Walter in London

1. Symphony No. 39 in E flat major, K. 543
Composed by Wolfgang Amadeus Mozart
Performed by BBC Symphony Orchestra Conducted by Bruno Walter

2. Symphony No. 4 in E minor, Op. 98
Composed by Johannes Brahms
Performed by BBC Symphony Orchestra Conducted by Bruno Walter

3. Fidelio, overture, Op. 72c
Composed by Ludwig van Beethoven
Performed by BBC Symphony Orchestra Conducted by Bruno Walter

Walter in London,Walter,Mozart,Brahms,Beethoven,Bbcso,Grammofono 2000,Classical

Average customer rating: Ring introduction critique FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE Welcome back to a classic analysis Essential for Understanding Wagner's Ring Cycle Very Functional

An Introduction to Der Ring des Nibelungen Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra Manufacturer: Decca ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baritones | Voices | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Wagner's Ring: Turning the Sky Round Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti Decoding Wagner: An Invitation to His World of Music Drama (includes 2 CDs) Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle) Ring of the Nibelung ASIN: B00000424H Release Date: 2005-09-13

Tracks:

1. Of All Great Musical Compositions... (Examples 1-4)
2. The Fundamental Symbol... (Examples 5-11)
3. Returning Now To The Nature Motive... (Examples 6, 12-16)
4. A Number Of Further Motives... (Examples 5, 17-21)
5. A Second, Much Smaller Family... (Examples 22-25)
6. So Much For Nature. (Examples 26-38)
7. The Cause Of The Deterioration... (Examples 39-44)
8. The Other Transformation... (Examples 45-48)
9. Several Other Motives... (Examples 49-52)
10. Two Further Motives... (Examples 41, 53-61)
11. The Basic Motive Associated With The Spear... (Examples 62-68)
12. Along Another, More Complex Line... (Examples 69-72)
13. In Act Two Of Walkure... (Examples 69, 73-75)
14. Returning Now To Act Two Of Walkure... (Examples 76-79)
15. Love Is Another Of The Central Symbols... (Examples 80-83)
16. Later In The Same Scene... (Examples 84-87)
17. Freia's Motive Has Two Independent Segments... (Examples 88-91)
18. The Label 'Flight'... (Example 92)
19. When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
20. A Little Later In The Interlude... (Examples 99-103)

Tracks:

1. The Other New Motive... (Examples 104-109)
2. There Are Several Independent Love-Motives... (Examples 110-114)
3. The Characters In Whose Lives... (Examples 115-120)
4. One Further Motive Belongs... (Example 121)
5. The Sword Motive Recurs... (Examples 122-130)
6. Ironically, This Phrase... (Examples 131-135)
7. Closely Associated With Gutrune's Motive... (Examples 136-140)
8. Here We Come To The End... (Examples 141-146)
9. Complemtary To This Symbol... (Examples 147-149)
10. One Last Central Symbol... (Examples 150-157)
11. One Further Motive Connected... (Examples 158-161)
12. There Are One Or Two Motives... (Examples 162-168)
13. These Motives Of Alberich And Mime... (Examples 169-171)
14. Quite A Number Of The Subsidiary Motives... (Examples 172-176)
15. Besides This Family Of Motives... (Examples 177-180)
16. Our Final Example... (Examples 10, 181, 182)
17. In The Final Scene Of Gotterdammerung... (Examples 181-183)
18. Even More Masterly... (Examples 184-188)
19. Now If We Return... (Examples 189-191)
20. This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Average customer rating: A Must Have Just enough to hear Christa Ludwig. Great conductor, orchestra and cast in classic "Fidelio" 1st half wonderful, 2nd not so great (tenorial nightmare) VICKERS IS A WONDERFUL FIDELIO

Beethoven: Fidelio Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Similar Items: Wagner: Lohengrin Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan Missa Solemnis in D major, op.123 Wagner: Tristan und Isolde La Boheme ASIN: B00004VVZB Release Date: 2000-08-15

Tracks:

1. Fidelio: Ouveture (Orchester)
2. Fidelio: Act I: Nr. 1 - Duett Jetzt, Schatzchen, jetz sind wir allein (Jaquino) (Marzelline)
3. Fidelio: Act I: Rezitativ Der arme Jaquino dauert mich beinahe
4. Fidelio: Act I: Nr. 2: Arie Owar ich schon mit dir vereint (Marzelline)
5. Ludwig Van Beethoven: Act I: Rezitativ Guten Tag, Marzelline. 1st Fidelio noch nicht zuruck? (Rocco) (Marzelline) (Leonore)
6. Fidelio: Act I: Nr. 3: Arie Mir ist so wunderbar (Marzelline) (Leonore) (Rocco) (Jaquino)
7. Fidelio: Act I: Rezitativ - hore, Fidelio, weibt du, was ich tue?
8. Fidelio: Act I: Nr. 4: Arie (Rocco)
9. Fidelio: Act I: Rezitativ - Ihr konnt das leicht sagen, meister rocco (Leonore) (Rocco) (Marzelline)
10. Fidelio: Act I: Nr. 5: Terzett
11. Fidelio: Act I: Der Gouverneur ... der gouverneur sol heut' erlauben
12. Fidelio: Act I: Nur auf der Hut, dann geht es gut (Rocco) (Leonore) (Marzelline)
13. Fidelio: Act I: Nr. 6 - march (Orchester)
14. Fidelio: Act I: Rezitativ Wo sind die Depeschen? (Don Pizarro) (Rocco)
15. Fidelio: Act I: Nr. 7 - Arie mit Chor Ha! Welch' eni Augenblick! (Don Pizarro) (Chorus)
16. Ludwig Van Beethoven: Act I: Hauptmann, besteigen Sie mit einem Trompeter sogleich den Turm
17. Fidelio: Act I: Nr. 8 - Duett Jetz, Alter, jetzt hat es Eile! (Don Pizarro) (Rocco)
18. Fidelio: Act I: Nr. 9 - Rezitativ Abscheulicher! Wo eilst du hin?
19. Fidelio: Act I: und Arie - Komm, Hofgnung, lab den letzten stern (Leonore)
20. Ludwig Van Beethoven: Act I: Rezitativ Rocco, 1h verspracht mir so oft (Leonore) (Marzelline) (Rocco)
21. Fidelio: Nr. 10 - Finale O welch Lust! (Chorus)
22. Fidelio: Act I: Wir wollen mit vertrauen auf Gottes Hulfe bauen (Zweiter Gefangener) (Chorus)
23. Fidelio: Act I: Nun sprecht, wie ging's (Leonore) (Rocco)
24. Ludwig Van Beethoven: Act I: Arch! Vater, eilt! (Marzelline) (Rocco) (Jaquino) (Leonore)
25. Fidelio: Act I: Verwegener Alter (Don Pizarro) (Rocco)
26. Fidelio: Act I: Leb wohl, du warmes Sonnenlicht (Chorus) (Marzelline) (Leonore) (Jaquino) (Don Pizarro) (Rocco)

Tracks:

1. Ludwig Van Beethoven: Act II: Nr. 11: Introduktion (orchester)
2. Ludwig Van Beethoven: Act II: und Arie gott! Welch' Dunkel hier
3. Ludwig Van Beethoven: Act II: In des Lebens Fruhlingstagen
4. Ludwig Van Beethoven: Act II: Und spur' ich nicht linde (Florestan)
5. Ludwig Van Beethoven: Act II: Nr. 12: Melodram Wie Kalt ist es
6. Ludwig Van Beethoven: Act II: und Duett - Nur hurtig fort, nur frisch gegraben (Leonore) (Rocco)
7. Ludwig Van Beethoven: Act II: Rezitative Er erwacht! (Leonore) (Rocco) (Florestan)
8. Ludwig Van Beethoven: Act II: Nr: 13 Terzett - Euch werde Lohn in besser'n Welten (Florestan) (Rocco) (Leonore)
9. Ludwig Van Beethoven: Act II: Rezitativ Vater Rocco! (Rocco) (Leonore) (Florestan) (Don Pizarro)
10. Ludwig Van Beethoven: Act II: Nr. 14 - Quartett Er sterbe! (Rocco) (Leonore) (Florestan) (Don Pizarro)
11. Ludwig Van Beethoven: Act II: Rezitativ Vater Rocco! (Jaquino) (Rocco)
12. Ludwig Van Beethoven: Act II: Es schlagt der Rache Stund! (Leonore) (Florestan) (Don Pizarro) (Rocco)
13. Ludwig Van Beethoven: Act II: Nr. 15 - Duett O namenlose Freude! (Leonore) (Florestan)
14. Ludwig Van Beethoven: Act II: Nr. 16 - Finale Heil sei dem Tag (Chor)
15. Ludwig Van Beethoven: Act II: Des besten Konigs Wink und Wille (Chorus) (Don Fernando)
16. Ludwig Van Beethoven: Act II: Wohlan! So helfet, helft den Armen! (Rocco) (Don Pizarro) (Don Fernando) (Leonore) (Marzelline) (Rocco)
17. Ludwig Van Beethoven: Act II: Du schlossest auf des Edlen Grab (Don Fernando)
18. Ludwig Van Beethoven: Act II: O Gott! O welch' ein Augenblick! (Rocco) (Don Pizarro) (Don Fernando) (Leonore) (Marzelline) (Rocco)
19. Ludwig Van Beethoven: Act II: Wer ein holdes Weib errungen (Rocco) (Don Pizarro) (Don Fernando) (Leonore) (Marzelline) (Rocco)
20. Ludwig Van Beethoven: Act II: Ouverture - Lenore nR. 3

