1.
Toccata No 5 Toccata settima
Composed by
Michelangelo Rossi
with
Andrea Marcon
2.
Canzon francese No 2 Canzone francese seconda, del Nono Tuono Naturale
Composed by
Giovanni Salvatore
with
Andrea Marcon
3.
Versi sopra il Kirie, for keyboard (Ricercari a quattro voci, Canzoni Francesi, Toccate ...) Versi sopra il Kirie
Composed by
Giovanni Salvatore
with
Andrea Marcon
4.
Toccata Prima del primo tuono finto Toccata prima del primo tuono finto
Composed by
Giovanni Salvatore
with
Andrea Marcon
5.
Ricercar Recercar
Composed by
Bernardo Storace
with
Andrea Marcon
6.
Balletto Balletto
Composed by
Bernardo Storace
with
Andrea Marcon
7.
Passacagli sopra "A la mi re", for keyboard Passacagli sopra "A la mi re"
Composed by
Bernardo Storace
with
Andrea Marcon
8.
Ballo alla Battaglia Ballo della Battaglia
Composed by
Bernardo Storace
with
Andrea Marcon
9.
Toccata per l'Elevazione Toccata quarta per l'elevatione
Composed by
Gregorio Strozzi
with
Andrea Marcon
10.
Euphonia, Aria con partite, for keyboard (from Capricci da sonare, Op. 4) Euphonia, Aria con partite
Composed by
Gregorio Strozzi
with
Andrea Marcon
11.
Mask sonata and ballad, for organ Mascara sonata e ballata da più Cavalieri Napolitani nel Regio Palazzo
Composed by
Gregorio Strozzi
with
Andrea Marcon
12.
Toccata II, for organ
Composed by
Bernardo Pasquini
with
Andrea Marcon
13.
Work(s)
Composed by
Bernardo Pasquini
with
Andrea Marcon
14.
Toccata for organ
Composed by
Bernardo Pasquini
with
Andrea Marcon
Historic Organ 1,Andrea Marcon,Frescobaldi,Memoria (Swi),Classical,Classical Collections-Artist Desc.
Average customer rating:
- How Live is Live?
- A gigantic recording
- Beautiful piano playing
- A MONUMENT
- One of the great piano recordings of all time
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Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts
Manufacturer: Sony
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Similar Items:
- Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics
- Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63
- The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert
- Liszt: Sonata, Ballades and Polonaises
- Holst: The Planets; Grainger: The Warriors
ASIN: B00000290C
Release Date: 1994-06-14 |
Tracks:
- Toccata, Adagio And Fugue In C Major, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
- Toccata, Adagio And Fugue In C Major, BWV 564: II. Intermezzo. Adagio
- Toccata, Adagio And Fugue In C Major, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
- Fantasie In C Major, Op.17: I. Durchaus phantastisch und ....
- Fantasie In C Major, Op.17: II. Mag. Durchaus energisch
- Fantasie In C Major, Op.17: III Langsam getragen. Durchweg leise zu halten
- Piano Sonata No. 9, Op. 68 'Black Mass': Moderato quasi andante - Molto meno vivo - A llegro - Piu vivo - Allegro...
