Evening Scene

1. O Happy Eyes for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

2. Love for chorus, Op.18/2
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

3. To Her Beneath Whose Steadfast Star for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

4. Is She Not Passing Fair? for voice & piano
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

5. Shepherd's Song for voice & piano, Op.16/1
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

6. Weary Wind of the West for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

7. Evening Scene for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

8. Windlass Song
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

9. Poet's Life, for voice & piano
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

10. Song of Autumn, for voice & piano
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

11. Death on the Hills for chorus, Op.72
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

12. Sérénade Lyrique for small orchestra
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

13. Credo for soloists, chorus, & organ in E minor
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

14. Was it some golden star hot with romance? for voice & orchestra, Op.59/5
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

15. Speak Music for voice & piano, Op.41/2
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

16. Lo! Christ the Lord is Born, carol for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

17. O Mightiest of the Mighty, hymn for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

18. River for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

19. How Calmly the Evening, part song for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

20. Goodmorrow for chorus
Composed by Edward Elgar
with John Brecknock , Victor Morris
Conducted by David Temple

Evening Scene,Elgar,Brecknock,Meridian,Classical,Classical Music

Average customer rating: Instruments of the Orchestra - Great Reference Material! Beginner or Expert Very Informative and Enjoyable Frank's view Excellent Intro for Those Not Familiar with the Orchestra

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Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

Beginner or Expert.......2007-03-12

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

Very Informative and Enjoyable.......2006-11-20

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

Frank's view.......2006-08-19

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

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

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

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

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

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

Average customer rating: A must for Grieg fans I fell in love with the voice

Grieg: Peer Gynt Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Theatrical, Incidental & Program Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music San Francisco Symphony Orchestra | ( S ) | Featured Performers, A-Z | Classical | Styles | Music ASIN: B0000041VN Release Date: 1990-01-05

Tracks:

1. At The Wedding - San Francisco Sym/Herbert Blomstedt
2. The Abduction of the Bride: Ingrid's Lament - San Francisco Sym/Herbert Blomstedt
3. Peer Gynt and the Herd-girls - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
4. In The Hall of the Mountain King - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
5. Dance of the Mountain King's Daughter - San Francisco Sym/Herbert Blomstedt
6. Peer Gynt hunted by the Trolls-Peer Gynt and the Boyg - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
7. The Death of Ase - San Francisco Sym/Herbert Blomstedt
8. Morning mood - San Francisco Sym/Herbert Blomstedt
9. The Thief and the Receiver - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
10. Arabian Dance - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
11. Anitra's Dance - San Francisco Sym/Herbert Blomstedt
12. Peer Gynt's Serenade - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
13. Solveig's Song - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
14. Peer Gynts Homecoming. Stormy Evening at Sea - San Francisco Sym/Herbert Blomstedt
15. Shipwreck - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
16. Solvieg sings in the Hut - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
17. Night Scene - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
18. Whitsun Hymn 'Blessed Morn' - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George
19. Solvieg's Cradle-song - Urban Malmberg/Mari-Anne Haeggander/San Francisco Sym Chor/Vance George

Amazon.com

There are many positive reasons for getting the complete Peer Gynt music, as opposed to just the two suites. In the first place, if you like singing, you get the vocal parts. There's also a lot of really fine and exciting music that's not included in the suites. On the other hand, if dialogue in Norwegian makes you crazy (there isn't really that much of it), you might want to stick with the more traditional excerpts. This performance of the complete score is excitingly detailed, and extremely well played and sung by all the participants. I enjoy hearing the music in both forms, depending on my mood; perhaps you will too. --David Hurwitz

Amazon.com

This 1988 account from Herbert Blomstedt and the San Francisco Symphony is rich and dramatic. Here is a conductor with a real feel for the music, and in his hands Grieg's multimovement score shows its emotional depth. The reading is well paced and brilliantly played, and London's crew provides a high-impact recording, very forward and with excellent detail. --Ted Libbey

Customer Reviews:

A must for Grieg fans.......2001-06-04

Because Grieg is one of my favorite composers, I was delighted to get the complete incidental music to Ibsen's play and not just the standard Suites 1 and 2. Blomstedt and the San Francisco Symphony do a fine job of conveying the many moods of Grieg's masterpiece. Listeners need to be prepared to hear singing and dialogue in Norwegian, but its inclusion gives the performance an operatic feel. For those of you familiar with Suites 1 and 2, give a listen to "Peer Gynt Hunted by the Trolls", a highly dramatic work;then, listen to the solemnity of "Blessed Morn" and "Solveig's Cradle Song". I think this CD will enhance your enjoyment of Peer Gynt all the more.