Amazon.com essential recording

Under Klemperer, a maestro with roots in a great operatic tradition, this is a monumental, authoritative performance. From the very beginning of the Fidelio Overture, tempi are slow, deliberate, expansive: every note is important and vibrantly alive; every vocal and instrumental line stands out; there is time for poised changes and transitions. Chorus and orchestra are splendid; not only do all the soloists sing fabulously, but using all their vocal resources to bring out the character of words and music, they create real people and situations, mood and atmosphere. With a mostly German cast, even the spoken dialogue seems to aid rather than disrupt the drama. Berry is a wonderfully venomous villain, yet he sings every note accurately; Vickers, darkening his voice, makes Florestan more resigned than heroic, breathless in his ecstatic hallucination. Ludwig's voice is flawless over a huge range, warm yet gloriously radiant; she is an ideal Leonore in style, expression, and characterization. --Edith Eisler

Customer Reviews:

A Must Have.......2007-02-25

Klemperer's Fidelio as remastered here is well deserving of its status as a "Great recording of The Century" by EMI. The sound is as clear as a digital recording and allows all the nuances of the orchestra and singers to be heard. Beethoven's opera is underrated I believe, and with this recording one can see why. The drama and emotion of the story are even more enhanced by the superb phrasing and dynamic contrast of Klemperer's interpretation. This recording should definitely ascend the ranks of your collections quite rapidly and you will enjoy it for a long time.

Just enough to hear Christa Ludwig........2007-01-31

For many years, Ms. Ludwig has been the leading mezzo in Germany, and not without good reasons.
Since her younger days when she sang Cosi fan tutte with Lisa della Casa for Karl Boehm's first recording of the opera, she has been a most promising mezzo-soprano on an international level. And her voice developed to even better dimensions as she ages.
Comparing with today's Cecilia Bartoil, Christa Ludwig not only enjoyed longer vocal brilliance, but also a much wider repertoire.
Some would say that Sena Jurinac's Klemperer Fidelio is better. That may be the case, but for reasons quite other than Ludwig's performance. Jurinac was a soprano, and Ludwig a mezzo. Leonora (Fidelio)'s role may either be tackled by a soprano or a mezzo, as in Wagner's Brunnhilde.
If you heard another brilliant German soprano Gundula Janowitz's Bernstein Fidelio, you would not have questioned the choice of Ludwig in the present recording. As Elisabeth Schwarzkopf said last January in an interview, Ludwig's voice is uncommon - it is very full. In the high, middle and low registers, I would add.
This is a major attribute that allowed her to tackle Leonora's role with brilliance. Even if her upper is not as brilliant as, say, Jurinac, or Mattila, her middle and lower registers more than compensate for that.
Another very 'different' Fidelio is Hildegard Behrens. Not a big voice, but with such sweet charm and boyish tinge that you would not have wondered why Marcellina gave up Jaquino for this 'fake' Fidelio. Either you catch the character's charm, or the character's determination. If best, you come with both. Christa Ludwig's voice scored well in both ends.
Jon Vickers' Florestine sounds too stout for me, though vocally very attractive.
Was Florestine not near to the end of his life by starvation when he appeared in the Second Act? I wonder why most critics called for a ''big voice'' in Don Florestine's role.

Great conductor, orchestra and cast in classic "Fidelio".......2006-02-24

Source: 1962 studio recording produced by Walter Legge.

Sound: State-of-the-art 1960s analog stereo, digitally remastered in 2000.

Cast: Leonore / Fidelio - Christa Ludwig; Florestan - Jon Vickers; Rocco - Gottlob Frick; Don Pizarro - Walter Berry; Marzelline (singing) - Ingeborg Hallstein; Marzelline (dialogue) - Elizabeth Schwarzkopf; Jaquino - Gerhard Unger; Don Fernando - Franz Crass; First Prisoner - Kurt Wehofschitz; Second Prisoner - Raymond Wolansky. Conductor: Otto Klemperer with the Philharmonia Chorus and Orchestra.

Text: Spoken German dialogue is included but radically shortened to serve as little more than connective tissue between the musical elements.

"Fidelio" is the work of a man whose natural home was the concert platform, not the theater. It is burdened with long patches of dull and forgettable music interspersed with stunning musical brilliance. It is set in the form of a "rescue play," a tired cliche even in Beethoven's time. In the midst of flat, conventional forms it manages to extol love--albeit married love--in passages even more ecstatic than Wagner achieved in "Tristan und Isolde." The roles of Leonore / Fidelio and Florestan have proved fully worthy of the talents of the most heroically-voiced singers of every generation since the opera's premiere during the Napoleonic Wars. Beethoven's "Fidelio" is flawed, but it is a true masterpiece.

For many years, this performance of "Fidelio" was widely acclaimed as the finest of all recorded versions of Beethoven's only opera. As I write this, forty-four years after its initial issue, there are still many who rate it above all its successors. The conductor was a great master of what is now regarded as the old school of Beethoven performance (a damaging indictment to some listeners and a refreshing relief to others.) The orchestra was at its fabulous peak. The four lead singers, Ludwig, Vickers, Frick and Berry were each international stars of the first magnitude. The current re-issue of the set is sumptuously presented--at least by the unimpressive standards of CDs--and offered at a bargain price.

For all these reasons, the only reasonable rating is five stars.

Great as it is, however, this "Fidelio" is not above criticism. The perfect "Fidelio," in fact, remains as perpetually elusive as the perfect "Traviata."

This recording is one of a series of masterworks made under the auspices of the imperious Walter Legge, head of Artists and Repertory for EMI (and, incidentally, husband of Elizabeth Schwarzkopf.) It may be said to have begun with a series of live performances conducted by Klemperer at Covent Garden in 1961. (A live recording is available at an outrageous price from Testament.) The principal singers at Covent Garden were Sena Jurinac as Fidelio, Jon Vickers as Florestan, Gottlob Frick as Rocco and Hans Hotter as Don Pizarro. Klemperer wished to bring all of them to the recording studio but Legge had other ideas. As usual, Legge got his way, bringing over only Vickers and Frick.

Klemperer's "Fidelio" is gravely measured and monumental, but not particularly theatrical. Some parts, most notably the chorus of soldiers preceding the entrance of Don Pizarro, have justly been criticized as too slow.

Christa Ludwig was one of the great singers of the Twentieth Century. Her Leonora was exquisitely thought out and brilliantly presented. But she was a mezzo-soprano. Excellent as she undoubtedly was, she was not quite a perfect fit in a role that positively cries out for a great soprano. I am wholly in agreement with those who say that for once Legge was in error when he refused to record the luminous Sena Jurinac.

Jon Vickers was a gigantic presence. I saw him do Florestan with the San Francisco Opera. He held us all in thrall. If he had a fault, it was a tendency to over-think his parts. Here, the details and mechanisms of his characterization are just a bit too apparent--some have said too sugary--and they are slightly out of phase, I think, with Klemperer's more abstract vision. Whatever one may believe about his acting, he sings magnificently.

Gottlob Frick is probably as good as anybody who has ever essayed Papa Rocco, a basically conventional and quite tedious part, save for his big duet with Fidelio in Act II.

Walter Berry was an admirable singer and very effective as Don Pizarro, but villainous characters were not his strength as a performer. Some have held that he did not achieve the sheer malignancy that Hotter spewed so generously over Covent Garden. My own opinion, for what it's worth, is that neither of them could match Gustav Neidlinger as the hateful Pizarro.

Gerhard Unger was perfectly competent in what is effectively the throw-away part of Jaquino. Ingeborg Hallstein has been about equally praised and denounced for the youthful tremulousness she brought to Marzelline.

For those who know "Fidelio" well, this is the standard recording. For those who wish to become acquainted with an operatic wonder, this is as good an introduction as may be found.

1st half wonderful, 2nd not so great (tenorial nightmare).......2005-02-05

Why do so many of the reviews of this recording focus on the tenor when they should focus on how great the (mezzo) soprano Ludwig is?

The first half is great because the main tenor is absent (and Gottlob Frick is always fun).

The second half is where the rot sets in when the dreaded Jon Vickers makes his first appearance and we start to hear the unfocussed protruding 'e'-vowel. This spoils an otherwise outstanding recording. Sigh. See my review of the Karajan Tristan/EMI recording for more on this horrible phenomenon.

