In London

1. Piano Concerto No. 3 in D minor, Op. 30
Composed by Sergey Rachmaninov
Performed by London Symphony Orchestra with Vladimir Horowitz
Conducted by Albert Coates

2. Preludes (10) for piano, Op.23 Prelude in G minor, Op 23 No 05
Composed by Sergey Rachmaninov
with Vladimir Horowitz
Conducted by Albert Coates

3. The Flight of the Bumble Bee, musical picture for orchestra (from The Tale of Tsar Saltan) arranged for piano
Composed by Nikolay Andreyevich Rimsky-Korsakov
with Vladimir Horowitz
Conducted by Albert Coates

4. Petrushka, movements (3) for piano Russian Dance
Composed by Igor Stravinsky
with Vladimir Horowitz
Conducted by Albert Coates

5. Toccata for piano in C major, Op. 11
Composed by Sergey Prokofiev
with Vladimir Horowitz
Conducted by Albert Coates

6. Pastourelle, ballet movement (for collab. work, L'éventail de Jeanne), FP 45 No 08 Pastourelle
Composed by Francis Poulenc
with Vladimir Horowitz
Conducted by Albert Coates

7. Trois pièces, for piano, FP 48 No 02 Toccata
Composed by Francis Poulenc
with Vladimir Horowitz
Conducted by Albert Coates

8. Chorale prelude for organ ("Nun freut euch, lieben Christen gmein"), (doubtful), BWV 734
Composed by Johann Sebastian Bach
with Vladimir Horowitz
Conducted by Albert Coates

9. Sonata for keyboard in B minor, K. 87 (L. 33)
Composed by Domenico Scarlatti
with Vladimir Horowitz
Conducted by Albert Coates

10. Sonata for keyboard in G major, K. 125 (L. 487)
Composed by Domenico Scarlatti
with Vladimir Horowitz
Conducted by Albert Coates

11. Keyboard Sonata in E flat major, H. 16/52
Composed by Franz Joseph Haydn
with Vladimir Horowitz
Conducted by Albert Coates

12. Études (12) for piano, L. 136 Etude No 11 "Pour les arpèges composés"
Composed by Claude Debussy
with Vladimir Horowitz
Conducted by Albert Coates

13. Variations for piano in C minor on an original theme, WoO 80
Composed by Ludwig van Beethoven
with Vladimir Horowitz
Conducted by Albert Coates

14. Arabeske for piano in C major, Op. 18
Composed by Robert Schumann
with Vladimir Horowitz
Conducted by Albert Coates

15. Toccata for piano in C major, Op. 7
Composed by Robert Schumann
with Vladimir Horowitz
Conducted by Albert Coates

16. Fantasiestück ("Traumes Wirren"), for piano, Op. 12/7 Fantasiestücke, Op 12 No 07 Traumes Wirren
Composed by Robert Schumann
with Vladimir Horowitz
Conducted by Albert Coates

17. Presto Appassionato for piano in G minor (rejected finale for Op. 22), WoO 5/2
Composed by Robert Schumann
with Vladimir Horowitz
Conducted by Albert Coates

18. Sonata, for piano in B minor, S. 178 (LW A179)
Composed by Franz Liszt
with Vladimir Horowitz
Conducted by Albert Coates

19. Funérailles, for piano (Harmonies poétiques No. 7), S.173/7 (LW A158/7) Funérailles
Composed by Franz Liszt
with Vladimir Horowitz
Conducted by Albert Coates

20. Etude for piano in C sharp minor, Op. 10/4, CT 17
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

21. Etude for piano in G flat major, Op. 10/5, CT 18
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

22. Etude for piano in F major, Op. 10/8, CT 21
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

23. Etude for piano in F major, Op. 25/3, CT 28
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

24. Mazurka for piano in F minor, Op. 7/3, CT 58
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

25. Mazurka for piano in E minor, Op. 41/2, CT 74
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

26. Mazurka for piano in C sharp minor, Op. 50/3, CT 82
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

27. Impromptu for piano in A flat major, Op. 29, CT 43
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

28. Nocturne for piano E minor, KK IV/b, CT 128
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

29. Scherzo for piano No. 4 in E major, Op. 54, CT 200
Composed by Fryderyk Chopin
with Vladimir Horowitz
Conducted by Albert Coates

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Here's what the fuss was all about!.......2007-07-17

It would have been even better if they had included at least one Cleopatra aria and something from Baby Doe, but it doesn't really matter, because this collection will allow younger listeners especially to hear what the fuss was all about! There are moments listening to Sills, especially from Traviata or Manon, that are so beautifully sung and so genuine that they are heartbreaking. I feel so fortunate to have heard her Queen of the Night, Manon, Violetta, and Baby Doe. She was so generous as a performer and as a humanitarian, and she really brought opera into the American mainstream.

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Average customer rating:

Harry Potter moves on.. and so does the music
The Magic is Gone
Atmospheric...But That's About All
Musically Spellbinding
Wonderful as always

Harry Potter & the Goblet of Fire

Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Harry Potter & the Prisoner of Azkaban
Harry Potter and the Chamber of Secrets
Harry Potter and the Sorcerer's Stone - Original Motion Picture Soundtrack
Harry Potter and the Goblet of Fire (Two-Disc Special Edition) (Harry Potter 4)
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

ASIN: B000BGH22W
Release Date: 2005-11-15

Tracks:

Story Continues
Frank Dies
Quidditch World Cup
Dark Mark
Foreign Visitors Arrive
Goblet of Fire
Rita Skeeter
Sirius Fire
Harry Sees Dragons
Golden Egg
Neville's Waltz
Harry in Winter
Potter Waltz
Underwater Secrets
Black Lake
Hogwarts' March
Maze
Voldemort
Death of Cedric
Another Year Ends
Hogwarts Hymn
Do the Hippogriff
This Is The Night
Magic Works