- Poeme In F Sharp Major, Op. 32 No. 1: Andante cantibile
Tracks:
- Mazurka In C Sharp Minor, Op. 30. No. 4: Allegretto
- Etude In F major, Op. 10 No. 8: Allegro
- Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Menno mosso - Presto con fuoco
- Serenade For The Doll: Andante
- Etude In C Sharp Minor, Op. 2 No. 1: Andante
- Etude In A Flat Major, Op. 72 No. 11: Presto e con leggierezza
- Traumerei
- Sonata No. 11 In A Major, K. 331: I. Tema. Andante grazioso e variazioni
- Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
- Sonata No. 11 In A Major, K. 331: III. (Rondo) alla Turca. Allegretto
- Polonaise - Fantaisie In A Flat Major, Op. 61: Allegro maestoso
Tracks:
- Mazurka In B minor, Op. 33 No. 4: Mesto
- Nocturne In E Minor, Op. 72 No. 1: Andante
- Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
- Sonata In F Major, Hob. XVI : 23: I. Allegro
- Sonata In F Major, Hob. XVI : 23: II. Adagio
- Sonata In F Major, Hob. XVI : 23: III. Finale
- Blumenstuck In D Flat Major, Op. 19: Leise bewegt
- L'ISLE JOYEUSE: Quasi una cadenza - Tempo. Modere et tres souple
- Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento
Amazon.com essential recording
Sony's series documenting Horowitz's mature career offers many indispensable items, including "live" (with studio touchups) recordings of his mid-1960s return to the concert stage after a prolonged hiatus. The Bach-Busoni is a dazzling opener, followed by a titanic Schumann Fantasy in C amply illustrating Horowitz's total identification with the composer. The performance abounds with tightly controlled nervous energy, precise articulation, and gorgeously shaded timbres. A crisp Haydn Sonata, a marvelously shaded Scriabin, a poetic Schumann Traumerei, and more are all indispensable. Not to be missed: the pregnant pauses and crackling tension of the Chopin G-minor Ballade. --Dan Davis
Customer Reviews:
How Live is Live?.......2003-11-29
This is not a review per se. My review is posted under the "Live and Unedited" version of the 1965 concert. But I wanted to correct a few errors which have been circulated in regard to this recording.
First, the corrections used on the original version of "Horowitz at Carnegie Hall" were not made at a "patch session at Carnegie a few days" after the concert. Columbia's engineers had already recorded Horowitz's rehearsals and used that material for the editing.
Second, the editing in the album was neither as extensive as some have suggested, nor as insignificant as others state.
Here is a (mostly) complete list of the patches on the original album, which have been removed from "Live and Unedited":
Bach-Busoni: Preludio: Measures 2-12 and parts of the coda (Horowitz, by the way, does not play the ossias at bars 8, 10, and 12); Intermezzo: Small patches at bars 7 and 11; Fugue: Several edits between bars 97 and 110, and again in the coda.
Schumann Fantasy: 1st Movement: patches at 7:32 and 10:21; 2nd Movement: small patches at 2:44 and 4:32, and a series of patches in the coda 6:58-7:39; 3rd Movement: No edits.
Scriabin: Sonata No 9: No Edits. Poem in F-sharp: Patch from 2:16-2:26
Chopin: Mazurka: Small edit at 2:02; Etude: Patched sections from 1:27-1:33 and 2:15-2:20; Ballade: Small edits at 2:04 and 4:52, at least four patches in the coda.
None of the encores were edited.
It should be pointed out that the editing of supposedly "live" recordings is more commonplace than the recording industry will admit. Although not generally aknowledged, Arthur Rubinstein's 1961 Carnegie Hall Highlights album was patched, and most live recordings today are actually compilations from several performances.
Whether you choose this patched version, or "Live and Unedited" the 1965 return concert contains some stunning piano playing. Can anyone imagine the pressure Horowitz was under on that day? To prove you have not just retained your original greatness, but have deepened and become even greater cannot have been easy. The new, unedited version of the concert is not a revelation, but serves as a reminder of Horowitz's all too human frailty.
A gigantic recording.......2001-02-21
There's an interesting debate going on in the reviews below about Horowitz's technical and musical ability in general. Do yourself a favor and read through these reviews. It'll show you that Horowitz's ability to engender strong positions and fairly heated exchanges continues undiminished, more than eleven years after his death. What this proves, of course, is his uniquely important position in 20th century piano playing. No other classical pianist was as influential, no one's style was copied as much, no one was as frequently and thoroughly misunderstood (mere technician, mere dazzler, mere showman). What you have to understand in listening to these recordings is that he was a complete professional, totally devoted to his craft to the exclusion of just about any other interests in his life - a tremendously one-sided person. But within the art of piano playing he reigned supreme. His oddly introverted, unmoveable, purely efficiency-oriented appearance during performance (he never moved anythying but his hands - no facial contortions, no head shakes, no swaying body, and even his hands were super-efficient) contrasted oddly with the extreme extrovertedness of his playing. He knew so much more about the sound possibilities of the instrument than anyone else that listening to him was downright frightening for other pianists. I remember a well-known pianist during intermission at a Horowitz recital in Hamburg in 1986 laughing and crying at the same time, shaking his head and saying over and over again, "it's impossible. That was impossible. That can't be done" (he was talking about Horowitz's rendition of a Schubert-Liszt transacription).