I fell in love with the voice.......1999-04-28

Not much of a vocal fan (I'm into Bach & Mozort intrumental) I was scanning through the titles of this CD for the well know Mountain King part. It's all good & very professional, but when I heard the voice of Mari-Anne Haeggander in the track Solveigs' Song I was bowled over and very much reconciled with vocal music.

She mix's a perfect technical mastery with a just enough human touch to make it reall. The tiny imperfections when her voice goes up a big interval make it just perfect. Ceclia Bartoli (singing Mozart) was my favorite, but now Mari-Anne is.

I'm now urgently looking for more of her recordings, without luck so far. Pleas help.

Average customer rating: Will Parker - a voice to remember

The Listeners Manufacturer: New World Records ProductGroup: Music Binding: Audio CD Dello Joio, Norman | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Fine, Irving | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Hoiby, Lee | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music General | Vocal Pop | Pop | Styles | Music ASIN: B0000030IV Release Date: 1995-10-20

Tracks:

1. Mourning Scene
2. Pantaloon - He Who Gets Slapped: Ballad
3. 'Anatomy Lesson'
4. 'Peacock Pie': The Ship Of Rio
5. Old Shellover
6. Cake And Sack
7. Tillie
8. The Listeners
9. Billie In The Darbies
10. Billy In The Darbies
11. Evening
12. Love Winter When The Plant Says Nothing
13. For My Brother; Reported Missing In Action 1943
14. 'Childhood Fables For Grownups': Two Worms
15. 'Childhood Fables For Grownups': The Duck And The Yak
16. 'Childhood Fables For Grownups': Lenny The Leopard
17. 'Childhook Fables For Grownups': Tigeroo

Customer Reviews:

Will Parker - a voice to remember.......2000-05-19

As a former student and friend of the late Will Parker, I can say that without a doubt the re-release of this recording is a fitting tribute to his skills as an interpreter of American song. The intensity with which he approached every work he sang is most definitely in evidence here. The rarely-heard "Mourning Scene" of Rorem alone makes this recording worth the investment.

Average customer rating: What a surprise. Truly Romantic/Enchanting Oboe

Romantic Evening Music for Oboe Manufacturer: Delta ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Dittersdorf | Dittersdorf, Karl Ditters | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( 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 Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | 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 | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Ballets & Dances | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music CDs Under $7 | Concertos | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Concertos | Classical | Today's Deals in Music | Formats | Music CDs Under $7 | Symphonies | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Symphonies | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Symphonies | Classical | Today's Deals in Music | Formats | Music Similar Items: The Instruments of Classical Music, Vol. 2: The Oboe Italian Oboe Concertos The Art of the Oboe Oboe Obsession ASIN: B000001VH7 Release Date: 1993-11-30

Tracks:

1. Swan Lake: Scene No.10 - Bavarian RSO/Hans Vonk
2. Sym No.9 'From The New World': Largo - Prague Fest Orch/Pavel Urbanek
3. Ob Con In d: Adagio
4. Ob Con in C: Andante - Lajos Lencses
5. Ob Qt in C: Adagio - Lajos Lencses
6. Con In D: Sicliano
7. Othello: Prld - Sofia PO/Vassil Stefanov
8. Ob Con In C: Larghetto
9. Andantino - Lajos Lencses
10. Con In A: Larghetto
11. Ob Con: Romance
12. Ob Con In C: Adagio Non Troppo

Customer Reviews:

What a surprise........2005-09-28

What a bargin!
What a great surprise!
I purchaced this CD because of the brief monitoring of a view selections.
There are many more pleasing gems here.
The audio quality meets my standard also.

Truly Romantic/Enchanting Oboe.......2005-03-12

This is wonderful music at great price, with selections from vast array of some of composer bests: Bach (both J.S. and C.P.E.), Haydn, Tchaikovsky, Dvorak, Verdi, Vivaldi, Mozart... played by the likes of Berlin Symphony, Bavarian Radio Symphony, Prague Festival Orchestra, Sofia Philharmonic Orchestra, New Bach Collegium Musicum, Bach Chamber Orchestra.

One can delight to pieces from Swan Lake, or the New World Symphony or Otello. One can learn of wonderful new music from composers not known till hear the rich strains of Dittersdorf's Andantino for Oboe and Strings.

Hidden gem!