Amazon.com

Big news on the Harry Potter musical front: After scoring the first three installments in the series, John Williams has been replaced by Patrick Doyle. Still, Williams never feels far away. His main theme pops up here and there, and a track like "Voldemort," which eloquently illustrates the soul of a blacker-than-black wizard with thunderous cymbal crashes, shrieking horns, tumultuous strings, and a stately finish, firmly belongs in the Williams mode. Overall, Doyle acquits himself well. He can do light when needed ("The Quidditch World Cup," which starts out like some kind of jig), but mostly he's required to be ominous ("The Quidditch World Cup," which ends in martial war chants). Among the highlights are the aforementioned "Voldemort," but also the frantic, overpowering "The Dark Mark." Note that the CD concludes on a jarringly different note with three songs by the Weird Sisters, the group that performs at Hogwarts' Yule Ball. Led by Pulp frontman Jarvis Cocker, the ad hoc band also includes members of Radiohead and Cocker's side project Relaxed Muscle. "Do the Hippogriff" is a fast-paced rocker that somehow comes across like a grungy hybrid of Billy Idol's "White Wedding" and "Dancing with Myself." The other two songs--"This Is the Night" and "Magic Works"--are less obvious, and much better. Still, the contrast between these tracks and the instrumental score that precedes them may not be to everybody's taste. --Elisabeth Vincentelli

Album Description

Harry Potter and the Goblet of Fire, the fourth film (and soundtrack album) in the massively successful Harry Potter franchise-nearly $1 billion in U.S. box office alone-features a score by Academy Award-nominated composer Patrick Doyle and three songs written by modern rocker Jarvis Cocker, and performed by Cocker, Jonny Greenwood, Phil Selway, Steve Claydon and Jason Buckle-with all these musicians also appearing in the movie.

Customer Reviews:

Harry Potter moves on.. and so does the music.......2007-05-23

As a collector of movie soundtracks, it was unthinkable not to get this fourth album of the Harry Potter series. After reading the mixed reviews, I was apprehensive as to whether it would sit on my shelf collecting dust or get a good workout in the CD player.

I own all four albums, and as avid a fan as I am of John Williams, I would have to say "The Goblet of Fire" rates up there with "The Philosopher's Stone" (which really did set the standard for the rest of the following albums). In fact, I would have to say that "The Goblet of Fire" is my favourite. The music is quite simply beautiful and atmospheric. Standouts are "Harry In Winter" (this particular track I can't help but have on repeat mode in the car), "Death of Cedric" and "Foreign Visitors Arrive". "The Quidditch Cup" makes me want to catch the next plane to Ireland! And call me old-fashioned, but "Neville's Waltz" and "Potter Waltz" are pleasant and lovely to the ear.

As for the rock songs at the end, I usually bypass them. Some complain about the jarring disconnect between the orchestral aspect of the soundtrack and the loud rock of the end - well, at least they're at the end and not in the middle! And let's face it. How many people would have grumbled that those songs that featured at the Winter Ball were left out?

I've always loved the work of Patrick Doyle (e.g. "Sense and Sensibility" and "Much Ado About Nothing"), and this soundtrack is no exception. He didn't 'fill' John Williams' shoes on this score. He pretty much created a new pair. Harry's story and personality have shifted on. It would be remiss of us to think the music wouldn't evolve as well.

So has this soundtrack lost that feeling of magic? I would have to say a resounding 'no'. It's certainly a lot more listener-friendly than "Chamber of Secrets"!

The Magic is Gone.......2007-05-10

John Williams is not simply a hard act to follow...he's THE hard act to follow. Nonetheless this score falls far short. There was once magic in the land of Hogwarts.. themes were stated boldly and elevated the story, flurries of woodwinds nurtured scenes of flight. Doyle's score does dare to quote William's melodies at 3 points in this score. They are harmonized poorly and treated even worse. The rest of the score just goes downhill from here. He does introduce his own new "themes." These are presented as boring quarter note string lines that you can't seem to remember 10 seconds after you hear them. The rest of the scoreat it's best is a prime example of dated cliches. The dialogue scenes are overly sappy and the action scenes become hokey in an almost silent film music stlye. Watch the graveyard scene again and laugh, check out the dance scene where characters get lifted in the air as simple scales comically mirror their moves. The most common reaction to the music after viewing the film is "I don't really remember it as being good or bad." If you go back and watch it again I think you story will change. The magic is gone.

Atmospheric...But That's About All.......2007-03-31

One of the joys for me of the John Williams "Harry Potter" scores are the lush, melodic leitmotifs. On "The Chamber of Secrets" album alone there are wonderful themes for Fawkes, Dobby and Gilderoy Lockhart, not to mention Colin, Hedwig and The Flying Car. They're charming, evocative pieces that stand alone apart from the moodier, more percussive tracks composed to accompany the actual movie. Unfortunately, there's nothing that even comes close to these in Doyle's "Goblet of Fire" score. There's certainly drama ("The Maze") and pathos ("Death of Cedric"), but nothing thematic that you'd want to hear over and over again. And what themes there are ("Neville's Waltz" for instance) I find woefully banal. (And don't get me started on the acid rock songs that close the album.) So this is a true movie score in the sense that it's pretty much all background music; it certainly creates atmosphere and serves as a reminder of the film's superlative visuals. But what works well in the theater doesn't translate very well for the home audio listener.

Musically Spellbinding.......2007-01-09

This album is a must for an Harry Potter fan, both young and old, from the mild to the extreme. I also recommend the entire collection of soundtracks to the movies. Each one is full of calm, soothing melodies we have come to enjoy from Harry Potter.

Wonderful as always.......2007-01-04

It is easy to become totally absorbed in this rendition. Believable voices.

Average customer rating:

Great for kids!
Mediocre Sound Quality
I was pleased
The Most Famous Opera Arias
Okay But.... - a review of "The Most Famous Opera Arias"

The Most Famous Opera Arias

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...

ASIN: B000002SCE
Release Date: 1994-07-19

Tracks:

Rigoletto: Act I - Caro nome
Rigoletto: Act III - La donna e mobile
Gianni Schicchi: O mio babbino caro
Carmen: Act I - Habanera: La voila...L'amour est oiseau rebelle
Orfeo ed Euridice: Act III - Che faro senz Euridice
Madama Butterfly: Act III - Un bel di, vedremo
Romeo et Juliette: Act I - Ah! je veux vivre
Le nozze di Figaro: Act II - Voi che sapete che cosa e amor
Samson et Dalila: Act II - Mon coeur s'ouvre a ta voix
Tosca:: Act II - Vissi d'arte, vissi d'amore
Aida: Act I-Celeste Aida
Il Barbiere Di Siviglia: Act I-Una voce poco fa
Lakme: Act II - Ou va la jeune indoue?
La Wally: Act I - Ebben? Ne andro lontano
La Boheme: Act I - Che gelida manina
Die Zauberflote: Act II-Die Holle Rache kocht in meinem Herzen

Customer Reviews:

Great for kids!.......2007-06-27

I'm generally not a fan of music "samplers," but opera can be tough to introduce to children. And hey--even adults played cards, ate, and talked through the recitative sections of the early operas while they waited for the next aria! So I feel that getting kids hooked on opera through great arias probably can't hurt (the next 10 years or so will determine whether I'm right or not). My 4-year-old loves this CD; it's a delight to watch her imitate Anna Moffo (the sincerest form of flattery, for sure). Highly recommended resource for introducing young kids to opera. More top picks: Siberell's Bravo! Brava! A Night at the Opera, and the Black Dog Opera Library CDs.