Anyway, his mastery of the instrument far beyond all other humans' capacity has persistently clouded people's perception of Horowitz and made an assessment of his artistic merits much more difficult. Undoubtedly he had clear limitations as an artist (Beethoven, for example, was just not part of his artistc world). But we have to keep in mind that, unlike practically all classical musicians today, who are trained to be universalists and to assemble a vast variety of styles, Horowitz came out of a strong and idiosyncratic musical tradition - that of Scriabin and Rachmaninov. That tradition was his world, his artistic home, and he always explored other musical traditions from the vantage point of his particular musical identity. In all of this he proved extremely flexible (playing, for example, Scarlatti, Clementi and Czerny to great critical acclaim), but since he never aspired to neutrality and objectivity (like, for example, Pollini or Arrau), it always was obvious when he played music that didn't fit with who he was.
So the debate about Horowitz's musical merits that goes on in the reviews below is as old as his career. What's curious, though, is that a couple of reviewers believe to have found TECHNICAL shortcomings in his playing. That is new in Horowitz criticism. All his career he reigned as the supreme master of piano technique, acknowledged as such first and foremost by most famous pianists (Rubinstein, Argerich, Pollini, Perahia, and many others have rhapsodized - or expressed their jealousy - about Horowitz's technique publicly and at length). When speed and power decreased due to old age, he transferred his technical accomplishments to polyphony, to shadings, colors, multi-layered pianissimi unimagined before or after. In the present recordings from the mid-60s, there was no noticeable decrease in speed and power yet, but his development toward more sophisticated sound effects was well underway. In other words, the questioning of Horowitz's technical abilities in some of the reviews below is utter and complete nonsense. I can only surmise that the authors of these reviews are people raised on the bland, impersonal mechanical functioning displayed by so many contemporary pianists that Horowitz's edginess, his constantly going to extremes (of speed, of clarity, of softness, of bel canto, etc.) irritates them somehow. One thing Horowitz was never after was a polished surface. If you want pleasant, comforting stuff that you can play happily in the background while doing the dishes, Horowitz is not the artist for you. He demands total concentration. But he'll reward that concentration tenfold. Even if you don't agree or don't like what he does in a particular piece, you'll learn a ton about music listening to him. He's a very musically opinionated guy, and some of his work may irritate you a great deal, but he will never, ever bore you.
Beautiful piano playing.......2000-11-17
I am writing in to disagree a bit with the previous reviewer who dismissed this recording and Horowitz's playing in general. I would agree that this is not Horowitz's greatest recital. It may be better remembered for its historical significance than as a representative sampling of Horowitz's art. For me, much of the repertoire in this recital could be called "ill-chosen." The pieces such as the Schumann Fantasie, the opening Bach piece, and Chopin's g minor Ballade do not really show Horowitz at his best -- and not just because they're "big" pieces that "require interpretation." Aside from the Chopin Ballade, these are not pieces that one would typically hear at a Horowitz recital, and I do wish that he had not insisted on repeatedly performing and recording the g minor Ballade. I agree that his bombastic, episodic approach never worked with that piece. I tend to favor the pieces on this album that were recorded in the 1966 recitals, including the Chopin Polonaise-Fantasie dismissed by the previous reviewer. Yes, the ending is too bombastic, but there is so much beautiful, gorgeous piano playing in this performance. The way Horowitz could layer the sound and produce such a beautiful, expressive, vocal melodic line can perhaps be fully appreciated only by real connoisseurs of piano playing. Horowitz was not just a pianist for the "masses." He was also a pianist for connoisseurs.
Is it possible to acknowledge the shortcomings in Horowitz's technique and interpretive ability pointed out by the previous reviewer and to still be a great fan and admirer of his playing? Yes, it is. I know that many listeners who hear the shortcomings in Horowitz's playing feel that Horowitz's admirers must lack discrimination, and I think that in some cases this is true. In fact, I sometimes think that critical reaction to Horowitz can be roughly divided into three categories:
The first category would be for unconditional admirers of Horowitz who feel that he could do no wrong. I would say that this represents the least perceptive evaluation of Horowitz's playing.
