two movements stand out - in spite of the missing repeat in the first. It is not for me to question Schubert's genius but I feel that performances of the first movements of both the Quintet and the D minor Quartet D810 'Death and the Maiden' do not lose anything from the ommission of their exposition repeats and if anything gain a feeling of progression and cohesion (particulary in D810).

There isn't a single phrase or note which feels at all out of place here - such attention to detail for a peace as long and with so many subtley repeated notes is remarkable.

The third and fourth movements whilst not nearly as substantial as the first two are played to perfection. The scherzo has power and an unrivalled intensity of conviction. The proceeding trio is reflective and brooding - the repeated chords leading to the recapitulation are fantastic and never cease to heighten the tension no matter how well I know exactly what is around the corner. The final movement is approached as one critic put it "with just the right balance of swagger and reserve" - although there is one tiny mistake which I only recently picked up at around 2"09 (How's that for pedantry!).

The sound quality is excellent and - as should be the case - won't be a consideration unless you purposely set out to analyse it.

Simply unrivalled.

Not however unchallenged at a very high level and I would also reccommend the Lindsays mid 80's version - unimpeachable sound and marvellous control across the dynamic spectrum: comes packaged with the late quartets; D810 is sublime but that's another story.

The best...very Viennese...very Schubert.......2004-10-12

Although many American concert-goers and players prefer the Emerson with Rostro, after listening to the Berg, I still prefer it. There is more idiomatic playing, with the right amount of rubato. It just seems "right". If you've played the quintet yourself, you'll really appreciate how they get the Viennese sound just right. They're Viennese after all, they should. The intonation and ensemble is just as good as the Emersons. The omission of the exposition repeat is a minor quibble. Go to a concert and I bet they don't include the repeat. If you want to hear more Schubert, hit the repeat button or listen to "Death and the Maiden".

This is the one to get.

I expecteded more from the Berg Quartett --- 3 1/2 stars.......2003-12-18

This is by no means a bad performance, and I do not intend it as a bad review. The 3 1/2 stars is a relative rating, taking into consideration the other excellent recordings the Berg Quartett has produced. Judged on its own merits, this would be in the top ten versions of the Schubert Quintet I have heard.

Tracks:

Medea's Dance Of Vengeance, Op. 23a
String Quartet In B Minor, Op. 11: Adagio For Strings
Second Essay For Orchestra, Op. 17
Overture To The School For Scandal, Op. 5
'Andromache's Farewell,' Op. 39: Andromache's Farewell, Op. 39
Intermezzo From Vanessa (Act II), Op. 32
Overture To Amelia al ballo
Interlude From Wozzeck (Act III)
Introduction To Fervaal, Op. 40

Amazon.com

This classic disc has been the prime recommendation for Barber's short orchestral pieces since the early 1960s. Remastered onto CD for the first time, and with the addition of some other items conducted by Thomas Schippers, it sounds better than ever. All of Barber's music is blessed with the virtues of impeccable craftsmanship, tunefulness, and, above all, brevity. Although a Romantic by temperament, Barber had the gift of being able to fit a lot of emotional impact into a very small space. The famous Adagio for Strings and the Second Essay actually sound much bigger than they are, but they don't go on a second too long--which means you can play them again right away! You'll want to. --David Hurwitz

Amazon.com

The most beautiful recording ever made of the Adagio for Strings is at last on CD, thoughtfully coupled with some of the other recordings the young Thomas Schippers made for Columbia Masterworks--of the music of Barber and others--between 1960 and 1965, at the start of his all-too-brief career. Although he was never on personal terms with Barber, Schippers had the ability to put Barber's music across in just the right way, with the perfect blend of energy and lyricism, toughness and warmth, and, above all, the feeling that its sentiment was real, yet ineffably contained. The performance of the New York Philharmonic (in the Adagio, as well as in the Second Essay for Orchestra, the Overture to the School for Scandal, Andromache's Farewell, and Medea's Dance of Vengeance) is aglow with inspiration, and the sound is exceptionally vivid, with a palpable sense of presence and space. --Ted Libbey

Customer Reviews:

A sparkling remaster.......2006-12-29

This disc showcases a spectrum of talent from the young Schippers before his tragic death. However, contrary to the other reviews, this is not the best version of the "Adagio" that I have ever heard. The other tracks on the disc are a nice complement and some are hard to find on CD. All in all, a decent buy.

Great music and a great package.......2006-11-10

This reissue of material conducted by Thomas Schippers shows the great style he had conducting Barber's (and Menotti's) work. This CD has been reissued again with a more mundane package as part of the RCA red seal releases. This disc presents background information and pictures that are a delight to the collector and will interest the listener new to this music. Its sound is good for its age and packages material together very well.

An American Classic.......2005-12-03

Like many of the other reviewers, I owned this recording as an LP. Listening to it again in the CD format was a wonderful experience. Barber's lyrical gift was extraordinary. "Romantic" is an inadequate word to describe his music. And it sounds peculiarly American, like Copland's. You can't imagine that a European could have written it. It has too much freedom and sparkle, too much yearning and openess. My only criticism is that this disc omits "Knoxville: Summer of 1915", which I recall was on the old LP, with Leontyne Price as the soloist. Thomas Schippers seems to have been the ideal interpreter of this composer. What a pity that he died young.

Best of Barber.......2004-09-30

The cover and Barber performances come from one of my favorite LPs - an old Odyssey release from the 70s. (Having worn one down, I was lucky to find a new one at a second-hand store - and soon after the CD was, finally, released.) Needless to say, I've listened to these performances frequently but never tire of them. Schippers, who was a close protege of Barber's (his lover?), infuses all of the Barber orchestral pieces with enormous vitality and emotion. The Adagio is one of the two or three best (if not THE best) on record, and the Medea Meditation and Dance of Vengeance is a knockout, more forceful even than Barber's own recording of the music in the Medea Suite for Mercury in the 50s. The School for Scandal Overture is a rollicking and tuneful delight, and the Second Essay is superbly done. My only objection is the CD is a rather scatter-shot collection, a massing culled from the handful of recordings Schippers made for Columbia in the early '60s. The sound is fine, but I'd sure love to hear an SACD version of this recording.

Is there anything to add...?.......2003-09-26

Is there anything to add to the string of glowing reviews of this CD? Perhaps not but I feel an obligation as it has been part of my life since I first bought it in 1967--and wore out several LP versions of it. The combination of composition, interpretation, playing, and engineering of the Barber pieces is unparalleled in my experience; each must be considered as definitive. I particularly favor the Second Essay which comes across as a major work of it era and should appear in concert more often. The contibution by Martina Arroyo is just an extra added attraction in this extended compilation. Legendary!

Track Listings:

Track Listings

track listings

Track Listings

Underworld [Import]

Balada: Hangman, Hangman!; The Town of Greed

Blues & Soul Years, Vol. 12 [Import]

Take Note!

California Music & Disney Girls [Import]

Changin': Remixes [CD-single] [Import]

Be Cool Be Kind

Arturo Toscanini Collection, Volume 37: Claude Debussy

Brisbane Bop

Amusos

Amazon Drumming To Journey By

Best of Starship [Import]

Best of a Taste of Honey [Import]

Messenger

Eos