Mediocre Sound Quality.......2007-03-31

If you note the album was released in 1994, and includes selections from many years prior, you will understand that the quality of the sound engineering is not going to dazzle your ear.

It's a very nice collection to hum along to, but don't expect shivers down your spine as the sound quality is not sufficient to reproduce the dynamic range of these voices.

I was pleased.......2007-02-18

I am by no means an opera expert, but found this to be a wonderful CD. Along with the songs I already knew I liked (such as a song from Carmen,) I found many others I enjoyed. In fact, Samson et Dahlila turned out to be my favorite. If you are just getting started or at any point in your adventure of opera, I would recommend this one.

The Most Famous Opera Arias.......2007-01-05

I was completely surprised in the product as well as the time in which it was delivered.

I would not only refer this seller but I will come back myself.

Okay But.... - a review of "The Most Famous Opera Arias".......2006-08-18

My daughter (6 y.o.) and I like opera; but sitting for two hours to watch Turandot is just not within the realm of possibilities for my 4 year old son right now... so I was looking for an opera CD for the car. He will sit and listen to short arias.

This was the first we purchased and it is okay but not great.

Problem #1 - where is Wagner. No Wagner?
Problem#2 - Elena Obraztsova - she sounds like Carmen's grandmother. Rather matronly for a vixen (imho--lol)

Three Stars. [C+] Great Price and good sound quality for the car. The operatic styles of some of the performers are antiquated and frilly sounding, but I would probably buy this CD again.

Note: We purchased and really preferred "The # 1 Opera Album". It has more selections and better artists in our opinion. Also it's a two CD set. Just something to consider.

Vivaldi: The Four Seasons; Violin Concertos

Average customer rating:

Sublime!
plays every day!
Fun
Wonderful recording!
If all music were so beautiful

Vivaldi: The Four Seasons; Violin Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005NPK1
Release Date: 2002-08-13

Tracks:

The Four Seasons: Con No.1 in E, RV 269 'Spring': I. Allegro - London Philharmonic Orchestra
The Four Seasons: Con No.1 in E, RV 269 'Spring': II. Largo - London Philharmonic Orchestra
The Four Seasons: Con No.1 in E, RV 269 'Spring': III. Allegro - London Philharmonic Orchestra
The Four Seasons: Con No.2 in g, RV 315 'Summer': I. Allegro Non Molto - London Philharmonic Orchestra
The Four Seasons: Con No.2 in g, RV 315 'Summer': II. Adagio - London Philharmonic Orchestra
The Four Seasons: Con No.2 in g, RV 315 'Summer': III. Presto - London Philharmonic Orchestra
The Four Seasons: Con No.3 in F, RV 293 'Autumn': I. Allegro - London Philharmonic Orchestra
The Four Seasons: Con No.3 in F, RV 293 'Autumn': II. Adagio Molto - London Philharmonic Orchestra
The Four Seasons: Con No.3 in F, RV 293 'Autumn': III. Allegro - London Philharmonic Orchestra
The Four Seasons: Con No.4 in f, RV 297 'Winter': I. Allegro Non Molto - London Philharmonic Orchestra
The Four Seasons: Con No.4 in f, RV 297 'Winter': II. Largo - London Philharmonic Orchestra
The Four Seasons: Con No.4 in f, RV 297 'Winter': III. Allegro - London Philharmonic Orchestra
Vn Con in c, RV 199 'Il Sospetto': I. Allegro - Itzhak Perlman
Vn Con in c, RV 199 'Il Sospetto': II. Andante - Itzhak Perlman
Vn Con in c, RV 199 'Il Sospetto': III. Allegro - Itzhak Perlman
Vn Con in a, RV 356: I. Allegro - Itzhak Perlman
Vn Con in a, RV 356: II. Largo - Itzhak Perlman
Vn Con in a, RV 356: III. Presto - Itzhak Perlman
Vn Con in A, RV 347: I. Allegro - Itzhak Perlman
Vn Con in A, RV 347: II. Largo - Itzhak Perlman
Vn Con in A, RV 347: III. Allegro - Itzhak Perlman

Customer Reviews:

Sublime!.......2007-07-19

So lovely I think we'll need to get a second copy because we might just wear out the one we have! The concertos are an especially nice added treat!

plays every day!.......2007-06-14

This tape is played every day in our house at nap time - it is beautiful and wonderful.

Fun.......2007-05-26

I'm not really much in the way of a music expert, but I really enjoyed this cd.

Wonderful recording!.......2007-05-20

I purchased this recording for my grandson, who is studying the Vivaldi Violin Concerto in A minor. This is a fortunate time for instrumental music students, as, through the medium of digital sound, they can purchase a CD and hear the music, as played by world-class players.

The CD technology eliminates the old game of "drop the needle!" Wonderful!

I recently purchased a boxed set of the recorded work of classical clarinetist Reginald Kell. It was wonderful to hear that music again! I lost my LPs in a fire, and never thought I could find them again!

I just love CDs! And thank you, Amazon, for giving us a pipeline to such wonderful music!

If all music were so beautiful.......2007-01-12

Four seasons is one of my favorite pieces. With Itzhak Perlman at the helm, this rendition is flawless as one would rightfully expect.

Average customer rating:

Great Stuff
A Great Introduction to Italian Opera
Best of the best!
Fabulous bargain for anyone
Great songs for a low price.

The Best of Italian Opera

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Most Famous Opera Arias
The Most Famous Opera Duets
The #1 Opera Album
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Best Opera Album in the World...Ever!