Whilst I've given this 4 stars, the 5 star rating must go to the Fricsay recording on DG -- the fabulous Ernst Haefliger doesn't have an 'e'-vowel problem. :-)

VICKERS IS A WONDERFUL FIDELIO.......2004-09-25

I LOVE THIS RECORDING OF FIDELIO - BUT THEN I AM A BIG BIG FAN OF JON VICKERS. HIS PERFORMANCE AS FIDELIO IS VERY MOVING AND WHEN HE SINGS "FREIHEIT, FREIHEIT" IT BRINGS CHILLS. THE ACTING AND THE SINGING ARE FIRST CLASS.

Average customer rating: Great compilation - and that's just the first half. The best of Elfman!!! Great Collection, A LIttle Too Eclectic What Great Music super

Music for a Darkened Theatre, Vol. 1: Film & Television Music Manufacturer: Fontana Mca ProductGroup: Music Binding: Audio CD Elfman, Danny | ( E ) | Featured Composers, A-Z | Classical | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music 1980s | By Decade | Pop | Styles | Music 1990s | By Decade | Pop | Styles | Music 1980-1989 | Decades | Compilations | Miscellaneous | Styles | Music 1990-1999 | Decades | Compilations | Miscellaneous | Styles | Music The Simpsons | Specialty Stores | Music Music | The Simpsons | Amazon.com Stores | us-stores Similar Items: Music for a Darkened Theatre, Vol. 2: Film & Television Music Serenada Schizophrana So Lo Sleepy Hollow: Music from the Motion Picture Beetlejuice: Original Motion Picture Soundtrack ASIN: B000002OEB Release Date: 1990-10-15

Tracks:

1. Excerpts From: Pee Wee's Big Adventure
2. Excerpts From: Batman
3. Excerpts From: Dick Tracy
4. Excerpts From: Beetlejuice
5. Excerpts From: Nightbreed
6. Excerpts From: Darkman
7. Excerpts From: Back To School
8. Excerpts From: Midnight Run
9. Excerpts From: Wisdom
10. Excerpts From: Hot To Trot
11. Excerpts From: Big Top Pee Wee
12. Excerpts From: The Simpsons
13. Excerpts From: Alfred Hitchcock Presents: The Jar
14. Excerpts From: Tales From The Crypt
15. Excerpts From: Face Like A Frog
16. Excerpts From: Forbidden Zone
17. Excerpts From: Scrooged

Customer Reviews:

Great compilation - and that's just the first half........2005-09-14

I first got this on cassette in the summer of '94 and listened to it every day, drawn by its thematic range and compositional depth. And that was just side-one.

Elfman pioneered the sound that drives today's movie adaptations of comic-books and darker-themed children's stories. Side-One kicks things off with a rollicking, hyper-cartoonish theme from the first Pee-Wee movie - the one where Pee-Wee searches for his beloved bike. Elfman's theme contains layers of different rides - on tightropes, highways, in the middle of a NASCAR rally - which rudely yet melodically crash into each other.

The Batman entry actually contains several pieces - the opening credits, the extended sequence in the cathedral and the climax - which show Batman's darkened extreme at its "Frank Miller" best. (Dir. Tim Burton couldn't sustain the mood in the next sequel, and the franchise took a turn towards the camp of the TV series with the next 2 movies.)

The theme for "Dick Tracy" is perhaps the most romantic on this disc, a quality that surpasses the theme's comic-book origins, but ends on an ironic note that's pure Elfman.

"Beetlejuice" (opening & closing credits) gives Elfman's childish ID a chance to stretch its legs, or in this case, slam-dance.

"Nightbreed" is an enigma wrapped in a dark mystery, and that's just Elfman's score. Elfman's work on this movie is as good as the movie wasn't, having a more powerful narrative than the script - easily the best track on the entire disc, one likely to exceed the movie in its dose of chills.

"Darkman" doesn't quite rise to the occasion, though the score may be hobbled by the movie itself, which seldom surpassed one of the many "Batman" clones of the early 1990's. "Darkman" (the movie, I mean) excelled as a parody of many comicbook staples (the wronged hero, the relentless villain, the scientific breakthrough with just one flaw), but not enough to escape being largely anonymous. Within those constraints, it's still a moving if scary piece.

When is Elfman not like Elfman? When he was in the mid-late `80's and scored "Back to School" (A Rodney Dangerfield vehicle) and "Midnight Run". Horns in "School" bring it closer to Elfman's over-the-top style, while "Run" sounds like a love-theme for the run-down, out-of-the-way parts of America that seldom appear in Elfman-movies. "Run" is a fun score for a fun movie - it's nothing like Elfman's previous work but it perfectly captures the on-the-road-without-a-map craziness of the movie.

To this day, I don't know why I never ventured to Side-two, but it's irrelevant. Even half this disc is worth it

The best of Elfman!!!.......2005-09-05

I was obsessed about getting this CD right from when I heard about it. I found it at the library and was so excited about it, and it didn't let me down. In fact, it was a lot better than I expected. It's a fun and creepy (strange mix, but it really works!) collection of Danny Elfman's film and television soundtracks. The first track, Pee Wee's Big Adventure, is probably my favorite. Also, I really like Batman and Wisdom. Batman is creepy and dark, and Wisdom is just weird, in the best possible way.
I'd recommend this to anyone who likes film music, or everyone who is even the tiniest bit an Elfman fan. It's amazing!

Great Collection, A LIttle Too Eclectic.......2003-08-19

You should be able to tell from the movies and TV shows listed here whether or not you'd be interested in this collection. It's a little too eclectic for my tastes (hence only 4 stars) but better than volume 2. I think thatthe miscellaneous collected ites here along with the previously unreleased stuff should make this worth buying. Especially if you're a fan of Elfman's movie soundtrack work.

What Great Music.......2003-05-11

I fell in love with the music of Danny Elfman when Beetlejuice came out. There was something different about the music that he made. When Edward Scissorhands, and then Nightmare Before Christmas - I knew this man was a musical master. Its the verbal form of surrealism.

super.......2003-04-17

What a great CD. Danny's music is so original and inventive. this CD contains his pre 90's quirky, gothic music. it's all very well written and beautifully orchestrated. batman and darkman contain some really excellent long, dark, gothic cues that really take u away from reality. in my opinion no one, apart from howard shore, is as inventive and original as danny in the world of filmmusic. he far surpasses the repetitive works of williams or horner. buy this, and volume two, and keep supporting one of the greatest film composers of all time.ohh...and buy fellowship of the ring and two towers by howard shore....amazing work!

Average customer rating: A good taste of Heifetz's musical style and technical supremacy This is Great stuff Long review, but please read. ok for bargin Heifetz shows his supremacy

Jascha Heifetz: The Supreme Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bruch | Bruch, Max | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Heifetz, Jascha | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Heifetz Showpieces Heifetz: Double Concertos Tchaikovsky & Mendelssohn: Violin Concertos Beethoven, Mendelssohn: Violin Concertos Bach: Sonatas & Partitas ASIN: B00003CWJU Release Date: 2000-02-08

Tracks:

1. Partita No.2, BWV 1004: Chaconne
2. Violin Concerto, Op.77: Allegro non troppo (Cadenza - Heifetz)
3. Violin Concerto, Op.77: Adagio
4. Violin Concerto, Op.77: Allegro giocoso ma non troppo vivace
5. Violin Concerto, Op.35: Allegro moderato
6. Violin Concerto, Op.35: Canzonetta: Andante
7. Violin Concerto, Op.35: Finale: Allegro vivachissimo

Tracks:

1. Scottish Fantasy, Op. 46: Introduction: Grave - Adagio cantabile
2. Scottish Fantasy, Op. 46: Allegro
3. Scottish Fantasy, Op. 46: Adagio - Andante sostenuto
4. Scottish Fantasy, Op. 46: Finale: Allegro guerriero
5. Violin Concerto, Op.47: Allegro moderato
6. Violin Concerto, Op.47: Adagio di molto
7. Violin Concerto, Op.47: Allegro ma non tanto
8. Violin Concerto, Op.82: Moderato
9. Violin Concerto, Op.82: Andante sostenuto
10. Violin Concerto, Op.82: Tempo!
11. Violin Concerto, Op.82: Allegro
12. 3 Preludes: Allegro ben ritmato e deciso
13. 3 Preludes: Andante con moto e poco rubato
14. 3 Preludes: Allegro ben ritmato e deciso

Amazon.com

For many violin fans, Jascha Heifetz (1901-1987) remains, quite simply, the greatest. Heifetz's perfect tone and electric playing weren't always subtle, but you can't deny the awesome power of his virtuosity and precision. Heifetz: The Supreme gathers some of his best-loved works--violin concertos by Sibelius, Glazunov, and Tchaikovsky--along with a few gems (Gershwin's Three Preludes, Bach's Chaconne from Partita No. 2) into one, remastered two-CD package. The Bach may be too intense for some tastes--it's an impassioned, romantic reading--but Heifetz is merely being himself. On the Sibelius and Tchaikovsky violin concertos, though, his skills are undeniable. Fritz Reiner and the Chicago Symphony provide the perfect accompaniment for the violinist, and Heifetz simply lets loose. Heifetz's Gershwin transcriptions are an added, fun bonus. If you haven't been introduced to the glory of Heifetz, here's your chance. With remastered sound, he's never sounded better. --Jason Verlinde

Customer Reviews:

A good taste of Heifetz's musical style and technical supremacy.......2006-04-09

As always, Jascha Heifetz shows his technical mastery of the violin in this CD. He plays each note with intent and a precise control unparalleled by other violinists. His tone quality is also quite good.