Average customer rating: A Rose By Any Other Name... "Thus I salute the stronghold, safe from dread and dismay! Free at last! I Love This Recording The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

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Opera & Vocal General | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Opera & Vocal General | Opera & Vocal | Today's Deals in Music | Formats | Music ASIN: B000001W18 Release Date: 1993-11-30

Tracks:

1. Flute Sonata In E Flat: Siciliano
2. Flute Concerto No.1: Adagio ma non troppo
3. Flute Concerto In E Minor: Andante
4. Trio In G Minor 'The Shepherd's Lament': Andante espressivo
5. Flute Concerto In E Minor: Largo
6. Flute Concerto In D Minor: Un poco andante
7. The Sleeping Beauty: Pas de quatre
8. Orchestral Suite No.2: Sarabande
9. Flute Quartet In A: Theme And Variations
10. Flute Concerto In D: Arioso
11. Quartet In G: Theme And Variations
12. Water Music: Minuet
13. Flute Concerto In G: Largo
14. Orchestral Suite No.2: Minuet And Badinerie

Tracks:

1. Swan Lake: Scene No.10 - Bavarian Radio Symphony Orchestra
2. Symphony No.9 'From The New World': Largo - Prague Festival Orchestra
3. Oboe Concerto In D Minor: Adagio - Burkhard Glaetzner
4. Oboe Concerto In C: Andante - Lajos Lencses
5. Oboe Quartet In C: Adagio - Lajos Lencses
6. Concerto In D For Oboe d'amore: Siciliano - Burkhard Glaetzner
7. Otello: Prelude - Sofia Philharmonic Orchestra
8. Oboe Concerto In C: Larghetto - Burkhard Glaetzner
9. Andantino - Lajos Lencses
10. Orchestral Suite No.1: Passepied - Jochen Muller-Brincken
11. Concerto In A For Oboe d'amore: Larghetto - Burkhard Glaetzner
12. Oboe Concerto: Romance - Burkhard Glaetzner
13. Oboe Concerto In C: Adagio no troppo - Burkhard Glaetzner

Tracks:

1. Horn Concerto In E Flat, K.447: Romance
2. Capriccio espagnol: Variations
3. A Midsummer Night's Dream: Notturno
4. Concerto In E Flat For Two Horns: Romance
5. Concerto In F: Arioso
6. Horn Concerto In E Flat, K.495: Romance
7. Concerto In D: Largo
8. Symphony No.5: Andante cantabile
9. Horn Concerto No.2: Adagio
10. Water Music: Air
11. Concerto In E Flat For Two Horns: Adagio
12. Concerto In E Flat: Largo
13. Symphony In G 'Sinfonia da caccia': Andante piutosto un poco allegretto
14. Horn Concerto In E Flat, K.417: Andante

Tracks:

1. Concerto de Aranjuez: Adagio
2. On Wings Of Song
3. To Music
4. L'Encouragement, Op.34: Cantabile
5. Semi Dolens
6. Fugue In G Minor
7. Prelude No.2
8. Sonata In C: Adagio
9. Capricho arabe
10. Prelude No.5
11. Fantasy
12. A Toy
13. Gagliarde
14. A Pipers Pavan
15. Welcome Home
16. Pass'e mezzo

Tracks:

1. Partita In D Flat: Pastorale
2. Harp Concerto: Larghetto
3. Tic-Toc-Choc ou Les Maillotins
4. Prelude In C
5. Sonata In C Minor: Andante espressivo
6. Harp Concerto In A: Larghetto
7. Nocturne In E Flat
8. Five Variations In F
9. Prelude In B Flat
10. Variations On A Theme By Mozart
11. Prelude In C Minor
12. Impromptu In D Flat

Average customer rating: Soothing, steady, melodic with a theme. Brilliant Suttle beauty of music and voice with fabulous artistry

Grieg and Sibelius Songs Manufacturer: Warner Classics ProductGroup: Music Binding: Audio CD Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | 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 Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Scandinavian Languages | Languages | Opera & Vocal | Styles | Music Similar Items: Lorraine Hunt Lieberson: Handel Arias Sibelius: Symphony No. 2; En Saga; Luonnotar Peter Lieberson: Neruda Songs Karita Mattila - Arias & Scenes / Yutaka Sado, LPO ASIN: B000050K9B Release Date: 2004-05-25

Tracks:

1. Hostkvall
2. Soluppgang
3. Se'n Har Jag Ej Fragat Mera
4. Arioso
5. Varen Flyktar Hastigt
6. Solveigs Sang
7. Solveigs Vuggesang
8. Fra Monte Pincio
9. En Svane
10. Varen
11. Luonnotar
12. Det Forste Mode
13. Sancta Maria, Mild Och Naderik (Jungfrun I Tornet)
14. Den Judiska Flickans Sang (Belsazar)

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Whether in Sibelius' Wagnerian-in-scope song "The Maiden in the Tower" (actually a solo from his brief opera of the same name) or his ominous "Fall Evening," Finnish soprano Karita Mattila, with her grand, soaring, secure voice brings a personal, storytelling, evocative stamp to the songs she sings. The Grieg songs are less emotionally complicated, and the effortlessness and expressiveness with which Mattila sings the two Solveig songs from Peer Gynt create an intimacy in wonderful contrast; her voice, scaled down, positively glistens. "Luonnotar," a 10-minute tone poem for soprano and orchestra, is the disc's centerpiece. This strange story of a "maiden of the skies" who descends into the sea and offers her knees as a place for a duck to build its nest has an ancient but hazy aura to it, and Mattila takes us through it with great intensity, building to a impressive climax which she rides easily. Conductor Sakari Oramo and the City of Birmingham Symphony Orchestra catch the Northern lights in both voice and instruments. A fine disc of songs from a leading operatic soprano. --Robert Levine

Customer Reviews:

Soothing, steady, melodic with a theme........2005-03-02

Otherworldly is the way I would describe this latest offering from Warner Classics featuring soprano Karita Mattila, backed by the City of Birmingham Symphony Orchestra. It takes a little getting used to, but overall this CD is increasingly hypnotic the more you listen to it - meaning, give it a try, you won't be disappointed. This offering of fourteen songs, provides the listener with a sampling of the works of Jean Sibelius and Edvard Grieg, with some truly hypnotic and brooding background music that flows in and out: deep, rich, full, haunting, leaving ample room for Ms. Mattila to display her ample vocal skills, her clear diction and her understanding of the long, slow recitative style of the Finnish-Karelian vocal tradition. In this style, long before written literature existed for the Finns, the oral tradition, known as the Karelian tradition, dominated storytelling. It is well served here. Each of the songs tells a brief story or poem as a lament, and reinforces a thematic quality of the whole, making this an easy CD to put on and listen to, with one exception which I will discuss below. I use the word "haunting" here decisively, because for the most part the musical passages are highly evocative and full, conjuring images of a mist covered mountainside, rising from the banks of a lake, perhaps at dawn, when the sun begins to come over the horizon and the traces of mist cling stubbornly before dissipating. That is the mood created here. As with every CD I review, I ask where and how would I listen to it? What mood does it create and does it sustain that mood once created? Here, as just noted, the mood is consistent, with one annoying exception contained in cut 13, Sibelius' "sancta maria, mild och naderik". Its sound borders on shrill, and the mood and effort that went into creating this otherwise wonderful CD is lost, if momentarily. Even with that one diversion, I can recommend this CD for all the rest. It is a fine effort with some truly moving orchestration throughout and top notch singing with only an occasional rough spot from Ms. Mattila.

Brilliant.......2005-01-02

This is a real surprise. I love this cd. It is really haunting and beautiful. Buy it. Sibelius, Grieg, and Karita Mattila are just wonderful.

Suttle beauty of music and voice with fabulous artistry.......2004-12-17

It is a pure golden find in musical recording when you are being able to enjoy such a perfect performamce at home. I did listen it again and again with such a joy. The majical voice of Karita Mattila soars gently above most beautiful music. Even I do not
know Finnish language it did not mater. Everything was superb
with quiet and not showy beauty, I could close my eyes and get drawn deeply into the songs.
We are so fortunate to be able to listend this heavenly recording . I will do it again and again....

Average customer rating:

Alfred Deller - Portrait of a Legend Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD General | Couperin, François | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Dowland | Dowland, John | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Gibbons, Orlando | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Purcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tallis | Tallis, Thomas | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music General | Renaissance (c.1450-1600) | Historical Periods | Classical | Styles | Music Lute | Strings | Instruments | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Compilations | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Folk | Styles | Music Classical | Imports | Stores | Music ASIN: B0001L1B7Y Release Date: 2004-06-08

Average customer rating:

Great Arias and Ensembles From Your Favorite Operas Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Janácek, Leos | ( J ) | 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 Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | 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 Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Czech | Languages | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music 4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music ASIN: B0007SK9UG Release Date: 2005-04-26

Tracks:

1. Escamillo: 'You're Most Kind, And In Return I Toast You' - Philharmonic Orchestra
2. Carmen: 'There's An Old Bar In The City' (Seguedilla) - Philharmonia Orchestra
3. Belmonte: 'Constanza! Constanza' - 'Oh What Trembling, Oh What Passion' (Aria) - Nicolai Gedda
4. Falstaff: 'Hey, Page Boy!' - 'Your Honour? Vermin!' (Monologue) - English National Opera Orchestra
5. Fenton: 'From Lover's Lips A Happy Song Is Flying' (Aria) - Susan Gritton
6. Lucia: 'Imagine When The Breezes Sigh' (Duet) - Philharmonia Orchestra
7. Edgardo: 'What Restrains Me At Such A Moment?'/Enrico: 'What Restrains My Righteous Anger?' (Sextet) - Philharmonia Orchestra
8. Turandot: 'Within This Palace A Story Lives Forever' - 'Gentle Princess Lo-U-Ling, Pure, Serene And So Gentle' (Aria) - Philharmonia Orchestra
9. Liu: 'I Beg You, Hear Me, Ah My Lord, I Beg You!' (Aria) - Philharmonia Orchestra
10. 'Through Her Soul In Endless Grieving' (Cujus Animam) - Barry Banks
11. Ilia: 'My Father Was Taken' (Aria) - Rebecca Evans
12. Forester: 'When Evening Arrives, I Welcome The Rays Of The Setting Sun!' (Final Scene) - Thomas Allen
13. Aida: 'We'd Leave This White Oppressive Heat' (Duet) - Dennis O'Neill
14. Propulace: 'Glory To Isis, Goddess Fair' (Grand March From Triumphal Scene) - Philharmonia Orchestra
15. 'Rejoice Greatly, O Daughter Of Zion' (Aria) - London Philharmonic Orchestra

Average customer rating:

Elgar: Part-Songs Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Elgar | Elgar, Sir Edward | ( E ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music A Cappella | Folk | Styles | Music Similar Items: Elgar: Sacred Choral Music ASIN: B000000AUG Release Date: 1994-07-26

Tracks:

1. Three Part-songs, Op. 18: 1. O Happy Eyes
2. Three Part-songs, Op. 18: 2. Love
3. Three Part-songs, Op. 18: 3. My Love Dwelt In A Northern Land
4. Five Part-songs From The Greek Anthology, Op. 45: 1. Yea, Cast Me From Heights Of The Mountains
5. Five Part-songs From The Greek Anthology, Op. 45: 2. Whether I Find Thee
6. Five Part-songs From The Greek Anthology, Op. 45: 3. After Many A Dusty Mile
7. Five Part-songs From The Greek Anthology, Op. 45: 4. It's Oh! To Be A Wild Wind
8. Five Part-songs From The Greek Anthology, Op. 45: 5. Feasting I Watch
9. Four Part-songs, Op. 53: 1. There Is Sweet Music
10. Four Part-songs, Op. 53: 2. Deep In My Soul
11. Four Part-songs, Op. 53: 3. O Wild West Wind!
12. Four Part-songs, Op. 53: 4. Owls (An Epitaph)
13. Two Part-songs, Op. 71: 1. The Shower
14. Two Part-songs, Op. 71: 2. The Fountain
15. Death On The Hills, Op. 72
16. Two Part-songs, Op. 73: 1. Love's Tempest
17. Two Part-songs, Op. 73: 2. Serenade
18. How Calmly The Evening
19. Weary Wind Of The West
20. Evening Scene
21. The Prince Of Sleep
22. Go, Song Of Mine, Op. 57

Track Listings:

1. Everlasting Happiness
2. Everlasting Peace
3. Everlasting Tranquility
4. Favourite Collection 2
5. Felix Mendelssohn: String Symphonies Nos. 6 & 7
6. Handel: The Complete Oboe Concertos & Sonatas
7. Harmonischer Gottes-Dienst
8. Haydn: Keyboard Sonatas Nos. 39, 41, 44, 48 & 49
9. Haydn: Violin Concerto 1, Cello Concerto 1, Double Concerto in F Major
10. Il Flauto Dolce: Italian Music From 3 Centuries

Track Listings

track listings

Track Listings

Dirty Water

FRANCOIS COUPERIN : III Lecons de Ténèbres

Forbidden Fruit

Day [CD-single] [Enhanced] [EP]

Heart Drops from the Great Space [Import]

I'm in Need of a Good Woman

Favorite Bible Songs

Gliere: Symphony No. 3

Honky Tonk Heroes

Horn Culture

Government Commissions: BBC Sessions 1996-2003 [Live]

Great Legends of Rock [Import]

Escape: The Best of European Trance

Duo Patterson - Fuchs: 12 Duets, Op. 60; Handel-Halvorsen: Passacaglia/Sarabande con Variazioni; Handel-Vermes: Chaconne

Frank Sinatra Christmas Collection