ASIN: B000000UXN
Release Date: 1997-01-21

Tracks:

La Traviata: 'Libiamo, Libiamo'
Rigoletto: 'La donna e' Mobile'
The Barber Of Seville: 'Una voce poco fa'
La Boheme: 'Che gelida manina'
Rigoletto: 'Gualtier Malde!' Caro nome'
Il Trovatore: 'Vedi! le fosche'
Il Trovatore: 'Il balen del suo sorriso...Per me ora fatale'
TOSCA: 'Vissi d'arte'
La Traviata: 'Di Provenza il mar, il suol'
The Marriage Of Figaro: 'Voi che sapete'
Aida: 'Se quel guerrier io fossi...Celeste Aida'
Madama Butterfly: 'Un bel di vedremo'
La Gioconda: 'Cielo e mar'
Lucia di Lammernoor: 'Ardon gl' incesi'

Customer Reviews:

Great Stuff.......2007-07-22

The sound quality of this disc is surprisingly good, very good for an ADD. All the selections captured each singer in his/her top form. It is a real treat that this disc contains many work that were not normally in certain singer's repertoire. Gedda's Aida, Moffo's Rossini-Rosina and Cherobino, for example, all were superbly sung. Even Moffo's Lucia sounds much better than I have ever heard in other places.

A Great Introduction to Italian Opera.......2005-05-01

The artists on this CD succeed in their goal to create a CD that displays great Italian opera. Carlo del Monte and Victoria de los Angeles open the disc with the Brindisi from La Traviata. Victoria de los Angeles is not the best Violetta, but she does the job, along with her parner Carlo del Monte, an underappreciated tenor. Victoria de los Angeles also appears on the CD in "Un bel di vedremo" from Madama Butterfly, a role she was well known for. Swedish tenor Nicolai Gedda appears on the disc twice. His first appearence is a superb rendition of "La donna e mobile" from Rigoletto. His final performance on this disc is in the heroric aria "Celeste Aida", a performance in a role that was not in his voice range. Anna Moffo is the star on this CD, appearing three times in three very different roles. First is her beautiful "Una voce poco fa", normally a role that calls for a mezzo-soprano. Her second is "Voi che sapete" from Le Nozze di Figaro, another mezzo-soprano role. Her final appearence is her best, "The Mad Scene" from Lucia di Lammermoor. Underrated tenor Giuseppe Campora performs "Che gelida manina" with a great tenor voice. Soprano Reri Girst is excellent in her performance of "Caro nome" from Rigoletto. One of my favorite baritones appears on this CD. Robert Merrill is a perfect Count di Luna, and it is evident in his rendition of "Il balen del suo sorriso". Another baritone appears on this CD: mario Sereni. He is not a world famous baritone, but he should have been. Overall, this is an excellent introduction to the world of Italian opera.

Best of the best!.......2003-01-11

The performers, the selections, the quality... almost divine!

Fabulous bargain for anyone.......2002-11-24

I would recommend this CD to anyone, from opera novice to experienced listener...

These are older recordings -- I would guess mostly from the 1960's. The recording quality is exceptional for the day and, while not the equivalent of modern engineering, is sufficient to allow sheer physical pleasure from the music and an immediate appreciation of the vocal qualities of the artists. The sound quality is the only mild drawback...

The performances are magnificent! The voices are almost entirely lighter and more agile than the great voices of the 80's and 90's. In fact, the ear of the editor is apparent in his preference for lighter and more agile voices.

For example, there is a beautiful rendition of "Che Gelida Manina" from someone I had never heard before, Guiseppe Campora. He does not have the weight or volume of Pavarotti or Domingo, but has more elegance and a pure, charming tone. A connoisseur performance, but nevertheless a true operatic rendition by a tenor who can hit the high C with authority -- as good for a newcomer to opera who wants to hear the real thing, as for an opera lover who would like to hear something a bit different.

Some of the artists were among the most famous singers of their day: Moffo, de los Angeles, Gedda.

Anna Moffo, one of the greatest sopranos of her day (and all time), is in magnificent voice in famous blockbusters from Rossini's Barber of Seville, Mozart's Marriage of Figaro, and the Mad Scene from Lucia di Lammermoor.

De Los Angeles is at her best in "Libiamo" from La Traviata, but the recording quality (the one inadequately engineered track on the CD) and her lack of oomph make for a second-rate version of "Un bel di".

In keeping with the light and lyrical orientation of the selections, Moffo -- a famous Gilda and hardly a dramatic voice -- is bypassed for the even lighter, sweeter and more agile colatura Reri Grist (while she still had her voice), in a lovely "Caro Nome".

Another nice selection is Mario Sereni performing "Di provenza, il mar". Both this and "Libiamo" are taken from one of my favorite recordings of Traviata -- also a great chance to hear Serafin at the helm of the Rome Opera House orchestra. (The 2-CD version of this is still available from EMI, I think.) Newcomers will love this pretty tune, and Sereni's archtypal Verdi baritone is good, although hardly the best ever.

Franco Corelli has never been a favorite of mine, but he sounds the best I've ever heard him in his rendition of "Cielo et mar".

Anyway, I didn't intend to list every cut. Whether you are an opera lover who would like to hear some of opera's most famous arias performed in a new light, or an opera lover who would like to hear great performances at a cut-rate price, this CD gets my unqualified approval.

Great songs for a low price........2001-08-16

Ranging from selections of La Traviata, Il Trovatore and other popular Italian operas, this is a great cd for under four bucks. The singers may not be well recognized, but they do possess powerful voices.

Tchaikovsky: Violin Concerto Op35; Brahms: Violin Concerto in D Op77

Average customer rating:

desert island disk choice. get it no, fast!
It has no equal
Possibly the biggest steal in all of recorded music !
Milstein is spectacular here!
sounds as good as any $15 recording

Tchaikovsky: Violin Concerto Op35; Brahms: Violin Concerto in D Op77

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000UW5
Release Date: 1995-10-17

Tracks:

Violin Concerto In D, Op. 35: I. Allegro moderato
Violin Concerto In D, Op. 35: II. Canzonetta (Andante)
Violin Concerto In D, Op. 35: III. Finale (Allegro vivacissimo)
VIOLIN CONCERTO IN D, OP. 77: I. Allegro non troppo
VIOLIN CONCERTO IN D, OP. 77: II. Adagio
VIOLIN CONCERTO IN D, OP. 77: III. Allegro giocoso, ma non troppo vivace

Customer Reviews:

desert island disk choice. get it no, fast!.......2007-05-07

If you have this recording, you do not need another one of these pieces. This one has satisfied me for what must be at least 2 decades. You'll never need another recording.