The second category would be for people who are aware of the shortcomings in Horowitz's technique and musicality and who feel justified in dismissing Horowitz because of these shortcomings. I think that this view represents a somewhat more perceptive evaluation of Horowitz, and I think that the previoius reviewer would fall into this category.
The third category would be for people who are aware of the shortcomings in Horowitz's technique and musicality and who still feel that he was one of the greatest pianists in history. In my opinion, this is the most perceptive evaluation of Horowitz's playing.
I, too have listened to all of Horowitz's recordings, and have come to a different conclusion about his playing than the previous reviewer. For me, this recording is certainly worth having, mostly for the 1966 recordings.
A MONUMENT.......2000-05-19
One of the best recordings to discover the Horowitz legend. As far as technique is concerned, the Carnegie Hall performances don't reflect all the artist's talents, but Horowitz's magic sonority and the unique atmosphere make it exceptional. My favourite pieces: Bach-Busoni's intermezzo and Chopin's G major ballade.
One of the great piano recordings of all time.......1999-12-09
In May 1965, Vladimir Horowitz, the greatest pianist of all time, ended a 13-year retirement and returned to Carnegie Hall. The audience contained many of the world's most famous musicians, and playing up to its frenzied expectations seemed impossible. Horowitz begins, tense to the breaking point. For a few seconds, his hands are out of control, and he hits more wrong notes than right ones. Then things settle a bit, and he starts to translate his tension into pure musical energy. In that first piece, the Bach-Busoni, Horowitz seems almost superhuman with his orchestral sound, his sharp rhythm, his alternatingly hard-edged attack and meltingly lyrical lines, his supreme intelligence. It must have been immensely frustrating for the pianists in the audience to be so rudely confronted with such hopeless pianistic superiority. The Bach is followed by a highly idiosyncratic Schumann Fantasy, where Horowitz shows a grasp of the work's structure and an analytic penetration of Schumann's neo-Bachian polyphony undreamt of by any interpreter before or after. The recital continues with musical and pianistic jaw-droppers. I single out the Chopin and Moszkovski Etudes, where the audience's incredulity at Horowitz's feats dissolves in laughter at the end of the pieces, the tenderness and intimacy of Debussy's Serenade for a Doll, and the truly moving Schumann Traeumerei. The remainder of this CD collection contains 1966 live recordings, many of which are as fascinating as the '65 concert. Particularly noteworthy are the Haydn Sonata for its dry wit, Chopin's Polonaise-Fantasie for the almost infinite range of expressions and emotions Horowitz creates, and Liszt's Vallee D'Obermann, which inspires Horowitz to the most atmospheric, most evocative music-making I have ever heard on a recording. In sum, if I knew I would lose my hearing in a few hours, I would spend them listening to these recordings.
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Historic Organs of Baltimore
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ASIN: B000004AHR
Release Date: 1995-09-26 |
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ASIN: B0006A9GJA
Release Date: 2004-11-30 |
Average customer rating:
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Historic Organ Of Louisville
Manufacturer: Organ Hist. Society
ProductGroup: Music
Binding: Audio CD
All Works by Arne
| Arne, Thomas Augustin
| ( A )
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| Bach, Carl Philipp Emman.
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| Brahms, Johannes
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| Elgar, Sir Edward
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| ( G )
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| Haydn, Franz Joseph
| ( H )
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| Hindemith, Paul
| ( H )
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| ( H )
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| ( R )
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| ( S )
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| ( V )
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| Wagner, Richard
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| Debussy, Claude
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ASIN: B000004AHS
Release Date: 1996-12-17 |
Tracks:
- Funeral March And Humn Of Seraphs
- Sonata No.1, Op.42: III. Finale
- 'The Little Red Lark'
- Fireside Francies, Op.29
- Lord Enthroned
- Suite Folklorique: Canzona
- Lied des Chrysanthemes, Op.3, No.1
- Fantasie And Fugue In B-Flat
- We Know That Christ Is Raised
- Peer Gynt Suite I.: Ases Tod
- Andante
- Concerto No.1: Organ Solo
- Johnson Rag
Tracks:
- Sonata IV.