While the Tchaikovsky showcases Heifetz's finesse, Heifetz's rendition of the Brahms concerto (esp. the first movement) is very moving. He also shows off his musical range in other pieces; for example the first movement of the Sibelius violin concerto has a quiet & mysterious element, while the last movement of the Glazunov is full of energy.

However, Heifetz's rendition of Bach's Chaconne is different than most. For those who enjoy a more traditional interpretation, I would go with Nathan Milstein's version.

This is Great stuff.......2005-03-27

That Jascha Heifetz was a great violinist, no one can quibble;
but if you want only one version of the Tchaikovsky violin concerto it has to be Isaac Stern's for perfection. It must be said, though, that Heifetz and Ricci play a much more difficult version of this concerto than does Stern. Stern's score has more cuts. If you've got enough money to get Heifetz' complete discography, do so. If you want only one disk of the Tchaikovsky, it has to be Isaac's. Nobody did it better. You can get the other Heifetz tracks on other compilations. I would recommend owning both the Heifetz and the Stern recordings because the versions are so different, and Heifetz shows you in this recording the
phenomenal technique he possessed that was made the standard of all violinists after him. You can also see Heifetz perform this
concerto (excerpts) in the video 'Carnegie Hall'. The man was simply astounding.

Long review, but please read........2005-02-16

I am also a violinist myself of 13 years. I have played most of these violin concertos almost a year ago.
Heifetz delivers his interpretation to the audience. I always viewed Heifetz as very stern and a reserved man, that he did not show any emotion.
After listening to this CD, my judgment was suddenly changed.

To start with, the Bach Chacconne deserves much credit. Heifetz recorded this live (I have the video)around the age of 70. Despite his age, he performed this piece with such passion and power. His vibrato was perfect for Bach's baroque style. I have listened to this over 300 times (no exaggerating).

Then, there's the Brahm's violin concerto. Heifetz DID play a little fast, but his interpretation made up for it. I personally loved his 3rd movement, which was flawless. As I listened to it, I could feel his bow contact with the violin string. It was unbelievable.

Then, the favorite of mine, Tchaikovsky's violin concerto was incredibly played. Even Kyung Wha Chung's musical ideas could not compete with Jascha Heifetz's perfection. I loved the musical parts, which was very emotional. It was great. Also, I just want to point out the 3rd movement. In his harmonics (the notes that sound like whistling) it was so pure and neat that I simply could not describe it in words, You must hear for yourself.

The Bruch's Scottish Fantasy was one of my favorites. The introduction was so mellow and sad. Once again, I really cannot describe it in words. I advise you to listen to this right now.

The Sibelius Violin Concerto, one of my favorites, was simply played inconceivably. His tone quality was exceptional, and I could not believe such power that Mr. Heifetz had in him.

His Glazunov Concerto was great too. I loved his tone quality and interpretation.

Finally, his Gershwin preludes added a final jazz touch to the album which would enlighten all the listeners after all those minor keyed concertos.

I encourage, no recommend, no COMMAND you to get this album now. I promise you. You will not regret it.

ok for bargin.......2003-09-20

This two cd set is a good bargin for $16. It has good song selection including the chaconne by Bach, Concerto in D major by Brahms and Tchaikovsky, etc..

The remastering of the concerto's by brahms and tchaikovsky were not as good as what I had expected. If you are only looking for these two concertos, you may want to try the "living stero" version. The Scottish fantasy, chaconne, and sibelius in this recording sounds better than the brahms and tchaikovsky.

Overall, this is not the best cd for serious collections, but a good deal for those who want lots of songs for a bargain price.

Heifetz shows his supremacy.......2003-07-19

Jascha Heifetz is the most influential violinist of the 20th century. No contest. He played the most difficult pieces with unnerving speed that most professionals today would prefer to slow down. In Jascha Heifetz: The Supreme, there is a select few of violin pieces that are very commonly played in his vast repertoire. Of this I particularly enjoyed the Bach Chaconne, Bruch Scottish Fantasy, Brahms, Sibelius, and Tchaikovsky Violin Concertos. I was most pleased when I heard Heifetz play Tchaikovsky for it is a piece I am currently playing and it was hard for me to find a recording of the Auer version, notably harder than the original score. Heifetz plays it flawlessly. The Finale is played in the style of Auer, his teacher. Auer merely took out parts the seemed repetitive in this fun movement. However, Tchaikovsky is not the only reason why I highly recommend you to buy this CD. The other pieces are performed at the usual Heifetz perfection. This select 2CD represents the top works of Heifetz, showing his supremacy.

Average customer rating: Mozart's Adagios By Outstanding Musicians and Conductors Very Nice music to tame the cacophonous beast serene timeless music Good - somewhat awkward

Mozart: Adagios Manufacturer: Decca ProductGroup: Music Binding: Audio CD Quintets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Divertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Sinfonia Concertante | Symphonies | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music French Horn | Brass | Instruments | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Clarinet | Reeds & Winds | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Academy of Ancient Music | ( A ) | Featured Performers, A-Z | Classical | Styles | Music Cleveland Orchestra | ( C ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Salzburg Chamber Orchestra | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Vivaldi Adagios Beethoven's Adagios Bach's Adagios Albinoni's Adagios Violin Adagios ASIN: B00000IIZZ Release Date: 1999-04-13

Tracks:

1. Eine kleine Nachtmusik K525
2. Piano Concerto No. 21 in C major K467 ('Elvira Madigan')
3. Serenade in B flat major K361
4. Clarinet Concerto in A major K622
5. Concerto for Flute & Harp in C major K299
6. Piano Concerto No. 23 in A major K488
7. Adagio for Violin in E major K261
8. Symphony No. 40 in G minor K550
9. Divertimento in B flat major K137
10. Piano Concerto No. 26 in D major 'Coronation' K537
11. Horn Concerto No. 3 in E flat major K447

Tracks:

1. Piano Concerto No. 27 in B flat major K595
2. Horn Concerto No. 2 in E flat major K417
3. Violin Concerto No. 3 in G major K216
4. Piano Sonata in F major K332
5. Symphony No. 41 in C major 'Jupiter' K551
6. Piano Concerto No. 20 in D minor K466
7. Adagio in B minor for Piano K540
8. Sinfonia concertante in E flat major K364
9. Clarinet Quintet in A major K581
10. Serenade in C minor K388
11. Piano Sonata in C major K545

Customer Reviews:

Mozart's Adagios By Outstanding Musicians and Conductors.......2005-11-28

This 2-CD reasonably priced compilation has a number of the greatest adagios Mozart composed, performed by some of the greatest conductors and musicians in the world. Mozart was such a prolific composer of incredibly beautiful music in his short 35 years that one can easily imagine a second 2-CD set of his adagios in this series. The quality of the performances and the sound quality of the recordings on both CDs are outstanding.

The selections of adagios are a representative sampling of many of Mozart's most well-known and greatest compositions. Although the selections come from a large variety of works, they flow smoothly from one to the other. The adagios from the piano concertos performed by Vladimir Ashkenazy, the other piano selections, performed by Andras Schiff, the violin adagio performed by Joshua Bell, and the adagio from the Clarinet Concerto performed by Gervase de Peyer, are absolute musical heaven. Then again, all of the selections are outstanding.

This is wonderful music to listen to either casually or seriously, either while doing something else, or while focusing only on the music and its beauty. If you are looking for other excellent CD compilations of Mozart adagios in addition to this one, I also highly recommend "Mozart for Relaxation" on RCA, and "Mozart for Meditation," on Naxos.

Very Nice.......2004-06-12

This is a very nice CD, it has a good selection of music, and it's very relaxing. The only problem I have with it is some of the recordings are so-so. I also noticed a small little mistake in one of the recordings, not of the song itself, but of some bad timing of whoever recorded it or edited the recording. At the end of the Horn Concerto on the first CD, which is the last one of that CD, if you listen very very carefully, you can hear the first split-second of the next movement in that concerto. It is very small and hard to notice, so it does not reduce the value of the CD; I thought I'd just point out that little "easter egg" mistake.

music to tame the cacophonous beast.......2004-01-18

Though this is not a CD set to "seriously listen to Mozart", it is perfect to put on while doing anything from housework to sitting around watching the grass grow. With one glorious melody after another, one is flooded with its beauty; there are few melodies that can top track # 2, the Andante from Piano Concerto 21, the "Elvira Madigan" theme, except for many of the other twentyone excerpts that for the most part, are well performed, with some that are exceptional.

Vladimir Ashkenzy is the pianist in four pieces, and is wonderful in all of them, as is clarinetist Gervase de Peyer in the K622 concerto and the excepts from Horn Concertos # 2 and # 3, with Barry Tuckwell as soloist.
The Concerto for Flute and Harp K299 might sound a little thin to some, but this is perhaps because of the antique instrumentation. The Academy of Ancient Music, under the baton of Christopher Hogwood, have been pioneers in recording with period instruments.
I'm particularly fond of Mozart's solo piano pieces, and three selections are included, played by award-winning Hungarian pianist/conductor Andras Schiff.

The packaging for these 2 discs is minimal, but the music is a nice bargain. You get miles of Mozart (playing time for Disc One is 74'25, Disc Two 71'30), with many great artists performing these soft and exquisite pieces; it makes me think of a box of assorted musical truffles, a delicacy for the ears, and a balm for the soul in the noisy world most of us live in.

serene timeless music.......2001-10-29

great collection for a super price. the selection is a compilation of the nicest music Mozart has composed. I have hundreds of CD and this will be one of my favorite.

Good - somewhat awkward.......2001-08-09

This CD includes some of Mozart's most sublime work. Like most compilations, each piece on the CD exists out of context, which sometimes feels awkward. Also, some of the performances are not up-to-snuff. In particular, the flute and harp concerto (K.299) is clunky and strangely juxtiposed with an outstanding performance of the K.622 clarinet concerto. I was also a bit disappointed with the metronomic performance of the K.361 adagio, which is among my favorite pieces of music. This CD is outstanding as background music - it's simply lovely, but it's not particularly good listening for the serious Mozart fan.

Average customer rating: Simply Awesome One of the best CDs I own

Best Of Saint-Saëns Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Paris Symphony Orchestra | ( P ) | Featured Performers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music ASIN: B000002SDI Release Date: 1990-10-25

Tracks:

1. Le Carnaval des Animaux, grande fantaisie zoologique: Introduction et marche royale du lion
2. Le Carnaval des Animaux, grande fantaisie zoologique: Poules et coqs-Hemiones
3. Le Carnaval des Animaux, grande fantaisie zoologique: Tortues - L'Elephant-Kangourus
4. Le Carnaval des Animaux, grande fantaisie zoologique: Auqarium
5. Le Carnaval des Animaux, grande fantaisie zoologique: Personnages a longues oreilles - Le Coucou au fond des bois
6. Le Carnaval des Animaux, grande fantaisie zoologique: Voliere
7. Le Carnaval des Animaux, grande fantaisie zoologique: Pianistes-Fossiles
8. Le Carnaval des Animaux, grande fantaisie zoologique: Le Cygne
9. Le Carnaval des Animaux, grande fantaisie zoologique: Final
10. Introduction et rondo capriccioso, For Violin And Orchestra In B Minor, Op. 28
11. Danse Macabre, Symphonic Poem, Op.40
12. Phaeton, Symphonic Poem, Op.39
13. Le Rouet d'Omphale, Symphonic Poem, Op.31
14. Havanaise, For Violin And Orchestra, Op.83
15. Bacchanale de Samson et Dalila

Customer Reviews:

Simply Awesome.......2004-11-19

Whether you're really into classical music or just a casual listener, you can't go wrong with this CD. The first work, Carnival of the Animals, is sheer fun. The melodies and choice of instruments really convey the essence of each animal, while Saint-Saens' humor and wit shine through in the subtle jabs he takes at critics and woefully inept piano students. Carnival is also wonderful for children, as they can learn to identify the selections with their favorite animals.

If that weren't enough, the rest of the selections are just as fantastic. Like the above reviewer, I love Danse Macabre and its ingenious use of strings, but Introduction and Rondo Capriccioso is not to be missed either. I can honestly say that not a single track on this CD disappointed me, and would highly recommend it to anyone.

One of the best CDs I own.......2000-06-17

SAint-Saens ability to convey certian feelings and emotions through music amazes me. This Cd is one of my personal favorites. I own two of them... one for my car and the other for my house. My particular favorite is Danse Macabre. The use of the violin to convey a "ghost fiddler" boggles my mind. I can almost picture it all happening. Disney should definitly think about putting this in the next Fantasia. Anyone who loves classical music should definitly own this CD!

Average customer rating: One of the GREATEST Recordings Ever Made. Hauntingly Beautiful Brilliantly sung "Bluebeard's Castle" OPENING DOORS Spell-Binding!

Bartók: Duke Bluebeard's Castle / Kertész, Ludwig, Berry Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Bartók, Béla | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Hungarian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Lady Macbeth of Mtsensk Pytor Il'ich Tchaikovsky: Pique Dame Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99 Béla Bartók: The Wooden Prince / Cantata Profana - John Aler / John Tomlinson / Chicago Symphony Orchestra & Chorus / Pierre Boulez ASIN: B00001IVQX Release Date: 1999-09-14

Tracks:

1. Duke Bluebeard's Castle BB 62 (Op.11): Opening
2. DOORS: Door 1
3. DOORS: Door 2
4. DOORS: Door 3
5. DOORS: Door 4
6. DOORS: Door 5
7. DOORS: Door 6
8. DOORS: Door 7

Amazon.com

Bartók's lone opera has fared well on disc, and the Kertész is one of the best, even if it lacks the full bite and snap of singers emoting in their native language. Ludwig, a mezzo Judith, is convincing as a loving bride wishing to share her husband's innermost secrets, and Berry is a patient Bluebeard, saddened by her inevitable consignment to oblivion behind the seventh door. They capture the private, intimate horrors at the core of the story. Kertész conducts brilliantly, drawing full, warm sounds from the LSO aided by Decca's spectacular demonstration-quality engineering. Doráti (on Mercury, also with great sound but with native singers) may get closer to the spirit of Bartók's sharp-edged score, but Kertész is in the same league. --Dan Davis

Customer Reviews:

One of the GREATEST Recordings Ever Made........2007-07-09

Decca Records....The very name seems to bring warm thoughts and feelings to one's body and mind...

What a "richer" place the world is, because of Decca, RCA, EMI (and of course, also, Philips, Deutsche Grammophone, and Columbia Records). These companies pioneered sound (and recordings) for us, and through their efforts, we have, currently, little silver discs (formerly, of course, Shiny Black LP's), that document and preserve both their technical achievements and those of the artists/participants of these recordings.

So, "Thank You Very Much" of course deserves to go to these companies for making our lives so much richer.

The Review...

One of these Pioneering Achievements, make no doubt about it, is this Magnificent recording of Bela Bartok's lone opera, Duke Bluebeard's Castle (A kékszakkallú Herceg Vára). The sonic achievement of this recording, for clearness, spaciousness, and simply breadth and range will amaze you if you are not famaliar already with it. This recording will probably forever stand as one of the greatest achievements in sound ever done, as it has from it's release right up until today. There is one KnockOut rival*, but it DOES NOT replace it! (see below)

If you are unfamiliar with this work, you are in for a REAL TREAT. If you do not understand it, that's ok, wait a couple days, and play it again! (I'm sure you know how this works, if you have experience with Classical Music and Opera).

Christa Ludwig, let's face it, was simply one of the towering dramatic sopranos of the 20th century, bar none. Her then husband, at the time of this recording, Walter Berry, was a baritone who also certainly held his own on the stages throughout Europe for many many years, and those in America, also, though to a lesser degree.

This opera is a very psychologically powerful work, as is Richard Strauss' "Elektra"........both of them grip one and take you to places that, while you are uncomfortable with it, you willingly allow yourself to be taken there. Both of these operas seem to have a "magnetism" that you cannot shake loose until the final bar/resolve of the work.

Istvan Kertesz, unfortunately, did not live long enough to become "golden" in the eyes of the public like Bohm, Maazel, or Levine, etc., so few know of him today. He was simply one of the most gifted conductors of his time, as was Michael Tilson Thomas. This man immediately takes control over his forces, and Bartok's "blue-black" score, and brings it up to the point that you are mesmerized or locked into it and are not willing to pull yourself out of it. This is powerful music.

Ludwig, of all the people to tackle this role, has NEVER been overshadowed by Anyone Else's performance or rendition of Judith. The shining sense of innocence of the world comes with her into the dark, damp and hopelessly depressing castle. As the doors open, she traverses the "darknesses" that they each hold, and becomes a "world wise" and weary woman as the last door closes into total blackness. Crista Ludwig makes you believe this is a real girl taking this journey, and you believe her progression as she makes the trip to the end, hanging on to her every breath. Few can do this type of role where you have the stage "to yourself" for the duration of an opera and you don't "flag" at any point.

The same can be said for Walter Berry's Duke Bluebeard. His baritone is just captivating. His voice, rich and dark, just draws you in, willingly. You hang onto his every word, and like Judith, you "have to know more".

At the end of this hour's passing, you find that you are astounded that you have been so deeply engrossed or enveloped by this story. So many times I have sat afterwards and wondered "What would a three act version of this opera have been like?"

I realize I have, again, rambled on. Sometimes, when you're wound up in something, it's not possible to express what you want to convey in short clipped sentences. This is a "felt"(as much as any other aspect of it) work.

Trust my judgement from listening to many recordings of this special work over the years (since the 60's) this recording needs to be on your shelves FIRST before any other recording of it. ~operabruin

*That said, I will now make a comment on the rival recording. The EMI release with Anne Sophie von Otter, John Tomlinson, and Bernard Haitink also belongs on your shelves, if you can justify owning two versions of this great great work. (I have 7 recordings of it, and consider all 7 of them viable in one form or another). (see my review of this recording on Amazon here, for more information.) It does not "knock out" the Kertesz recording just reviewed, but it "BELONGS BESIDE IT."

Hauntingly Beautiful.......2007-01-25

I normally don't seek out an experience that is dark and disturbing. Now, this is a dark opera, to be sure, but I am astonished at what a beautiful and powerful opera it is. The music is perfect - the chords, the way the melody supports the vocal lines, the mood that is so perfectly established. This is essentially a psychological tale, in fact the prologue asks us to ponder if this is a story of within (psychological) or without. It is the story of a man who begs his wife not to dig too deep, but she can't help it, she continues to push, until... it is too late. The singing is fantastic. The orchestra playing is lush, the sound quality first rate. Now that I have heard this piece I think the biggest tragedy is that Bartok didn't write more operas. He shows tremendous compositional skill and a great sense of how to unfold the drama that I feel sometimes composers miss. Get your hands on this CD.

Brilliantly sung "Bluebeard's Castle".......2006-04-14

.
Source: Studio recording made in Kingsway Hall, London, November 1965.

Sound: State of the art analogue stereo that received high praise when it was issued in 1966. The second digital remastering, done in 1999, has been very successful. More acute ears than mine have noted the sound of the occasional tape join and some slight hiss. I do not go searching for such things and I certainly have not heard them on my copy.

Text: The work is performed in Hungarian as "A Kekszkallu herceg vara." [Sorry about the forms of the vowels, but Amazon has not been accepting my properly spelled foreign words recently.] The 28-line spoken verse prologue has not been recorded.

Documentation: Libretto in Hungarian joined with the standard, very loose, English singing translation by Christopher Hassall. Brief memoir on the origin of this recording. Short record of a conversation between Kertesz and Ludwig in which the conductor provides his interpretation of some aspects of the story. Track list shows timings.

Format: One disk - eight tracks; 59:30.

Cast: Bluebeard - Walter Berry; Judith - Christa Ludwig. Conductor: Istvan Kertesz with the London Symphony Orchestra.

In 1911, the thirty year-old Bartok began setting the libretto of "A Kekszkallu herceg vara" ["Duke Bluebeard's Castle"] by his friend, Bela Balasz. It was not performed until 1918. Because it is performed in opera houses and involves two people singing over an orchestra, the piece is casually lumped into the category of opera. To me, though, an opera is a sung drama or comedy--and "Duke Bluebeard's Castle" most assuredly is neither. It is at most a ritual, or perhaps no more than a mere reverie.

Just as Beethoven did a century earlier with "Fidelio," Bartok came to opera as a man of the concert platform, not of the theater. He provided little or no real drama for his singers; their characters have neither choice nor conflict. All the drama, all the color of the work, and Bartok crammed in a great deal of both, are to be found in his orchestra. The orchestra embarks on a impressive tonal voyage, but the singers merely utter their symbolic words on pitch.

And the symbolism? Well, let's face it, even for 1918 the symbols were absurdly simple-minded. Their simplicity, however, does not make them unambiguous. Here is how Kertesz is quoted: This "Bluebeard story is quite different from the fairy tale. The point is that all the blood is his blood. It means his suffering. Everything happens in the imagination". Being clearly on Bluebeard's side, he goes on to say that Judith is "horrible to him. She does not want him; she just wants to open his doors." Ludwig, naturally, is quoted as holding quite a different view.

Christa Ludwig and her then husband, Walter Berry were operatic aristocracy. They sing brilliantly here, particularly in light of the thin stuff provided by Bartok. That is not a matter of debate. Do they sing authentically? I haven't the slightest idea. The good, grey Gramophone Magazine says they lack the "texture and tang of native Hungarian singers". That may be so, although I can only wonder if a London-based English reviewer is any better judge than I am on the point.

The orchestra sounds terrific. Kertesz's approach is a little more subtle and inner-directed than is to be found in other recordings I have heard which are given more to the boom and bang approach.

On the whole, this is an excellent and classic recording. I can't vouch for its authenticity but I can assure you that it will give any sympathetic listener a full hour of pleasure.

Five stars.

(For those who find this work particularly appealing, I suggest that it might be worth your while to look into Korngold's much-underrated Twentieth Century masterpiece, "Die Tote Stadt," which traverses some of the same territory.)

OPENING DOORS.......2004-11-11

For 1965 the sound-quality on this disc is quite extraordinarily good - it would be that in 2004 - and Decca have every right to be proud of it. Everyone concerned has a right to be proud of the performance too. Ludwig and Berry are not only in superb voice, they seem to me to have penetrated to the heart of this dark and wonderful allegory. In the discussion that forms part of the liner-note Ludwig interrupts at one point to disagree with a certain view of Judith that she hears being expressed. No harm in that - this particular story is full of mystery. Only so much certainty is possible, and the ambiguity is essential to its power and magic.

For any music-lover struggling with Bartok - say with the quartets or the first piano concerto - this, or maybe the better-known violin concerto, would be the doors through which I would suggest approaching him. Purely at the musical level the idiom is modern without being forbidding or particularly challenging. Indeed the orchestration in Bluebeard is among the most thrilling I have ever heard, and Kertesz and the LSO (then at its very peak) do it proud. This is a short drama - a story like this can only be stretched out for a finite length - and the dark and sinister sense of fear and foreboding must never relax in performance, nor do they in this performance. The story is a powerfully convincing one to me, and I do not know how many of my own sex I can speak for, although I suspect it's most of us. In my view, which is a totally impressionistic and unscientific one as far as this is concerned, a man has a mental and emotional hinterland that nobody should try to trespass on. `Nobody' means not wife, not parent, not child, not the closest friend. It is irrespective of the most intense love that may be involved, and it can come up against an equally deep-seated female urge to know the man in her life as deeply as she can. It will not, in many cases, involve anything particularly dark, dramatic or seeming to demand secrecy, but I sense rightly or wrongly that it is a basic part of the male psyche. What this whole story dramatises with intense effect is the self-destructive power of the clash between these basic male and female tendencies. Bluebeard and Judith are not individuals in my view but types, and nowhere could provide a more atmospheric background for this modern morality-play than the seemingly `transylvanian' castle where Bluebeard and Judith open the doors that should perhaps not have been opened.

It all lasts not quite an hour, and far from leaving me emotionally drained as I might have expected it left me even exhilarated by the sheer truthfulness of it, to say nothing of the quite wonderful music and the quite wonderful way it is enacted. The English version of the libretto struck me as slightly odd with its stilted idiom, thou's thine's and similar nonsense until I saw who it was by - Christopher Hassall, the man who killed Walton's Troilus and Cressida at birth or before. I suppose he was responsible for the English version of the stage-directions too, as I took leave of the drama with the wives of Bluebeard progressing along a beam of `moonshine'. As well as the main liner-note, Decca have understandably and very helpfully included a technical leaflet on the recording technology which, as I have said, is something they are very entitled to preen themselves on. I only wondered why with so much top technology at their disposal they could not have got the leaflet to fit the box a bit more exactly.

Spell-Binding!.......2003-09-16

I am not a Bartok fan. I generally do not listen to Bartok. Neither have I listened to any other Bluebeard - this is the only one I have. The only reason I bought this set is that I heard it was good and since I managed to get a dirt cheap price for the set, why not try and listen. I was pleasantly surprised. Once I started listening, I was spell-bound!! The music is good. But even more importantly, the singing is superb!! It's unbelievable how good Christa ludwig and Walter Berry are. In fact, even if the music did not sound nice (which is not the case), just listening to Christa Ludwig and Walter Berry vocalizing would be worth the purchase. The two of them have such gorgeous voices that I could just sit there and listen to them all day long. Furthermore, both singers sing with a lot of dramatic sense and make this experience a really thrilling one. I've had experiences where I listen to a favorite piece by a mediocre performer, and I simply get bored even though the music is nice because the performers spoils the piece. Similarly, there are pieces which I am not too enthusiastic about, but some performers imbue them with so much beauty, power and life that I become fanatic about these pieces. This recording is one of those that fall into the latter category. It goes to show that the performers matter a lot!! And this is a fantastic performance which I highly recommend to all. It is worthy of being in the Decca Legends series. To borrow the quote on the cover (which is completely accurate in this case), "Astonishingly evocative and full of atmosphere ... Must count as one of Decca's great operatic recordings .. This is a thrilling recording of a great work. Gramophone." Don't just believe it, experience it yourself!!

Average customer rating: Playing the right notes, in Baroque music, will get you 10% there Great A cherished artist, though with declining technique, alas Yeh, he's still got it A comment about the Brahms

The Great Violin Concertos Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bruch | Bruch, Max | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Great Recordings Of The Century - Mendelssohn, Bruch: Violin Concertos / Menuhin, Susskind, Kurtz Bach: Sonatas & Partitas for Solo Violin Yehudi Menuhin: In Memoriam Gould Meets Menuhin Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter ASIN: B000002SBS Release Date: 1991-07-05

Tracks:

1. Concerto For Two Violins In D Minor, BWV 1043: I: Vivace
2. Concerto For Two Violins In D Minor, BWV 1043: II: Largo ma non tanto
3. Concerto For Two Violins In D Minor, BWV 1043: III: Allegro
4. Violin Concerto No. 3 In G, K.216: I: Allegro
5. Violin Concerto No. 3 In G, K.216: II: Adagio
6. Violin Concerto No. 3 In G, K.216: III: Rondeau (Allegro - Andante - Allegretto)
7. Violin Concerto No. 5 In A, K.219 'Turkish': I: Allegro aperto
8. Violin Concerto No. 5 In A, K.219 'Turkish': II: Adagio
9. Violin Concerto No. 5 In A, K.219 'Turkish': III: Rondeau (Tempo di Menuetto - Allegro)

Tracks:

1. Violin Concerto in D, Op.61: I: Allegro ma non troppo
2. Violin Concerto in D, Op.61: II: Larghetto
3. Violin Concerto in D, Op.61: Rondo (Allegro)
4. Violin Concerto In E Minor, Op.64: I: Allegro molto appassinatio - Presto
5. Violin Concerto In E Minor, Op.64: II: Andante
6. Violin Concerto In E Minor, Op.64: III: Allegretto non troppo - Allegro molto vivace

Tracks:

1. Violin Concerto In E Minor, Op. 64: I: Vivace
2. Violin Concerto In E Minor, Op. 64: II: Adagio
3. Violin Concerto In E Minor, Op. 64: III: Allegro
4. Violin Concerto No. 3 In G, K. 216: I: Allegro
5. Violin Concerto No. 3 In G, K. 216: II: Adagio
6. Violin Concerto No. 1 In G Minor, Op.26: III: Finale (Allegro energico)

Customer Reviews:

Playing the right notes, in Baroque music, will get you 10% there.......2007-01-03

I recently heard "Concerto For Two Violins In D Minor" from this recording on the radio. I was very disappointed. The technique and tone quality and all of that was fine, but the interpretation was quite off. I wouldn't even call this a "modern" interpretation, rather, I would call this a "complete lack of interpretation".

In the Baroque style, the first and last movements would have been nearly twice as fast, and the middle movement probably would have been played slower. As they were performed here, they almost seemed the same. The Baroque era was all about contrast. Echo dynamics, which were so clearly indicated in most Bach scores even when other dynamics were left out (such as the opening measures to the Prelude to the first suite for unaccompanied cello) were half-hearted and seemed more like an afterthought here. One is left wondering if the reduced tempos were due to lack of technical ability (of the soloists or the accompanying orchestra) or just a complete breakdown in musical communication.

I would recommend a more faithful production, such as a recording by the Academy of Ancient Music (or anything with Andrew Manze) over this recording any day.

Note: These opinions are all based only on the Concerto For Two Violins In D Minor.

Great.......2006-04-07

Yehudi played the d major violin concerto so beautiful. The rondo was my favorite, the pause in the begging before jumping into the higher octaves honestly made me cry. This is truley the best recording im my perspective. we will really miss this great musician rest in peace.

A cherished artist, though with declining technique, alas.......2005-12-13

These recordings, mostly dating from the late 50s, catch Menuhin at a low point in his technical decline. Reviewers here haven't touched on the oft-told story of how this famous child prodigy lost his technique almost entirely in early adulthood and had to struggle back painfully (through enormous discipline, spiritual practice, and relearning the instrument from scratch) until he was a semblance of his former self. Beneath the out-of-tune playing and awkwardly slow passage work remained a great musician. But of all instruments, the violin is almost impossible to listen to when intonation is sour.

It is frequently sour on these CDs. The Beethoven in particular sounds faulty. Yet the early stereo versions of the Bruch concerto with Walter Susskind and the Mendelssohn with Efram Krutz are great examples of Menuhin's undiminished artistry, which transcended technique. The 1957 Brahms concerto, accompanied by Rudolf Kempe and the Berlin Phil. in quiet, civilized fashion, allows Menuhin to expand musically, and he has moments of lyrical beauty that are deeply touching. But all the fast passages are marred by intonation problems and smudged fingering, and his technique isn't adequate to the first movement cadenza. Every performance is worth a listen, but I would be cautious about a colleciton of sometimes painful memories. Menuhin recovered enough to play well in the Beethoven concerto for Otto Klemperer later on, and of course there are a series of classic post-war recordings in good, clear mono with Furtwangler that spiritually soar while also holding their own technically.

Yeh, he's still got it.......2005-11-04

I have to admit that in this recording Yehudi is not as sharp as he is in earlier ones, but the fine-tuned expressiveness has not been lost. I would buy this cd simply for the Bruch Violin Concerto, if nothing else, which is a dangerous undertaking to listen to at all, as one is liable to forget to breathe. The Brahms is definitely worth finding a different recording of, however, the 1949 EMI classics is much better.
The most important thing to remember about this album, however, is that Menuhin has never been, and never claimed to be, the best technical player ever. It is his unique interpretation and earnestness that people really fall in love with, and that, he still has.

A comment about the Brahms.......2005-06-26

This recording of the Brahms concerto is one Menuhin made later in life. It is almost painful to listen to. Menuhin has technical problems and sound like he's working very hard in passages where the music should flow easily -- and does flow easily in his earlier recording with Furtwangler. Only occasionally does the passionate artist rise out of the challenged technician and take my breath away -- a passage here and there, but not enough to make it a worthwhile experience. For this particular work, as well as for the Beethoven, I strongly recommend getting EMI's release of the early 1950's Menuhin/Furtwangler performances -- soul-searching, fluid, inventive, and awe-inspiring.

Average customer rating: Lively Mozart compositions to get you going on Monday AM Music that Motivates Better than 2 cups of coffee

Mozart for Monday Mornings Manufacturer: Philips ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Salzburg Chamber Orchestra | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances German | Languages | Opera & Vocal | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Symphonies | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music Similar Items: Bach for Breakfast Mozart for the Morning Commute: A Lively Bit of Traveling Music Tchaikovsky At Tea Time: A Refreshing Blend For Body And Spirit Mozart for Morning Coffee: Freshly Brewed to Perk Up Your Day Baroque at Bathtime: A Relaxing Serenade to Wash Your Cares Away ASIN: B0000069CY Release Date: 1998-04-14

Tracks:

1. La finta giardinera: Overture (Excerpt)
2. Symphony No. 27 In G, K.199: Presto
3. Violin Sonata In A, KV 305: Allegro di molto
4. Symphony No. 26 In E-Flat: Molto presto
5. The Abduction From The Seraglio: Overture
6. String Quartet No. 22 In B-Flat: Allegro assai
7. Symphony No. 33 In B-Flat: Allegro assai
8. Symphony No. 28 in C: Allegro spiritoso
9. Violin Sonata in F: Allegro
10. Piano Concerto No. 16 In D: Allegro assai
11. Symphony No. 38 In D: Finale (Presto)
12. Symphony No. 39 In E-Flat: Finale (Allegro)
13. Symphony No. 40 in G minor: Finale (Allegro assai)

Customer Reviews:

Lively Mozart compositions to get you going on Monday AM.......2006-10-06

My wife is a school teacher. and she already owns "Mozart for your mind," which is classical music that is supposed to help you concentrate more. This cd represents some of the more lively arrangements in the Mozart repetoire, and my wife enjoys this one, too. Actually, so do I. I am a newbie when it comes to classical music, but I am liking it more and more, and in large part to this Mozart music cd. The songs are familiar, probably from hearing them as the backdrops to animated cartoons and major motion pictures. But I enjoy these renditions by The Academy of St. Martin in the Fields and the English Chamber Orchestra, among others.

If you don't any classical music and you're wondering where to start, this is a good place right here.

Music that Motivates.......2005-01-30

Phillips Classics has spawned a brilliant concept for classical music compilations. The first compilation to enter the market place was "Mozart for Your Mind", a collection of scientifically proven sonatas and overtures that actually boost the listeners IQ. In this compilation, they have presented Mozart's more buoyant and snappy tunes to quicken the pulse, motivate the spirit and inspire the brain, which the publishers have called the "Mozart effect".

Those aware of Mozart's music will recognize many of these Overtures and Sonatas, from the light and chatty Violin Sonata in A, KV. 305 to the more moody and serious Symphony No. 40 in G minor, K. 550. Interestingly, for me, this entire compilation does exactly what it is designed to do, focusing the mind, establishing clarity after a long nights sleep, and motivating the spirit to confront the day ahead.

Most of the pieces are performed by the famous St. Martin in the Fields, conducted and arranged by Sir Neville Mariner. In no way an expert of classical music recordings, I believe even the connoisseur will find this collection performed at a level that is both rendered with sophistication and skill that Mozart intended, creating the desired effect on the ear and the mind.

If you find yourself feeling lethargic, lacking motivation or a touch on the tired side, this CD should put that much needed bounce back in your step.

Better than 2 cups of coffee.......1999-01-05

A truly hot compilation of the most up tempo Mozart tunes. Just the ticket to get the blood moving in the a.m. Not a single downer in the bunch!

Average customer rating: Lots of Szell Brings A Re-evaluation George Szell is best known from his Columbia recordings

George Szell: Decca & Philips Recordings 1951-1969 Manufacturer: Decca ProductGroup: Music Binding: Audio CD Baroque Dance Suites | Ballets & Dances | Classical | Styles | Music | Allemandes | Courantes | Gigue | Sarabande All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Ballets & Dances | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Theatrical, Incidental & Program Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Clifford Curzon: Decca Recordings, 1937-1971, Vol. 3 CARL SCHURICHT Decca Recordings 1949-1956 Pierre Monteux Decca & Philips Recordings, 1956-1964 Ernest Ansermet: Decca Recordings 1953-1967 George Szell Plays and Conducts Mozart ASIN: B0009A41XS Release Date: 2005-08-09

Customer Reviews:

Lots of Szell Brings A Re-evaluation.......2005-09-21

Kudos to Decca for bringing together in one convenient set George Szell's recordings that were made for the Decca & Philips labels from the early 1950s and to mid 1960s (minus those recordings where he acted in the role of accompanist, ie: those with pianist Curzon). These recordings are very well known and have been collector's items for many years, so to have them together in a mid-price box is self recommending.

The Philips recordings were issued a few years ago as a 2-CD set in their "Early Years" series while a few of the Decca recordings have already been released as singles in their Classic Sound series (both series saw very spotty distribution Stateside). I detect very little change in the sound quality in these new Decca Classic Sound versions, though the couplings from CD to CD are better programmed here than they were before (Philips had to cram alot of music on those 2CDs).

The most-recommendable recordings in the bunch are Szell's Mozart 34, Dvorak 8, Beethoven Egmont, Mendelssohn Midsummer's Night and Brahms 3. Here, the usual Szell trademarks are fully on display: tight rhythms, crisp articulation and finely graded dynamics. However, I was unexpectedly disappointed in two recordings long held to be top Szell & basic repertoire recommendations: the Beethoven 5 and Sibelius 2.

The Beethoven 5 has always been touted as more relaxed and in better sound than Szell's CBS 5th with Cleveland. But comparing this new Decca re-issue to Sony's recent "Original Jacket" issue of the Cleveland 5th, I didn't find that to be true at all. The Sony version now stands - to me, at least - as the better representation of Szell in this warhorse, both as an interpretation and in recorded sound. Indeed, the Concertgebouw recording suffers from an extremely lackluster and sloppy second movement that probably could have used a retake. Something just isn't right here - conductor and orchestra are not on the same page of the playbook...which is not what one expects in a recording by such a strong-willed technician as Szell. As an overall performance, this Concertgebouw recording is now easily surpassed by Szell's Sony effort, not to mention alternate versions by Kleiber, Karajan, Bernstein and others (but, again, you need to hear the Szell/Sony in the Original Jackets remastering, not the earlier Essential Classics version).

As for the Sibelius 2, we have a situation where poor intonation and hesitant execution in the orchestra knock this version off the pedestal of received opinion. And, with Szell's live Tokyo performance with Cleveland now widely available, his Concertgebouw version comes in direct competition with - Szell himself, and in a much better and much more cohesive recording. With the "if only he had recorded this with Cleveland" caveat removed, the choice is now clear - get the Cleveland version if you want Szell in Sibelius 2. That recording remains a top recommendation, though Ormandy, Maazel, Vanska and even Karajan have all brought their particular strengths to this piece as well, strengths that are much different than Szell's forte(s). There's plenty of room at the top when it comes to great recordings of great music.

Having lived with both the Beethoven and Sibelius for years, it's a bit disconcerting to have to make the above observations, but there you have it.

For the rest of the set, it is good to have Szell's interpretations of Tchaikovsky and Schubert on hand in such good sound. But truth be told, there are better versions out there of these works as well, the Tchaik 4 in particular (which in Szell's hands hangs fire in the least-expected places). The Baroque recordings included here are testament to a long-gone era when the standard Baroque works (worques?) were made acceptable to orchestral audiences by beefing them up to quasi-Wagnerian proportions. And even here, Szell is bettered by his contemporaries like Adrian Boult and Karl Richter in similar repertoire. A Baroque curate's egg if there ever was one.

Having said all of the above, I can still safely recommend this set to just about anyone interested in Szell or the repertoire on offer. Yes - work to work, there are better versions available, some from Szell himself. But *overall,* this set will provide plenty of pleasure and musical excitement to everyone save the anti-Szell wing of the classical music zealotry.

Enjoy.

George Szell is best known from his Columbia recordings.......2005-08-31

George Szell (1897-1970) is best known from his recordings made in the 1950s and 60s for Columbia records, mostly with the Cleveland Orchestra, many of which are now on Sony Classical. But he also made a number of recordings during the same period for Decca and Philips in Europe, with the Concertgebouw Orchestra, Amsterdam; Vienna Philharmonic, and London Symphony, all of which are included in this box. If you think of Szell as a cold, calculating technician - and he could be in some of his Columbia recordings - he has precision here in spades, but also warm sound, perhaps partly from the remastering for this release.

Szell's Concertgebouw Beethoven Symphony 5 is MUCH BETTER than his Cleveland recording. The precision is there, but it also sings, and is warmer than the Cleveland recording (Sony, coupled with Symphony 2). Szell's Vienna EGMONT is one of the best recordings of the work, if not THE best recording of the stereo age, even 36 years after it was recorded. The Sibelius 2 (also with the Concertgebouw) is warm and fine in every way. The Concertgebouw played beautifully for him, and it shows.

The Mendelssohn MIDSUMMER NIGHT's DREAM, Schubert ROSAMUNDE, Mozart Symphony 34, Handel WATER MUSIC and ROYAL FIREWORKS MUSIC are all excellent, too. Some may have favorite performances, but I cannot imagine anything better than Szell's Concertgebouw Mozart 34: perhaps Bohm (DG) and Krips (Philips).
The 5th disc has two classic mono recordings of the early 1950s:
Dvorak's Symphony 8, and Brahms 3, both with the Concertgebouw. The sound is just fine: beautifully remastered, and Szell's performances very solid and musical.

As you can tell, I'm very happy with this, and would advise anyone with $30.00 spare change to pick it up at their first opportunity.

Track Listings:

1. With the Royal Philharmonic Orchestra 1925-1927
2. 1st Recordings 2
3. At Glyndebourne 1
4. Bach: Kantaten / Fischer-Dieskau, Lehmann, Ristenpart
5. Beethoven: Symphonies 1-9 [Felix Weingartner: 1927-1938, The First Recording of Beethoven's Complete Symphonies]
6. Beethoven: Symphony No. 4/Symphony No. 7/Leonore Overture No. 1
7. Bernstein Conducts Mussorgsky, Dukas, Prokofiev, Saint-Saëns
8. Best From Her Acoustic Recordings / Opera Arias
9. Bruno Walter with the London Symphony Orchestra - The Legendary 1938 Recordings [Schubert: Symphony 9 / Beethoven: Coriolan Overture / Smetana: Bartered Bride Overture / J.Stauss, Jr.: Der Zigeunerbaron Overture]
10. Complete Cello Sonatas

Track Listings

track listings

Track Listings

The Human Jukebox

Beethoven: Piano Trio No. 3, Op. 1/3; Smetana: Piano Trio, Op. 15

Balling the Jack: Birth of Nu-Blues [Explicit Lyrics]

Swiss Encounter: Live at the Montreaux Jazz Festival [Live]

Assault & Battery [Import]

Black & Proud V.1: the Soul of the Black Panther Era V.1 [Import]

Alphabet Songs Vol. I

Beethoven: Symphonies Nos. 4-7

All in Your Head

Beachfront Property

An American Paradox

Archer

Blue Valentine

Seven Come Eleven

I'm Not Dead