It has no equal.......2006-03-21

The availability of this CD phenomenon with a $3.98 price should be shouted from the rooftops. Milstein outperforms everyone on both concertos; the Brahms is sublime, and the recording quality is excellent throughout. Push the purchase now key without further delay. It doesn't get any better than this, ever!

Possibly the biggest steal in all of recorded music !.......2005-10-22

As one who grew up adoring the Jascha Heifetz/Fritz Reiner recordings of these two great concerti, and certain they had set a standard of musical excellence impossible of being equalled, much less bettered, imagine my surprise upon hearing this fabulous disc.

HEIFETZ & REINER HAVE BEEN DETHRONED!

Having beaten back great artists in recent years such as Vengerov and Shaham, it hardly seemed possible that there were two old recordings by Nathan Milstein (which must have skipped my notice) which had long ago taken the prize....

...Music lovers, forget the Rosette and attendant babble given by the Penguin Guide to the Milstein Brahms Concerto (with Steinberg conducting, in mono). That publication after dismissively mentioning the Jochum conducted performance of the 1980s adds insult to injury by ignoring completely this Fistoulari conducted version! (Even if it is currently unavailable in the UK, surely it should be remembered - it was even recorded there!)

Of course any performance by a genius such as Milstein will have wonderful moments now and then, but this recording, with Fistoulari conducting, in stereo, is the best of them all - it has real magic and passion, and is the performance to get.

The Tchaikovsky with Steinberg is probably more of a draw, but the "Finale" is as good as it gets, and the rest is merely magnificent. What a fiddler!

Finally, that this disc is being sold to the public at a price this low should make all music lovers weep in gratitude, certain that "Yes, Virginia - there is a Santa Claus...."

Milstein is spectacular here!.......2005-06-08

As many reviews have been written about this disc, I'll try to keep it short and mention the things that I like about this CD most.

There are tons of recordings of these pieces, most of which are incredible and worth hearing. The thing that strikes me most about Milstein's playing is how polished it is. His tone and phrasing is perfectly thought out and executed on every single passage, even those which are highly virtuosic. His sound is gorgeous and supple, again even in the most difficult passages. I also enjoy his style, particularly on the Tchaikovsky. His use of rubato and other such expressive tools is entirely appropriate and never overdone.

When I listen to this disc, it is very clear that Milstein absolutely mastered every aspect of his instrument. His versions of these "old favorites" are absolutely wonderful.

sounds as good as any $15 recording.......2005-01-18

I got this CD because it was recommended in the Penguin Book (the Penguin Guide to Compact Discs), and at $4, as someone said, I couldn't afford not to get it. It's brilliant - the Brahms is better than the Mutter/Karajan/BPO recording, and the Tchaikovsky is better than the only other recording I'd heard at the time (Mehta/Zukerman/Israel Philharmonic). The orchestra is very good, and Milstein plays the double stops (these pieces are harder than practically every other violin concerto other than Paganini's) effortlessly. The CD is very romantic and easy on the ears - a good example of the Romantic era. And there's two recordings for $4 - how can you not get it :).

Jacqueline du Pre - Favourite Cello Concertos ~ Boccherini, Dvorak, Elgar, Haydn, Monn, Saint-Saens, Schumann

Average customer rating:

Beutefully interpretted
I THOUGHT I had heard these concertos,,,
Excellent Selection
A sassy dame
Pleasure to listen

Jacqueline du Pre - Favourite Cello Concertos ~ Boccherini, Dvorak, Elgar, Haydn, Monn, Saint-Saens, Schumann
Edward Elgar , Luigi Boccherini , Antonin Dvorak , Camille Saint-Saëns , Joseph Haydn , Arnold Schoenberg , Robert Schuman , Daniel Barenboim , Sir John Barbirolli , Jacqueline du Pré , Valda Aveling , Georg Mathias Monn , London Symphony Orchestra , New Philharmonia Orchestra , Chicago Symphony Orchestra , and English Chamber Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002S1F
Release Date: 1990-05-07

Tracks:

Cello Concerto No. 1 In C Major, Hob. VIIb:1: 1 - Moderato - Kadenz - Tempo I
Cello Concerto No. 1 In C Major, Hob. VIIb:1: 2 - Adagio - Kadenz - Tempo I
Cello Concerto No. 1 In C Major, Hob. VIIb:1: 3 - Allegro molto
Cello Concerto No. 2 In D Major, Hob. VIIb:2: 1 - Allegro moderato
Cello Concerto No. 2 In D Major, Hob. VIIb:2: 2 - Adagio
Cello Concerto No. 2 In D Major, Hob. VIIb:2: 3 - Rondo (Allegro)
Cello Concerto in B flat major: 1 - Allegro moderato - Kadenz - Tempo I
Cello Concerto in B flat major: 2 - Adagio no troppo
Cello Concerto in B flat major: 3 - Rondo (Allegro) - Kadenz - Tempo I

Tracks:

Cello Concerto In A Minor, Op. 129: I. Nicht zu schnell
Cello Concerto In A Minor, Op. 129: II. Langsam - Etwas lebhafter - Schneller
Cello Concerto In A Minor, Op. 129: III. Sehr lebhaft - Kadenz - Tempo I
Concerto No. 1 in A minor, Op. 33
Cello Concerto In G Minor: I. Allegro
Cello Concerto In G Minor: II. Adagio
Cello Concerto In G Minor: III. Allegro non tanto

Tracks:

Concerto In B Minor, Op. 104: I. Allegro
Concerto In B Minor, Op. 104: II. Adagio ma non troppo
Concerto In B Minor, Op. 104: III. Finale (Allegro moderato)
Concerto In E Minor, Op. 85: Adagio-Moderato
Concerto In E Minor, Op. 85: II. Lento-Allegro molto
Concerto In E Minor, Op. 85: III. Adagio
Concerto In E Minor, Op. 85: IV. Allegro ma non troppo