- Ave Maria, Op.104, No.2
- Allegro Maestoso And Fugue On America
- Homage To Persichetti
- Dawn Hymn, Op.138
- Sunset To Sunrise
- O God, Thou Faithful God, Op.65
- Church Cantata: b. Aria
- Hymn Interpret: Beach Spring
- Sonata V.
- Elevation, No.30
- Secondo Dialogo
- Monologue, Op.162, No.1: Fughetta On B-A-C-H
- Homeward Bound
- Prayer
- Offertoire (La madone)
- Chanson de nuit, Op.15, No.1
- Thais: Meditation
- Prelude On Pisgah
Tracks:
- Sonata No.4 In B-Flat Major: I., II.
- Fugue In A-Flat Minor
- Prelude On Hyfrydol
- L'Apres midi faune: Prelude
- The Ride Of The Walkuren
- The Last Rose Of Summer
- Laudate Dominum: O Praise Ye the Lord
- Three Pieces
- Fantasie
Tracks:
- Partita On Ein fest Burg
- A Mighty Fortress
- Sonata II.: I. Lebhaft
- Prelude And Fugue In E-Flat
- Sing Alleluia Forth
- Trumpet Tune
- Grand March In B-Flat Major
- Partita On Resonet In laudibus
- When In Our Music: Chorale
Average customer rating:
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Historic Organs of Austria Schläl/Klosterneuburg
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD
Erbach, Christian
| ( E )
| Featured Composers, A-Z
| Classical
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All Works by Pachelbel
| Pachelbel, Johann
| ( P )
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Leonhardt, Gustav
| ( L )
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Classical Music
| The Sony BMG Masterworks Store
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Classical Instrumental Music
| The Sony BMG Masterworks Store
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ASIN: B000002BZU
Release Date: 1997-04-01 |
Tracks:
- Passacaglia In D Minor
- Ricercar In G Minor
- Chaconne In F Major
- Echo Toccata No. 4 In D Minor
- Wir Glauben All An Einen Gott
- Aria Con Variazioni In F Major
- Toccata No. 1 In D Minor
- Toccata No. 8 In G Major
- Canzona A 4. Toni In E Major
- Toccata No. 1 In D Minor
- Ricercar No. 3 A I. Toni In D Minor
- Canzona No. 5 In C Major
- Toccata In C Major
- Aria 'Sebaldina' Con Variazioni In F Minor
- Toccata No. 5 In C Major
Average customer rating:
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Historic Organs Of Michigan
Manufacturer: Organ Hist. Society
ProductGroup: Music
Binding: Audio CD
All Works by Arne
| Arne, Thomas Augustin
| ( A )
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| Classical
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All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
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| Brahms, Johannes
| ( B )
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All Works by Franz Joseph Haydn
| Haydn, Franz Joseph
| ( H )
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Karg-Elert, Sigfrid
| ( K )
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| Mendelssohn-Hensel, Fanny
| ( M )
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| Paine, John Knowles
| ( P )
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| Praetorius, Michael
| ( P )
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Rheinberger, Joseph
| ( R )
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Vaughan Williams, Ralph
| ( V )
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General
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Piano
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ASIN: B00000I6GY
Release Date: 1999-02-09 |
Average customer rating:
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Historic Organs of Portland
Manufacturer: Organ Hist. Society
ProductGroup: Music
Binding: Audio CD
All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
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All Works by Beach
| Beach, Amy Marcy Cheney
| ( B )
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| Brahms, Johannes
| ( B )
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| Couperin, François
| ( C )
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| Dupré, Marcel
| ( D )
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| Franck, César
| ( F )
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| ( G )
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| Handel, George Frideric
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| Haydn, Franz Joseph
| ( H )
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Howells, Herbert
| ( H )
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| Pachelbel, Johann
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| Saint-Saëns, Camille
| ( S )
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| ( V )
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| Mendelssohn, Felix
| ( M )
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Organ
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General
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General
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ASIN: B00005TQ6M
Release Date: 2001-11-27 |
Tracks:
- The Harmonious Blacksmith - Michael Barnes
- Canzone Alla Francese - Beverly J. Ratajak
- IV Fr.5 Versi Spirituali - Beverly J. Ratajak
- Herzog Moritz-Tanz - Marilyn Kay Stulken
- O Welt, Ich Muss Dich Lassen, Op.122/3 - Marilyn Kay Stulken
- Hymnus Exulte Celum Laudibus - Dean Applegate
- A Voluntary - Dean Applegate
- Come Down, O Love Divine - Cantores In Ecclesia
- Magnificat - Cantores In Ecclesia
- Sarabande Con Partite - Mark Brombaugh
- Rondo - Allegretto - David Dahl
- Petite Offertoire - David Dahl
- Allegro For A Musical Clock - David Dahl
- 15th C. Pistoia: Toccata - David Dahl
- Erhalt Uns Herr - David Dahl
- Lord, Keep Us Steadfast In Your Word - David Dahl
- Air From The 14th Suite - MaryAnn Grugher Balduf
- Impromptu - MaryAnn Grugher Balduf
- 4 Miniatures For Organ - MaryAnn Grugher Balduf
- Noel, Votre Bonte Grand Dieu - James Denman
- Quattro Pezzi - Paul Klemme
- Toccata - B. Thomas Curry
- Variations On Home Sweet Home - Jane Edge
- Praeludium Pastorale - Jane Edge
- Ye Watchers And Ye Holy Ones - Jane Edge
Tracks:
- Postlude In C - Joseph Adam
- Prelude & Fugue In G, Op.109, No.2 - Joseph Adam
- Herzlich Lieb Hab' Ich Dich, O Herr - Karl Mansfield
- Toccata In C - Karl Mansfield
- Awake, My Heart, With Gladness - William Schuster
- Little Prelude No.6 in C - Grant Edwards
- Recit De Cornet (Sanctus), Parishes Mass - Grant Edwards
- Toccata Planyavska - Grant Edwards
- Offertory O Filii, Op.49/2 - Will Headlee
- Prelude On An Old Folk Tune - Will Headlee
- O Gott Wir Danken Deiner Gut - Cheryl Drewes
- Babson Rag - Cheryl Drewes
- Amazing Grace - Cheryl Drewes
- Love Divine, All Loves Excelling - Tim Drewes
- Sonata Op.65 No.6 - Peter Sykes
- Jesus, Priceless Treasure - Peter Sykes
- Fanfare For Concert Use - Peter Sykes
Tracks:
- Pastorale - Charles Rus
- Adagio - Charles Rus
- Trumpet Tune - Charles Rus
- Fughetta In A Major - James Hammann
- Andante With Variations In D - James Hammann
- Sortie - Paul Wood Cunningham
- Three Of 'Cinq Improvisations': O Clemens! O Pia! - Robert Vickery
- Three Of 'Cinq Improvisations': Stella Matutina - Robert Vickery
- Three Of 'Cinq Improvisations': Electa Ut Sol - Robert Vickery
- 1st Mvt., Orgelsonate, Op.18/II - Bruce Neswick
- Toccata On Fortunatus - Bruce Neswick
- Improvisation On A Submitted Theme - Bruce Neswick
- O Heilige Geest, O Heilige God - Tamara Still
- Toccata: Energetic - Tamara Still
- Offertoire Il Est Ne Le Divin Enfant - James Holloway
- Scherzando - James Holloway
- Two Of 'Four Etudes For Organ': Taiga - Ronald McKean
- Two Of 'Four Etudes For Organ: Sempervirens - Ronald McKean
- Partita On Old Hundredth - Ronald McKean
Tracks:
- Praeludium In G Minor - Mark Brombaugh
- Come Down, O Love Divine - Mark Brombaugh
- Herr Christ, Der Ein'ge Gottes Sohn, BWV 601 - Lanny Collins
- Der Tag, Der Ist So Freudenreich, BWV 605 - Lanny Collins
- Jesu, Meine Freude, BWV 610 - Lanny Collins
- Wir Christenleut, BWV 612 - Lanny Collins
- Premier Livre D'Orgue (6 Versets) - Barbara Baird
- Partita On Herr Jesu Christ, Dich Zu Uns Wend (Excerpts) - Margaret Evans
- Aria In C (With 10 Variations) - William Poter
- Improvisation Victimae Paschali - Douglas Cleveland
- Esquisse E Minor, Op.41 - Douglas Cleveland
- Esquisse B-flat Minor, Op.41 - Douglas Cleveland
- Toccata In A Minor - Marian Ruhl Metson
- Scherzo, Dance And Reflection - Marian Ruhl Metson
- O For A Thousand Tongues To Sing - Marian Ruhl Metson
- Hymn Prelude - Marian Ruhl Metson
Average customer rating:
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Historic Organs of Montréal
Manufacturer: Organ Hist. Society
ProductGroup: Music
Binding: Audio CD
Gigue