Amazon.com essential recording

During her far-too-brief career, cellist Jacqueline du Pré exhibited an almost oracular power of communication. Her performances bristled with the kind of brilliant electricity that could change lives and convert listeners to a lifelong love of music. Happily, it's possible to experience a sense of that power from the recordings du Pré completed before multiple sclerosis halted her career as a performer in the early 1970s. This set provides a splendid portrait--at bargain price--of du Pré's unmistakable personality: the astonishingly original yet convincing phrasing, raw energy, and ability to make her instrument sound uncannily like a human voice (du Pré was after all a favored student of Mstislav Rostropovich). Her rendition of Haydn's Concerto in C is clearly cast in a romantic--and nowadays perhaps unfashionable--mold, yet du Pré's big, bold tone carries the musical line forward with exhilarating presence. It's a demeanor that proves especially reassuring for the quirkily mercurial inventions of Boccherini. Yet du Pré most indelibly leaves her signature on the work that became her hallmark, Edward Elgar's E Minor Concerto, grafting a deeply personal level of expression onto the score's rich post-World War I melancholy. In the Schumann, du Pré makes an eloquently passionate protagonist. A similar sense of excitement is to be heard in Dvorák's Concerto--performed near the end of her career--above all in the flame of inspiration she evidently sparks from the orchestra in the serene close of its slow movement. This is a supremely rewarding collection for the beginner and aficionado alike. --Thomas May

Customer Reviews:

Beutefully interpretted.......2007-04-04

Jacquline du Pres interprettation of some of the moast famous cello consertos is simply amasing. her music just flows with energy and abbowe all passion. she realy brings out the qaleties of the cello with intensety and softnes intertwined. music bursting with passion.

I THOUGHT I had heard these concertos,,,.......2007-04-04

UNTIL I was fortunate enough to have heard them performed by Jacqueline du Pre!!!
ABSOLUTELY STUNNING!!! Her superb playing, along with truly masterful
interpretative skills, just "comes pouring out of the speakers!"
Also, the orchestras were obviously truly inspired by these opportunities to perform and record with one of the greatest musicians of all time.
The sound quality is excellent, as is the separation and clarity of both the soloist's and orchestral performances. The overall dynanism is also top notch - I found I had to lower the volume substantially from my normal
system loudness levels.
I've enjoyed this set so much I'll probably wind up buying everything from Amazon that EMI has produced with Jacqueline du Pre's name on it!

Excellent Selection.......2007-02-27

The choice of concertos is excellent and the artistry of Jacqueline du Pre is exceptional. The Schumann and Saint-Saens works are truly beautiful.

The album is a fitting tribute to the tragic loss of an incredible young talent.

A sassy dame.......2007-02-20

I love this CD. It came extremely fast to NZ and a bonus too as I was expecting only one cd not three!
While Dvorak is currently my favourite, other composers featured here have been growing on me.
Never been a Cello devotee in the past, but I am enjoying this new phase of my musical listening.
The late Ms du Pre plays with vigor and assertiveness, yet manages to convey those moving and sublime moments when needed.
Most enjoyable. Thanky you

Pleasure to listen.......2006-02-23

This 3 cd pack plays daylong on the player. Great music, great artist.

Brahms: Symphony No. 1; Academic Festival Overture; Tragic Overture

Average customer rating:

*Yawn*
Bravo, a woman gets to record the Brahms First, but...
I wish I could get excited over this CD
An average performance quite distant from greatness
Good, but...

Brahms: Symphony No. 1; Academic Festival Overture; Tragic Overture

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007ACVIC
Release Date: 2005-02-22

Tracks:

Un Poco Sostenuto-Allegro
Andante Sostenuto
Un Poco Allegretto E Grazioso
Adagio-Allegro Non Troppo, Ma Con Brio
Tragic Overture, Op.81
Academic Festival Overture, Op.80

Amazon.com

Naxos is obviously excited about this recording, publicizing it widely and issuing it in three different formats (this plain CD, as well as SACD and DVD Audio). You can understand the excitement immediately, as the Symphony opens with tremendous power, fortified by uncommon energy in the kettledrums, signifying that there's going to be no routine playing here. But Alsop is not all aggression; her Andante sostenuto is very tender and affecting. Detail work is just wonderful--listen, for example, to the gorgeous flute solo in the fourth movement introduction--and Brahms's syncopations, always a major aspect of his style, get their full due in this rhythmically alert performance. Both Overtures are vividly characterized, and the Academic Festival retains its humor more than usual. At this point there are so many Brahms recordings that no single one is going to satisfy all of our needs, but this recording is competitive with the best in artistic and sonic aspects. In price, it mops the floor with the competition. --Leslie Gerber

Customer Reviews:

*Yawn*.......2007-05-06

There's far too much hype surrounding Alsop's Brahms. Maestra Alsop has supposedly spent incalculable hours studying Brahms' scores to find those precious new nuggets that have somehow escaped other conductors. With all that, I expected to hear new interpretive insights ... but there were none. With so many important recordings of the Symphony No. 1 already out there -- Wand, Tennstedt, Dorati, Stokowski and Toscanini to name just a few -- this recording becomes completely unnecessary.

Bravo, a woman gets to record the Brahms First, but..........2006-07-01

It's great news that after generations of discrimination, a woman conductor is allowed to record the Brahms First. It's not so great that Marin Alsop is only middling good at it. This is not to write her off--Leonard Slatkin and Greard Schwarz are only middling good, too, and they are among the most recorded American conductors. In fact, if we put Alsop up against Americans who have given us Brahms Firsts, she looks pretty good, being exceeded only by Bernstein and Levine. Not bad.

The London Phil. plays vrey well, and Naxos gives us premium-price sonics for a bargain release. As to the interpretation, Alsop suffers from having no overarching conception. The first movement begins with an aggressively thumping timpani, preparing us for a driving interpretation, but a few bars later the rhythm slackens off, only to pick up and back off several more times. The easiest movement in the symphony is the second, which requires only a passionate, sustained line. Alsop doesn't seem to know how to set one; again you feel that she's pushing and pulling without much purpose.

The Scherzo is gently conceived, an unusual approach but not a bad idea given the sturdiness of the other movements. But Alsop has a hard time getting the music to build as gloriously as it should. The finale is a difficult movement for conductors to judge. My preference is for it to sound titanic and triumphant. Alsop doesn't go that way. Her opening Adagio is remakrably slack. As for the body of the movement with its famous tune, she strings one bar after another without any structural build.

In all, a Brhams First that earns the faint praise of being pleasant. One has to quesiton the staying power of Alsop as an artist who is ready to lead the world's great orchestras. But as a pioneer she deserves only praise.

I wish I could get excited over this CD.......2005-09-18

Alsop has recently been appointed music director of the Baltimore Symphony. A lot has been made of this because she is a she. I think she is a good conductor and quite capable. But, I feel there is little "magic" in what she does. This Brahms 1st is clean and well played but there is none of the drama and individuality that you find in versions by Karajan or Walter.I hope that Alsop will be judged based on her music making and not her gender. I also hope she is successful in Baltimore. And, yet, as evidenced by this recording and others of her's I have heard, I think the jury is still out.

An average performance quite distant from greatness.......2005-09-13

Marin Alsop is now probably the most-recorded woman conductor ever, having churned out regular CDs and having had her photo appear on the cover of most high circulation classical music magazines. For all the buzz about her, she demonstrates no individual trait that separates her from the crowd other than being the most well known female conductor in a man's profession.

Here she is equipped with one of the world's 10 best orchestras and takes on repertoire that puts her in direct competition with every conductor in history including the great, near great and mediocre conductors of the recording era. Based on the evidence presented on this CD, I do not believe she is up to that task.

Her performance of the Symphony No. 1 starts well with timpani supporting the downstrokes in the opening theme, making a clear statement about the serious message to come. However, things soon go awry as a too big timpani stroke clouds the picture during a bad changeover to the exposition.

Alsop next uses an ineffective contrivance that she repeats throughout this recording. She takes the quieter music much more slowly than the louder music, as if to say quiet equals slow and loud equals fast. She does this over and over throuhgout the symphony.

While this can enhance the music when handled like light and shade, Alsop's approach is more like black and white. It lacks subtlety and leads to more of a stop and go approach. Instead of enhancing the experience, it gets in the way. For me, this constant tinkering with pulse and motion is an annoyance.

Alsop fruitlessly takes the exposition repeat in the first movement, saying nothing more than, "Here is the music again." While composers add repeats to elongate their music and follow structural design, recreators are required to interpret repeats differently, to say something different with the same music when doing it a second time. Alsop does nothing more than repeat the music at the same speed and with the same accents. What's the point?

In addition, the playing of the London Philharmonic is not uniformly the best I've heard from that group during the dramatic first movement. There is little that is excellent in the second movement, as the wonderful clarinet interplay is -- like the rest of this performance -- good but not great. The violin and horn solos and duo are better at the end, although the violin is probably too meaty for this gentle music.

Alsop overinterprets the second movement "Andante Sostenuto", which translates to "at a sustained walking pace." Like most conductors, she takes the second movement as an adagio. The marking is more akin to what goes on at the beginning of the third movement, where Alsop leads an inspired reading and does her best work in the symphony.

The dramatic closing movement begins without ornaments from the strings, a mistake in my opinion. The following pizzicato is almost silent, a contrast in keeping with Alsop's differential speeds in the opening movement. There is frankly too much contrast here for the whole to be effective. In addition, there is more poor playing as the timpani doesn't quite match the orchestral downstrokes as it did in the first movement.

Alsop again fidgets with tempo in the quieter sections of the closing movement, then doesn't slow down for the descending scales at about 11 minutes, where a slower tempo would indeed be effective. She hustles right through this section as she does all the louder moments. A nice finish is not enough to save this performance from all its prior shortcomings.

The "Tragic" overture that follows has all the fingerprints of her work in the symphony. Alsop leads a highly nuanced and extremely well played version of the "Academic Festival" overture to close the CD. So this CD begins and ends well but, unfortunately, the 60 minutes in between is not performed at such a high level.

Even with modern DDD recording at Naxos's very inexpensive price, this is not an essential purchase for anyone other than fans of the conductor. You can pay about the same money on this Web site and get much better performances by Walter and Karajan (to name only two) that will give more lasting pleasure over a long term.

My favorite recording of this music continues to be the 1962 recording by Karel Ancerl and the Czech Philharmonic Orchestra, last seen linked to a bad mono performance of Beethoven's Symphony No. 1. I highly recommend that performance to anyone that wants to hear a dramatic realization of the Brahms Symphony No. 1.

Good, but..........2005-04-28

The benchmark recordings of Brahms' first symphony for me are: Furtwangler's 1952 BPO live (DG), Karl Bohm's 1959 recording with BPO(DG), Bruno Walter's 1952 NYPO account (Sony), Christoph von Dohnanyi's Cleveland recording(Teldec), and Takashi Asahina's 2000 live with New Japan Philharmonic(Fontec). Alsop's un poco sostenuto beginning is appropriately grand with powerful strokes of timpani adding to the impact. The tempo shift as the movement enters the allegro proper is nicely executed. Perhaps the movement lacks the kind of urgent tension that marks Karl Bohm's account but Alsop scores by keeping the exposition repeat intact, which I think is essential in this symphony to maintain the overall proportion and impact. The middle movements are also nicely done. My only complaint is that the tension slightly slackens in the last movement as if the conductor and orchestra were struggling to keep the music afloat. The lead-in to the alphorn theme sounds a bit pedestrian while the famous "big theme" is played rather too slowly, thus robbing the music of its forward momentum. Too bad when the preceding movements are so well played. But the closing pages are unerringly executed as the famous brass chorale sings out its victorious joy. The recorded sound is very good if not top-notch. In sum, this latest offering is in no way bad and almost as good as the Kertesz/VPO but clearly falls behind the benchmark recordings mentioned above.

Elgar: Pomp and Circumstance Marches Op. 39; Enigma Variations Op. 36

Average customer rating:

Great recording, great price. Buy this without question!!!!!
CLASSICAL MASTERS
Noble Elgar, unbelievable price
Great for High School Graduations!
Elgar's Greatest Hits at a Rock Bottom Price!