| Baroque Dance Suites
| Ballets & Dances
| Classical
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All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
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All Works by Galuppi
| Galuppi, Baldassare
| ( G )
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Ives, Charles
| ( I )
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| Liszt, Franz
| ( L )
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| Pachelbel, Johann
| ( P )
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Reger, Max
| ( R )
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All Works by Domenico Scarlatti
| Scarlatti, Domenico
| ( S )
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| Tchaikovsky, Peter Ilyich
| ( T )
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| Wagner, Richard
| ( W )
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| Mendelssohn, Felix
| ( M )
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| Classical (c.1770-1830)
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General
| Ives, Charles
| Composers
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| Reger, Max
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General Modern
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ASIN: B000066F0N
Release Date: 2002-05-28 |
Average customer rating:
|
Historic Organs of Boston
Manufacturer: Organ Hist. Society
ProductGroup: Music
Binding: Audio CD
All Works by Arne
| Arne, Thomas Augustin
| ( A )
| Featured Composers, A-Z
| Classical
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All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
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| Classical
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All Works by Brahms
| Brahms, Johannes
| ( B )
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| Classical
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Clérambault,Louis-Nicolas
| ( C )
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| Classical
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| Music
General
| Dupré, Marcel
| ( D )
| Featured Composers, A-Z
| Classical
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| Music
General
| Duruflé, Maurice
| ( D )
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| Classical
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All Works by Elgar
| Elgar, Sir Edward
| ( E )
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All Works by Massenet
| Massenet, Jules
| ( M )
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All Works by Messiaen
| Messiaen, Olivier
| ( M )
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All Works by Mendelssohn
| Mendelssohn, Felix
| ( M )
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Reger, Max
| ( R )
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| Classical
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All Works by Robert Schumann
| Schumann, Robert
| ( S )
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All Works by Sweelinck
| Sweelinck, JanPieterszoon
| ( S )
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Canons
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| Reger, Max
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| Opera & Vocal
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French
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ASIN: B00008Z45Y
Release Date: 2003-04-29 |
Track Listings:
- Impressions of Brass
- In Vienna
- Italian Recordings 1952-53
- Johannes Brahms: Violin Concerto; Double Concerto
- Karl Böhm-The Dresden Years 1938-1940
- Kick Back Classics
- Kuhmo Asiana String Quartet plays Haydn, Ravel, Dvorak
- Louis Spohr: Octet; Sextet; Quintet
- Magnificent Flagstad: Golden Legacy of Music
- Max von Schillings: Das Hexenlied & Other Orchestral Works
Track Listings
track listings
Track Listings
Jeep
Piano Music For One Hand
Memphis Slim at the Gate of the Horn [Import] [Live]
Glenn Miller: Strike up the Band
Number Ones [Import]
Nice & Soulful [Import]
Mis Animalitos [Enhanced]
Lebendige Vergangenheit: Pasquale Amato II
Lonesome Praire Love
La Coleccion Cubana [Import]
Murmur [Import]
Poetry in Motion [Import]
Only House Music: Twenty Years of Classic House [Import]
J.S. Bach: Mass in B minor
Paid in Full