Elgar: Pomp and Circumstance Marches Op. 39; Enigma Variations Op. 36

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music
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Bach: Brandenburg Concertos No. 1-4; Neville Marriner; Academy of St. Martin in the Fields
Chopin: Preludes & Nocturnes

ASIN: B000000UVS
Release Date: 1995-10-17

Tracks:

Enigma Variations, Op. 36: Theme
Enigma Variations, Op. 36: I. C.A.E. (Caroline Alice Elgar, The Composer's Wife)
Enigma Variations, Op. 36: II. H.D.S.-P. (Hew Daivd Steuart-Powell)
Enigma Variations, Op. 36: III. R.B.T. (Richard Baxtet Townshend)
Enigma Variations, Op. 36: IV. W.M.B. (William Beath Baker)
Enigma Variations, Op.36: V. R.P.A. ( Richard Penrose Arnold)
Enigma Variations, Op.36: VI. Ysobel (Isabel Fitton)
Enigma Variations, Op.36: VII. Troyte (Troyte Griffith)
Enigma Variations, Op.36: VIII. W.N. (Winifred Norbury)
Enigma Variations, Op.36: IX. Nimrod (A. J. Jaeger)
Enigma Variations, Op.36: X. Intermezzo: Dorabella (Dora Penny)
Enigma Variations, Op.36: XI. G.R.S. (George Robertson Sinclair)
Enigma Variations, Op.36: XII. B.G.N. (Basil G. Nevinson)
Enigma Variations, Op.36: XIII. Romanza: (Lady Mary Lygon)
Enigma Variations, Op.36: XIV. Finale: E.D.U. (The Composer)
Pomp & Circumstance Marches, Op.39: No.1 in D
Pomp & Circumstance Marches, Op.39: No.2 In A Minor
Pomp & Circumstance Marches, Op.39: No.3 In C Minor
Pomp & Circumstance Marches, Op.39: No.4 In G
Pomp & Circumstance Marches, Op.39: No.5 In C
Cockaigne (In London Town) - Concert Overture, Op.40

Customer Reviews:

Great recording, great price. Buy this without question!!!!!.......2007-07-08

I stumbled across this little gem for the low price of about $3.00. I almost kept going assuming that the price was an indication of the quality. Glad I looked twice.

This is a wonderful album with respectful treatments and excellent sound quality, performed by the some of the greatest musicians in the world from the London Symphony Orchestra, the London Philharmonic Orchestra and the Philharmonica Orchestra.

The Enigma Variations, a Theme and 15 short orchestrations that Sir Edward then named after his friends and family based on personality traits, are a wonderful, uncelebrated Opus. I love these pieces. They truly showcase the power of Elgar's compositional style and flair. They certainly rival his more famous Pomp and Circumstance, in my humble opinion. The recording is sharp, well mixed, with no perceivable noise.

As for the Pomp and Circumstance recordings, well done throughout. All 5 pieces are played wonderfully and recorded beautifully with excellent sound mixing and very little, if any, background noise.

Cockaigne Overture is, once again, perfect. Marvelous treatment, wonderful musicianship, excellent sound and quality.

THIS HAS GOT TO BE THE GREATEST MUSICAL VALUE ON THE SHELVES RIGHT NOW. I STILL CAN'T BELIEVE I ONLY PAID $3.00 FOR THIS RECORDING. I WOULD HAVE GLADLY SHELLED OUT THE OBLIGATORY $15.00 - $20.00 CONSIDERING THE QUALITY OF THIS CD.

IF YOU ARE READING THIS, YOU MUST BUY RIGHT NOW, BEFORE THEY COME TO THEIR SENSES AND RAISE THE PRICE!

CLASSICAL MASTERS.......2007-05-12

I BOUGHT THE CD FOR POMP AND CIRCUMSTANCE BUT QUICKLY FELL IN LOVE WITH THE ENTIRE PIECE. IT IS WONDERFUL!

Noble Elgar, unbelievable price.......2007-05-05

This is not some schlock budget disc, which the price might suggest. Boult was one of the great Elgar interpretors (Barbirolli too) and these performances, especially the inspired Enigma Variations, bring out the very soul of Elgar. Sound quality, by the way, is excellent--warm and rich analog glow.

Great for High School Graduations!.......2007-03-12

I am the Principal of a small private boarding school that opened just last year. We do not have a school orchestra, so when the time came for us to plan our graduation ceremony, I searched all over the web for the traditional music. I heard some awful, piano versions of Pomp and Circumstance #4, and some other lackluster symphonic versions. Seraphim's CD of Elgar's works is by far the best. It is warm, heartfelt, inspiring, rich and incredibly well produced. Perhaps having the London Symphony Orchestra and the London Philharmonic Orchestra was the best choice, as they are playing the works of a fellow countryman. Several people came up to me after the ceremony to comment on the music, saying they were extremely moved by the music. Not bad for just playing it over a boombox!

By the way, if you are planning on using this for a graduation, know that you will have to edit out the long introductory passage and figure out how to loop the most famous "graduation" section over enough times to get through your ceremony!

Elgar's Greatest Hits at a Rock Bottom Price!.......2006-09-28

You just can't go wrong with this compilation of Elgar works and this super-cheap price. The performances are full-priced quality. This is a great introduction to Elgar CD. The Enigma Variations will bring tears to your eyes!

Classical Music for Children: A Toddler's Introduction to Classical Music

Average customer rating:

Awesome CD
He started dancing as soon as we put it on!
Better than baby einstein
great music at a great price
A Wonderful CD for all ages

Classical Music for Children: A Toddler's Introduction to Classical Music

Manufacturer: Ent. Media Partners
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002XE8
Release Date: 1997-10-24

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Clair de Lune
Eine kleine Nachtmusik: Romance: Andante
Moonlight Sonata: Adagio sestonuto
Minute Waltz
On The Beautiful Blue Danube
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Customer Reviews:

Awesome CD.......2007-05-11

Have enjoyed this CD immensely with our four-year old. Great price for the quality. Thank you.

He started dancing as soon as we put it on!.......2007-01-09

My 12 month old loves this CD and happily bops away to the music (in the car he sometimes even starts singing!). We like it too and not being very well versed in Classical music, it is a nice mix for us.

Better than baby einstein.......2006-02-26

This is a great CD, with great music, at a great price. Everyone seems to love Baby Einstein, but I don't like the plinking music on those CD's, I like real orchestral pieces to stimulate my child. This is exactly what parents need, at a good price!

great music at a great price.......2006-02-02

I got this cd to use as background when putting my 18 month old to sleep and for car rides. So far it has not made it out of the car. The cd is wonderful. The first song is the Luftansa airline comercial song (that is what my husband calls it) and is beautiful. I didn't think my husband would enjoy the cd at all but he doesn't mind one bit listening to it, he actually will put it on himself when we get in the car. My daughter loves it and will often start nodding her head back and forth to songs. I actually listen to it even when my daughter is not in the car. The music is soft and relaxing but not boring. It is also one of the only cd's that my in laws don't mind listening to when they are in the car with us.

I only paid like $4 here on amazon for it and I gladdly would of paid more for such a great cd. Its a great cd for such a great price!

A Wonderful CD for all ages.......2002-11-03

My whole family has enjoyed this CD. It is very upbeat and easy to listen to. I think there is something for everyone on this one.

Track Listings: