Symphony 3 Opus 271

1. Symphony, for orchestra and chorus No. 3 "Te Deum", Op. 271
Composed by Darius Milhaud
with Viktor Obnosov
Conducted by Gennady Rozhdestvensky

2. Les Cloches (6), symphonic suite after Edgar Allan Poe's "The Bells", Op. 259
Composed by Darius Milhaud
Conducted by Gennady Rozhdestvensky

3. Saudades do Brasil (12), suite of dances for orchestra, Op. 67b Botafogo
Composed by Darius Milhaud
Conducted by Gennady Rozhdestvensky

4. Saudades do Brasil (12), suite of dances for orchestra, Op. 67b Leme
Composed by Darius Milhaud
Conducted by Gennady Rozhdestvensky

5. Saudades do Brasil (12), suite of dances for orchestra, Op. 67b Tijuca
Composed by Darius Milhaud
Conducted by Gennady Rozhdestvensky

6. Saudades do Brasil (12), suite of dances for orchestra, Op. 67b Laranjeiras
Composed by Darius Milhaud
Conducted by Gennady Rozhdestvensky

Symphony 3 Opus 271,Milhaud,Rozhdestvensky,Russian State Sym Orch,Olympia,Classical,Orchestral & Symphonic

Kamen: The New Moon in the Old Moon's Arms
Average customer rating:

Thank you Michael Kamen

The Memory That Outlasts the Years

Absolutely Wonderful

Orchestral Kokopelli

Higly enjoyable and very derivative

Kamen: The New Moon in the Old Moon's Arms

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Michael Kamen's Opus

Open Range

Robin Hood: Prince Of Thieves - Original Motion Picture Soundtrack

Serenada Schizophrana

ASIN: B000056PRE
Release Date: 2001-01-30

Tracks:

1,000 AD
1,000 AD
The Prayer
The Prayer
Moonlight
Moonlight
2,000 AD
Iris
Cole's Tune
Marking Homework
Rowen
Finale

Amazon.com

Michael Kamen is a multitalented, multifaceted musician. Though originally classically trained, he soon turned to writing in other styles and is now famous mostly for his film scores, several of which have won prestigious awards and nominations. He has been credited with successfully bridging the gap between the worlds of classical and pop music, and The New Moon, commissioned by the National Symphony Orchestra and Leonard Slatkin to celebrate the new millennium, is described as "his first classical symphony." Inspired by the history of the Anasazi people, Native Americans who lived in the Southwest and vanished 1,000 years ago, and the legacy they left in paintings on the canyon walls, its only "symphonic" feature is the recurrent use of a lead-theme given to the solo flute and solo cello, which symbolize certain characters in the Anasazi story. Unfortunately, the theme, based on a three-note figure, is used mostly in endless sequences. The piece alternates solemn chorales with increasingly wild dances Kamen calls "Scherzos"; the orchestration is lush and overloaded but effective, thanks mostly to the excellent soloists. Mr. Holland's Opus--An American Symphony is drawn from the soundtrack to the film of the same name. Despite its title, it hardly resembles a symphony, and it is difficult to take the bombastic, grandiloquent Finale seriously as representing the masterpiece of the film's protagonist, an idealistic young teacher and ambitious composer. Calling this music "classical" is a condescending misrepresentation and a disservice to its composer. Rather, it should be accepted for itself and its own real qualities: pleasant, singable melodies, simple, tonal harmonies, luxuriant orchestration, spicily rhythmical, humorous Scherzos. Clearly, Michael Kamen writes what's in his ear and heart, and he deserves respect for his courage and honesty. --Edith Eisler

Album Description

Michael Kamen's latest work The New Moon in the Old Moon's Arms is a symphonic poem inspired by the history of the Native American Anasazi people who mysteriously vanished almost 1000 years ago. They had lived until then in what's now New Mexico, Colorado and Nevada; and without the wheel or horse, they built complex homes, miles of long, straight roads and astronomical observatories. They also produced wonderful artistic visions on the canyon walls, including Kokopelli, the hump-backed flute player. The title of the album is quoted from an Iroquai Indian who Kamen met as a little boy and symbolizes "a glimpse of the future in the light of the past." As a committed humanist and a devotee to the American Indian, Kamen chose to mark the new millennium with a symphony that tells a story about the past that makes us consider the future with a message of compassion and humanity.

Also on the album is Mr. Holland's Opus - An American Symphony. It has been arranged from the original music composed by Kamen for the critically acclaimed film "Mr. Holland's Opus", starring Richard Dreyfuss. The symphony features Leila Josefowicz on "Cole's Tune" (track 9). It was recorded in London in the Summer of 2000 with the BBC Symphony Orchestra, conducted by Leonard Slatkin.

Customer Reviews:

Thank you Michael Kamen.......2004-04-06

I first discovered Michael Kamen's music when i purchased the soundtrack for "Mr Holland's opus"(A portion of which is on this disc).In an era when tax levies are being failed left and right and music programs are the first to go by the wayside, I wish we could count on his guidance one again, may he rest in peace. His frequent pleas to save music programs will be his true legacy.
On to this delightful disc. New moon in the old moon's arms is a curious blend of styles and time periods that begs to be cranked up on the stero. A true delight for the senses! Right now I am trying to find all of his works for my collection that are still available.

The Memory That Outlasts the Years.......2004-02-19

Let me make it clear--if you want an objective or "expert" review, seek elsewhere, because this won't be it. Rather, this is a very emotional reflection upon the music, its composer, and the value it holds to me. I had the chance to observe Michael Kamen on his Internet forum for a few days before his unexpected death in November 2003, and this certainly seems to capture what I learned about who he was. I feel that even this "fleeting glimpse" accentuates the response I have to this album even more...but it's undeniable that the quality of the work itself has a lot to do with it. I greatly enjoyed listening to this.

I'll start with The New Moon in the Old Moon's Arms. Yes--I can hear the influences of other composers in there, most notably (for me), Stravinsky. But it doesn't disturb my listening at all. One must remember what this piece was intended to be--it was commissioned for the millenium. I believe that its purpose was not to push *too* far--but to be a thing that people could connect with, envision. It is inventive, but at the same time *must* appeal to the familiar in order to accomplish its purpose. (The same goes for the Shostakovich-like part in "Marking Homework" in An American Symphony.) That, more than anything, embodies the spirit of Michael Kamen--he was all about bridging the gaps between genres and audiences that to him shouldn't have even existed in the first place. Look at his excellent work in the Metallica S & M project for another shining example of this "bridge-building" work, or the "Finale" of An American Symphony.

As to the symphony itself, I am quite pleased. Just as Michael did, I feel a great connection to the imagery and history of the Southwestern U.S., and particularly through the flute and percussion work I get that sense from it. Some pieces have darker parts in them--but there are also wonderfully bright sections to balance them out, such as a beautiful moment in "In the Moonlight" starting on Track 6 at about 5:35, where I envision seeing a thing that perhaps I feared...that is then revealed to be an object of great joy instead. The peace that comes from that is really very wonderful. The first track on "The Prayer" is also a particularly moving section, indeed the sort of uplifting thing I like as a backdrop for my meditations. The progression of the music throughout is "just unusual enough"--it can't be predicted by a first-time listener, but at the same time it does not go *too* far. I can't explain exactly how, but I can certainly hear certain signatures of Michael's throughout.

This CD also has all five parts of An American Symphony, which appeared in the movie Mr. Holland's Opus. I only saw the movie a few times in the years since it was released, and the *impressions* of the music, even if not the note-for-note particulars, burned themseves indelibly upon my brain. Among my favorites are the powerful "Iris" theme, and the hauntingly beautiful "Rowena". The latter is a tune that, upon seeing the movie a few weeks ago for the first time in years, became instantly familiar the second I heard it again--I felt as if I'd found a tune I'd been seeking for all the intervening time in my own musical meanderings. That, more than anything, ought to serve as a testament to what Michael wrote here. My only wish unfulfilled on this particular CD is that the mesmerising piano rendition didn't appear here. Trust me--it's worth renting or buying the movie to hear, and I hope very much you'll do that along with purchasing this CD.

The "Finale" now has a strange parallel meaning to what it held in the movie. The music program having been cut off suddenly, the students Glenn Holland has had over the years gather to give him a glorious send-off, and to prove to him that his career, even abruptly abbreviated as it was, had a tremendous influence. That influence is the legacy of him that they will carry in their hearts. So it is now with the man who was truly behind that music. The first symphony, too, is about legacy. The Anasazi people who actually created the art that inspired Michael are not here, either. But just as their tradition and their work has survived all these years, so will his, through a form of memory we know as music.

I truly hope you will open your hearts to the music and the memory...to know its power and joy.

--Written in memory of Maestro Michael Kamen

Absolutely Wonderful.......2004-02-17

This CD is fantastic! I bought it because I saw it had an English Horn solo on one of the songs and was starting to learn to play the instument at the time. I was extremely pleased with the rest of the songs as well. They have a very inspiring quality to them and there is not a song on here that is not positively fabulous. A must have for any person who loves classical music. It keeps with traditional motifs but at the same time goes far above and beyond those same motifs. This CD would be a valuable addition to any collection. It is very enjoyable to listen to and relax to the sounds of perfection.

Orchestral Kokopelli.......2003-02-11

For the casual fan of classical music this is perfect bllend of old and new themes. Although for even my non-classical ears it is a bit dense and overly done at times. At times the suite reaches such startling contrasts that you begin to wonder if indeed you are stil listening to the same disc. The build up to crescendos comes crashing down to earth, slowly building softly back up and soaring high in graceful flights of fancy amidst the clouds. In the second movement, "Kokopelli and the Eagle" and "The Prayer," a sense of peaceful tranquility is achieved prior to the transition into "Sunset." Michael Kamden paints pictures on his musical canvas that invoke the spirit of the past, the great southwest civilization of the Anasazi comes to life. When the flute plays amidst the symphonic orchestration it is as though you can envision Kokopelli playfully dancing and leading his people. If you read the song titles and close your eyes you will embark upon a musical journey across time and space. The native American imagery will capture your imagination as the music dances through your head. "Mr. Hollands Opus-An American Symphony" which is featured on the second half of the disc is an eloquent musical statement that is rich and stimulating. It is like having two discs as the music is quite different from the "symphonic poem." Obviously Michael Kamden is able to crossover to audiences oustide of those more attuned to the sublties of classical music. I found the music very relaxing and at times exhilirating. If you are a person who likes classical music but feels a bit intimidated by the scope of the music this disc is right for you. This is a highly entertaining disc with cinematic qualities.

Higly enjoyable and very derivative.......2001-02-05

I found Michael Kamen's on the Decca label (289 467 631-2) very enjoyable indeed but I think I spotted echoes of at least a half dozen other compositions from the past. The press release states that this symphonic poem is "original in sound and spirit but classical in its form." Dedicated as it is to the Native American Anasazi people who were more advanced than were many areas of Europe at the time, this piece uses the feelings of the past (the Old Moon) to foresee the future (the New Moon).

Instantly there spring to mind similarities with "Rites of Spring" and even "Billy the Kid," not to mention "Russian Easter Overture," along with a good dash of "Grand Canyon Suite" and several other works that evoke a mythical past. None of this makes the work any less enjoyable and a good case is made for it by the National Symphony Orchestra under Leonard Slatkin. In fact, I highly recommend it.

"Mr Holland's Opus--An American Symphony," which concludes the CD, is a lovely reminder of that popular film; and its four short movements (the longest lasting 4:35 minutes) profit by some classy casting such as having violinist Leila Josefowicz as soloist in the second movement. Very pleasant doings, this time with BBC Symphony Orchestra.

Now if the production people would stop this nonsense of printing the program notes in white over colored patterns so you can go blind trying to read them, we might appreciate the work even more.

Mr. Holland's Opus: Original Motion Picture Score
Average customer rating:

Perfect for the 'Classically Diverse'

"Mr. Holland's Opus" may be Kamen's magnum opus

Slightly Satisfying

Hits the spot!

One Mild, Lovingly Respectful but Dissenting Voice

Mr. Holland's Opus: Original Motion Picture Score
Michael Kamen , and Seattle Symphony Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Mr. Holland's Opus: Original Motion Picture Soundtrack

Mr. Holland's Opus

Robin Hood: Prince Of Thieves - Original Motion Picture Soundtrack

Independence Day: Original Soundtrack Recording

Deep Impact (1998 Film)

ASIN: B000004295
Release Date: 1996-01-23

Tracks:

Michael Kamen: Mr. Holland Begins
Michael Kamen: Iris And Glen
Michael Kamen: Practice, Practice, Practice
Michael Kamen: New Baby, Coltrane, Children Should Listen To Mozart
Michael Kamen: Rush To Hospital (While Parents Listen to Beethoven)
Michael Kamen: Beethoven - 7th Symphony - Allegretto
Michael Kamen: Cole's Tune
Michael Kamen: Vietnam (We Know Too Many Of These Kids)
Michael Kamen: Rowena
Michael Kamen: J. S. Bach - Concerto For 3 Harpsichords In C - 1st Movement
Michael Kamen: Thank You Mr. Holland
Michael Kamen: An American Symphony
Michael Kamen: Cole's Song

Customer Reviews:

Perfect for the 'Classically Diverse'.......2007-07-23

It amazes me how very inexpensive are some of the best movie soundtracks out there.---------This is simply a great stand alone score for those who love orchestral music, but also have expanded musical taste.-----It is another little treasure here to find on Amazon, that I cannot imagine could be any less appreciated and recognized.----------Just buy it!------And wonder how it could possibly be selling for less than two bucks. Just incredible!

"Mr. Holland's Opus" may be Kamen's magnum opus.......2007-05-27

It truly is a shame that Michael Kamen, was not, at least in my view, adequately recognized for his film work before his untimely death from multiple sclorosis in 2003. Were he still living now, I believe he would have been able to take on higher profile projects and become at least as well known as Horner, Goldsmith, and Zimmer among the general populace.
Having said that, however, it is certainly a blessing that Kamen was able to have scored "Mr. Holland's Opus" before his passing. When trying to find words to describe the music in this film, the word that first comes to mind is "restrained." This is not used in a negative sense, however, but rather an appropriate description of Kamen's approach to his score. A period film such as this does not require the bombast and pomp-and-circumstance of "Star Wars". Considering the extensive use of period pop songs in the final print of the film, Kamen's role in the few cues he has is to subtly heighten the emotion already expressed by the actors.
In analyzing the score from a thematic standpoint, a motif and two principal themes can be discerned. First, there is the three-note sequence of pitches that can be found near the beginning of track 1; this motif is repeated throughout the score in various contexts, typically in subtle reference to the changes that occur throughout Mr. Holland's life. The first true theme is also first heard in track 1; this is the main theme of Holland's "American Symphony" and can be heard in all its bombast in track 1 once the full orchestra enters. This theme serves as the "Holland" theme, as well as the "composition" theme, and is used primarily to signify the evolution of Holland's career from reluctant teacher to passionate educator.
The final theme that is used consistently in the score is "Cole's Theme" which, obviously, is used and developed as the relationship between father and son splits and then is reconciled. All of these themes can be found in the penultimate track, "An American Symphony," which, technically, is more of a suite than a symphony, but who's counting? This track is truly a moving one and, as it is the culmination of the film and Holland's life work, represents various stages of his life via the various permutations Kamen's themes undergo in this track.
In regard to the score as a whole, Kamen's music is subdued yet truly touching. Beautiful string and woodwind work can be heard throughout; the Seattle Symphony is to be commended for their performances. "Rowena" is one of the most haunting themes ever to grace the screen, and it is a highlight of the album.
The album does take a couple of left turns when listening from beginning to end when the Beethoven 7th and the Bach concerto are heard. Kamen was a talented man; however, his style and abilities are in no way compatible with these two giants of western music. One wonders if these tracks were added to "pad" the album for length. Julian Lennon's performance of "Cole's Song" is adequate, though the instrumental version heard earlier in the album is, in this reviewer's opinion at least, far superior.
In closing, this is an album that belongs in every film score collector's collection. Considering the time Kamen had to put into this score in order to have music that could be used during shooting, it is obvious that he passed with flying colors. It would be interesting to see how Kamen would be writing if he were still alive today; one wonders how much more mature would his already capable orchestrational talents be?

Slightly Satisfying.......2005-09-01

I expected much more from the Mr. Holland's Opus Score. While it was enjoyable, I would have preferred a mix of the Soundtrack and the Score. The only song that I could truly appreciate was the last one (Mr. Hollands Opus). If you like classical music, get it, if you just happen to enjoy Mr. Hollands Opus, opt for the Original Soundtrack instead.

Hits the spot!.......2003-01-09

I have owned the cassette tape of Mr. Hollands Opus for 3+ years and can't wait to own the C.D. version. I have listened to it on road trips as well in my home and never get tired of it. I also own the movie as well and everytime I listen to the soundtrack, I can identify the music with each scene. I highly recommend it to anyone who has any interest in the movie.

One Mild, Lovingly Respectful but Dissenting Voice.......2002-04-21

Mr. Holland's Opus is a movie close to many of us Classical fans because it successfully bridges the world of "now" with the world of "then".

I love all of the tracks and you could say that the whole is wonderful experience in light of its wonderful melding into the storyline which has endeared many of us since the movie came out.

Having said that, I guess I should be the responsibly sober informer. I am surprised that no one has yet mentioned the following:

Doesn't it seem quite evident to those of us who know the 4th movement of Brahms 1st Symphony and the R. Strauss 'Also Sprach Zarathustra' that Michael Kamen's "American Symphony" actually lifts quite noticeable snippets from these two works?

Not even to mention the Beatles ending chord of "Day in the Life" which comprises the last chord of "Mr. Holland's American Symphony".

I suppose I am not as concerned by the Beatles as I am with the Brahms and Richard Strauss score-lifts.

All I am saying is that Kamen, though he made a very admirable use of historical references (mostly of the Brahms theme), has not come out to explain why he did this in the first place?

Sometimes it is better when the Emperor says he has no clothes before the little boy in the crowd says so.

It clears the air and makes more friends.

Let's give credit where credit is due.

Customer Reviews:

Stupendous performance, but we're still awaiting the ideal transfer.......2006-07-13

This is a nice disc, though not as perfect as I was hoping after reading the previous review. It has rather noticeable surface noise throughout, and some passages are the worse for wear. After hearing it I got out the American Columbia 78 rpm set my parents bought new in 1939, and played many times with steel needles...and most of it actually still sounds crisper and cleaner than the Opus Kura, with much less surface noise. (An exception would be side 14, with the "Alla Marcia" section, which I played over and over when I was a kid). American Columbia (and Victor) in the 1930s made some of the finest 78 rpm pressings of all time, and I don't think the Japanese discs can compare. (Postwar American Columbias are noisier; perhaps that's what some of the other reissues used).

Hopefully someone out there still has a near-mint pre-WWII copy of American Columbia Set No. 227. Meanwhile, please don't let my grousing stop you from enjoying this transcendent performance.

Unbelievably even finer than the Naxos issue!.......2003-09-26

One of the interesting, if sometimes frustrating, aspects of collecting CD's of historic reissues, is that there always seems to be a new label cropping up, which purports to deliver a finer transfer than its CD predesessors of the same material. Happily, here is such an example.
Felix Weingartner's 1935 recording of Beethoven's Ninth Symphony, with the Vienna Philharmonic Orchestra, the Vienna State Opera Chorus, and solists Louise Helletsgruber, Rosette Anday, Georg Maikl, and Richard Mayr, is right now my favorite performance of the work. I think I have owned more transfers f this particular recording, both on LP and CD, than of any other. Most have been very poor, generally with strident highs and lack of bass. Recently, Naxos brought out an excellent issue of this recording, well-edited and balanced in sound, and inexpensive, to boot! However, curiosity got the better of me after having read a few reviews claiming the superiority of the Opus Kura transfer, so I parted with twice the price of a Naxos disc to get the present recording; I'm in no way sorry that I did.
The most noticable difference between the Opus Kura and any other transfer of this Ninth is the weight of the bass. My rather dim memories of the sound of an American Columbia set from the 1940's did not prepare me for the sheer impact of the bass instruments in this recording. I can only conclude that Opus Kura's Japanese 78 rpm sources were much fuller in sound than those from America, which had been used in the Naxos issue. Being that it was Nippon Columbia who supervised Weingartner's Vienna recordings, this might explain the sonic superiority of this transfer. For the first time, the thunderous First Movement's Recapitulation really sounds like all Hell breaking loose. In addition, the Opus Kura sounds like it is more accurately pitched than other issues; 78 rpm sides were notorious for their pitch deviations.
The question is, does this justify spending twice the amount one would have to shell out for the Naxos? In my opinion, yes. The Naxos edition is by no means unsatisfactory and is actually a very fine-sounding transfer from American Columbia 78's; it's just that the Opus Kura derives from sources that are more lifelike and impactful. One reviewer stated that one would not choose the Weingartner Beethoven Ninth as a first or only recording, given its less than modern sound. With the Opus Kura issue, I would strongly challenge that assertion.
With regards to the performance itself, this is certainly one of the three or four really ESSENTIAL Ninths to own. The First Movement beings with ghostly, fleeting shadows gradually erupting into the grandiose main theme, the Recapitulation sounds like Hell itself, and the Coda brings forth what sounds like the endof the Universe. The Scherzo has a perfect blend of weight and mercurial fleetness, the Adagio is urgent without sounding in the least rushed, and the Finale has a fervor that few can match, especially with the radiant singing of Louise Helletsgruber, Rosette Anday, Georg Maikl, and above all, the thrilling Richard Mayr. The Weingartner "Choral" Symphony is a must for every Beethoven lover.
As an aside, I would recommend every lover of this great conductor to purchase the Dover reprint of his essays "On Conducting," "On the Performance of Beethoven's Symphonies," and "Symphonic Writers After Beethoven," for a real treat of lusic and frnakly exciting musical analyses.

Elgar: Symphony No 1 In A Opus 55: Sir John Barbirolli Conducting The Halle Orchestra

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Elgar: Symphony No 1 In A Opus 55: Sir John Barbirolli Conducting The Halle Orchestra

Manufacturer: PTR
ProductGroup: Music
Binding: Audio CD
ASIN: B000F79GT4

Product Description

The tracks are: 1. Andente Nobilemente E Semplice - Allegro, 2. Allegro, 3, Lento, 4. Allegro Molto.

Brahms:Symphony No.1;Mozart Piano Concerto No.20

Average customer rating:

Superb transfers, faithful to the 78s

Brahms:Symphony No.1;Mozart Piano Concerto No.20
Mozart , Brahms , Walter , and Vpo
Manufacturer: Opus Kura
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Name Symphonies: Unfinished, Prague, Mircale
Brahms: Symphony No. 3; Haydn: Symphony No. 86
Wagner: Die Walküre, Act 1 (Complete); Act 2 (Highlights)
Beethoven: Symphony No. 1 & No. 3 "Eroica"
Bruckner: Symphony No. 5

ASIN: B00006FI9T
Release Date: 2002-09-24

Customer Reviews:

Superb transfers, faithful to the 78s.......2004-01-25

Opus Kura is a recently introduced independent Japanese CD label devoted to faithful transfers of 78-rpm-era historical recordings. I had just finished the new biography of Bruno Walter (by Ryding and Pechefsky), and my mouth watered to hear these two performances with the pre-Anschluss Vienna Philharmonic, the Mozart in particular, which was a specialty of Walter's to direct from the keyboard. These transfers are ideal, like I would do them myself (if I had the capability to do good side-joins, which is the case here). There is enough shellac "hiss" to know that the original sound is not being overfiltered, yet it is not obtrusive to those used to playing 78s, and will likely be easily disregarded by those who are not. The richness of sound obtained from the original discs cannot be disregarded. Exemplary. And the performances are incomparable.

Average customer rating:

What a Revelation
Generally Dramatic Music Played with Real Brio

La Casa del Diavolo

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Vivaldi: The Four Seasons
Vivaldi: Concerto for recorder & strings in F; Chamber concerto for lute & violins in D
Vivaldi - Concerti per Liuto e Mandolino / Il Giardino Armonico
Bach - Brandenburg Concertos / Il Giardino armonico
Il Giardino Armonico ~ Musica Barocca

ASIN: B0007LCNMK
Release Date: 2005-04-19

Tracks:

I. Allegro Non Troppo
I. Allegretto
II. Largo
III. Presto
I. Andante, Allegro
II. Adagio
III. Andante, Allegro
IV. Largo
V. Largo Andante
VI. Grave
VII. Allegro
VIII. Largo
I. Allegro Di Molto
II. Andante
III. Prestissimo
I. Andante Sostenuto
II. Allegro Assai
III. Andantino Con Moto
IV. Andante Sostenuto
V. Allegro Assai Con Moto

Customer Reviews:

What a Revelation.......2005-11-26

Hogwood and the Academy of Ancient Music had a recording of Boccherini's Diavolo symphonies that I loved, and abused or lost, only to find, to my horror, that it was out of print. In doing searches again to try and find it, I came across this disk and ordered it, even though it only contains a fraction of the pieces from the other one. First off, the sound is nothing short of amazing. Absolutely no noise, amazing dynamic range. Part of what puts people off to earlier music is the lack of dynamics (changes in volume). After a few listenings, I was suspicious that some of these pieces were being romanticized, there is so much dynamism. But as is the case so often with pieces like Mahler 10, the problem is solved in the listening.

The selections on this disc, even the ordering of the pieces, is great throughout. The first piece, by Gluck, sets a kind of brisk and chilly tone, almost haunting that lingers. The pieces by the Bach sons (CPE and WF) are real ear-openers. Historically we would call these pieces Baroque but there is quite a difference between the Handel and Bach Baroque and these pieces, most of which are from the very end, shortly before the Rococco period which marked the end of the Baroque (which was followed by the Classical period). The lumping of everyone from Domenico Scarlatti and J. S. Bach to CPE and Boccherini into one bucket and calling it baroque was a recent classification (20th C) and debate persisted about it. There are so many different styles (as marked, for instance, by J. S. Bach's various suites: Italian, French and English, and of course, the many German styles (Germany was a bunch of states that had just come through one of the most tumultuous periods of Western history: the 30 years war, where the other powers of Europe basically decided to fight each other in the German states for 30 years, often using mercenaries). Listening to this disc will certainly explode the notions of containment that such a large classification implies (though some people are so turned off by harspichord that its presence is enough to warrant a single tag for a 150 year period that encompasses at least 4 countries). (The Classical Period, by contrast, was only 50 years and much more homogeneous, considering the only composers who remain in the standard repertoire are Haydn and Mozart (though a lot people argue that at least half of Beethoven's career belongs there).)

I wish this same group would put out a disc of the Boccherini diavolo symphonies. Buy this, you will not be disappointed!

Generally Dramatic Music Played with Real Brio.......2005-05-03

I'm not a great fan of original instrument groups, often finding that they are either wan or rough-sounding. I do agree that some performance practice changes that have come into play since the advent of this movement have been to the good, but generally I still prefer orchestral music using modern instruments.

This CD, though, is something special, largely because the group recorded here, Il Giardino Armonico, led by Giovanni Antonini, is so very good. The works contained herein (Amazon hasn't gotten around as of the date of this review of listing the specific pieces) are as follows:

Gluck: 'Dance of the Spectres and Furies' from the ballet 'Don Juan' (1771)
Bach, CPE: Sinfonia Wq 182 No. 5 in B minor for strings and continuo
Locatelli: Concerto Grosso Op. 7, No. 6 'Il pianto d'Arianna' for violin, strings and continuo
Bach, Wilhelm Friedemann: Concerto in F Minor for harpsichord, strings and continuo
Boccherini: Sinfonia Op. 12, No. 4, 'La Casa del Diavolo,' for 2 oboes, 2 horns, strings and continuo (1776)

The Gluck is played with such ferocity that it almost makes one's skin crawl (in a good way, of course!); this is tone-painting long before Romanticism made it the norm, and it is extremely effective. What is interesting -- it helped dictate the contents of this program -- is that the last work here, the Boccherini Sinfonia (subtitled 'La Casa del Diavolo,' ends with a Chaconne based on the Gluck piece. Actually, it is a paraphrase of Gluck's piece with some degree of 'updating' from a distance of only five years. The earlier movements in Boccherini's Sinfonia also contain references to the Gluck. Where Gluck's ballet concludes with a kind of purification, achieved by a serene ending in D major, the Boccherini continues the devilish D minor tsimmis right to the very end. And an exciting performance this is, too.

Locatelli's eight-movement Concerto Grosso, a violin concerto that features soloist Enrico Onofri, portrays the lament of Ariadne, a subject so beloved on Baroque composers. It is not programmatic, but the general tenor is one of longing, frustration, rage and resignation in turn. Onofri is a neat soloist and he is given neat support by the orchestra. The pieces by the two Bach sons are halfway between baroque and galant styles, both pretty dramatic in tone. The Friedmann Bach concerto features harpsichordist Ottavio Dantone.

This is a well-planned program that tends toward the dramatic in tone, certainly in keeping with the overall title of the disc, taken from the Cherubini piece, 'La Casa del Diavolo.' It is in crystal-clear and lifelike sound. The program notes are informative and nicely written by conductor Antonini.

Scott Morrison

Brahms: Symphony No. 3; Haydn: Symphony No. 86

Average customer rating:

Brahms: Symphony No. 3; Haydn: Symphony No. 86

Manufacturer: Opus Kura
ProductGroup: Music
Binding: Audio CD

General | Symphonies | 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
ASIN: B000C6NOB4
Release Date: 2005-12-27

Average customer rating:

New Music for Orchestra

Manufacturer: Opus One
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Beethoven: Symphonies Nos. 3 "Eroica" & 8

Average customer rating:

A conductor that should be remembered with major intensity!
Yowza -- Magnificent Eroica and 8th in best-yet sound
Even better than the Naxos Edition!

Beethoven: Symphonies Nos. 3 "Eroica" & 8

Manufacturer: Opus Kura
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: Symphonies Nos. 1 & 7; Egmont
Beethoven: Symphony No. 9 ("Choral"); Prometheus Overture
Beethoven: Symphony No. 5; Symphony No. 6; Eleven Viennese Dances
Wilhelm Furtwängler conducts Beethoven
Jean Renoir Collection (3-Disc Collector's Edition)

ASIN: B000099T1N
Release Date: 2003-05-27

Customer Reviews:

A conductor that should be remembered with major intensity!.......2006-02-15

The seminal roots of the whole significance of this emblematic symphony can be felt along this performance. The Eroica is far beyond a simple symphony. It is by far, the most mythical of any other work you think about. In this work the cycle of the mankind is expressed with absolute eloquence and clarity. The genius of Beethoven reached an extraordinary creative flight of towering proportions and epic dimensions. And this performance communicates it outstandingly.

Unfortunately, Weingartner `s style seems to have been relegated to forgetfulness, perhaps by fad `s questions or worse still, because the spirit to communicate a sense of real contact between composer and audience has vanished, but if you consider it carefully, you will notice how conductors of the status of Thielemans, Barenboim, Asajina, Vegh, Giulini, Pekka Salonen, Termirkanov have dealt with this approach, even those examples do not represent exactly the vast majority. The conclusion seems obvious: popularity and charisma are elements that may work out in other disciplines but not precisely in this field.

He was a forceful writer on musical subjects, but all of us know how difficult may result this activity when a conductor has to conduct one hundred concerts for season. Neophyte and connoisseurs must get close the interpretative art of this old fashioned director that had much to say and so did it.

This album, specially reveals these facts we are making reference. Pitifully, the homogeneity in the interpretation has hidden the expression, the personal approach, stylizing and reducing the scope of the thematic material; this awful vision has trivialized and even confiscated the cathartic experience a concert should produce. That 's what happens when the concepts of art and spectacle are blended, because a considerable sector of the great musical audiences simply are completely unconcerned about the music is an universe by itself and has something to say, but only is assigned to certain composers.

Beethoven is one of them and if we do not beware ourselves about it, Beethoven will mean les than nothing, but certainly Beethoven is not the guilty.

Go for these golden recordings of an old fashioned but admirable director.

Yowza -- Magnificent Eroica and 8th in best-yet sound.......2005-03-21

There are times when a bargain is a bargain, and times when it's worth spending the bucks. Although these recordings are available on Naxos for less than half the price here, it's worth the splurge to get these Japanese transfers, even though you can't read the liner notes (unless you know Japanese). These are excellent restorations, while the Naxos, while less crackly, sound thin and anemic, with seemingly less dynamic range. As for the performances, these are very fine, well-considered, passionate readings. They betray the belief that old school interpretations were always more eccentric and extreme than today. These readings would not be out of place in any mainstream orchestra today. The difference is the fervor here. Modern musicians just don't feel this music the way these guys (and this is the Vienna Philharmonic, so you can be sure they're all guys) do. The last conductor to electrify musicians this much was Leonard Bernstein, who died more than ten years ago.

The Third is big, energetic and *dynamic*, with brisk tempi that pull you in and the *biggest* and most dramatic reading of the slow movement I've ever heard. Yet the fast tempi yield a flexible and expressive Eroica that pulls me in every time I listen to it. Listen to the boyant, joyous scherzo--with some of the most thrilling hornwork I've ever heard in the trio section. We feel the musicians are on a voyage of self-discovery, almost like they are making up the music as they go along, something you never hear with orchestras today, worried about period political correctness and a host of other technicalities. This is one of the greatest pre-WWII Eroicas, surpassed only by Furtwangler, and maybe not even that--I keep changing my mind on this one; maybe it's a case of apples and oranges. But it's the Eighth that has one of the most exciting development sections I've ever heard, in the first movement. It may surprise some listeners today what a "loose" band the VPO was back then, before the note-perfect executions heralded by the modern recording process, but it just adds to the feeling of spontaneity. The orchestra is well-balanced and has that light-but-powerful sound that is a hallmark even today.

As I said, these (and many of Weingartner's other) recordings are available for less money on the Naxos label, but this is the superior release. Grab it before it goes out or print and becomes an even more valuable collector's item.

Even better than the Naxos Edition!.......2003-09-28

Opus Kura has used extraordinarily full-sounding 78 originals for these transfers, with the result that both the bass and treble are much more extended than in previous issues, together with the dynamic range. The "Eroica" now literally explodes from the speakers. While the Naxos transfers are quite fine, they don't compare to this type of immmediate, powerful sound. The Eighth Symphony receives an extraordinarily spirited and loving interpretation, with a surprising freedom of tempo in the Second and Fourth Movements. The "Eroica" Symphony is one the the two most powerfully dramatic and committed readings in my experience (the other is the wartime Furtwaengler), although Weingartner's Scherzo really beats all the competition.
If your budget allows it, get this and the other Weingartner Vienna Philharmonic Beethoven recordings transferred by Opus Kura.

Beethoven: Symphonies Nos. 1 & 7; Egmont

Average customer rating:

Superb Seventh and BEST First I've ever heard
Superb Performances and Sound!

Beethoven: Symphonies Nos. 1 & 7; Egmont

Manufacturer: Opus Kura
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: Symphonies Nos. 3 "Eroica" & 8
Beethoven: Symphony No. 9 ("Choral"); Prometheus Overture
Beethoven: Symphony No. 5; Symphony No. 6; Eleven Viennese Dances
Beethoven: Symphonies Nos. 3 "Eroica" & 4
Jean Renoir Collection (3-Disc Collector's Edition)

ASIN: B00008Z45E
Release Date: 2003-04-29

Customer Reviews:

Superb Seventh and BEST First I've ever heard.......2005-03-23

The Beethoven symphonies set as performed by Felix Weingartner and the Vienna Philharmonic is simply superb, and this is another great release. These Japanese remasterings are far superior to the cheaper Naxos counterparts, and the interested listener should make every effort to find them. Furthermore, the Naxos set (so far at least) does not include a performance of the First symphony. And that is a pity, because this is the finest First I've ever heard. I once read a review of Beethoven symphonies with the pronouncement that no CD is worth getting for the performance of the First alone, that one should get the disc for whatever other music is on it. I used to agree with that, until I heard this performance. Now I'd say get this disc even if the accompanying work were a dud. But fortunately, it's not; it's a thrilling performance of the Seventh symphony.

But first the First. Although Beethoven's debt to Haydn early in his career is no secret, most conductors make Beethoven's First symphony sound more Mozartish. This is the first "Haydnesque" approach I've ever heard to this work, natural and logical as it sounds. After a warm, sweet introduction that has Papa Haydn written all over it, Weingartner gives us quick tempi, a crisp execution, snap, crackle, and that Haydn charm and wit. Then comes the unsurpassable second movement, with more warmth, gentle humor and line than I've ever heard before, convincing me, once and for all, that in the right hands, this is a really GREAT Beethoven movement, not just young, undeveloped future-genius. After hearing it this way, I wondered how so many other conductors could be so *wrong.* While not incorporating what we today would call appropriate stylistic or period performance practices, the VPO under FW's baton nonetheless manage to sound more "classical" than modern HIP groups--i.e., today's groups get the scholarship but not the point of the music; he lacks the scholarship but illustrates the point. It's a must-hear recording, no matter how many other Firsts you have, or even if you think this work isn't all that interesting except as the beginning to more interesting things (which, I admit, I thought before today).

But there's more, as they say. The Seventh symphony is another fine performance. It won't displace Furtwangler in the historical category, but it holds its own against Toscanini's 1936 performance and blows the 1950s one out of the water. The flute playing in the Intro to the first movement is truly gorgeous, the pacing is just right, and interestingly the famous Allegretto has a very strong march-quality even though the tempo is on the slowish side. (Contrast Furtwangler November 1942 performance, where the concept of Allegretto seems farthest from the conductor's mind!) Weingartner achieves this with a crisp, dot-dot-dot quality to the main theme, or at least more crisp than most conductors of the period. I would have liked more energy and in the trio section of the scherzo, I must admit, but on the other hand Weingartner really finds the melodic line and turns in a joyous, pastorale-like reading. The finale is a wonderful volcano of activity, one that threatens to get away from the orchestra. (These symphonies, so easily--glibly?--dashed off today, really tested the virtuosity of musicians in the early part of the 20th century.) But also listen to the wonderful way the violins shade down in the quiet, repeated descending figures just before the volcanic explosions. There's real sensitivity there where to many conductors today this is just passagework. Weingartner always has a long-range view of what he's conducting; I feel he knows the peaks and valleys intimately and always knows where he is in them and how to navigate them. Every section has its character and its reason for being the way it is. Nothing is merely filler till we get to a "bigger" moment.

The disc also features Beeethoven's brooding "Egmont" Overture, here given a very dramatic reading with deep bass notes and a grave quality that make it simply riveting. The Naxos set goes one better by including two other rarely-heard movements from Egmont. I wish these other movements had also been included on this CD. Still, on the balance this is the one to get--for a very fine Seventh, a thrilling Egmont (surpassed only by Koussevitzky) and a properly Haydn-style First that communicates to me for the first time that here was a conductor who knew what to make of this symphony instead of just looking to it as something to get past on their way to Bigger, Bolder Beethoven. All the Weingartner symphonies that have been rereleased so far have been a treasure and indespensible. These musicians are living the music; today's groups have far more technical prowess and familiarity with Beethoven, but that may be their downfall--the feeling of self-discovery is missing. Get these Weingartner recordings, all of them, before they disappear from the catalog!

Superb Performances and Sound!.......2003-09-28

These performances are so well known that I need not waste any time reviewing them. The big news is the sound on this Opus Kura transfer, full and wide-range in a way that no other previous issue, CD or LP, has accomplished. Part of the sonic superiority is undoubtedly the use of European and/or Japanese 78 originals. I also suspect that a different take of the Seventh's First Movement Introduction was used, a somewhat broader rendtion than the one commercially used in all previous issues. Not only is the sound richer and more extended on both sides of the sonic spectrum, but so is the overall dynamic range. The Finale of the Seventh Symphony displays a fierce dynamism not previously heard in previous issues, including the excellent Naxos transfer of recent vintage. Truthfully, I find myself preferring the natural and simple sonics of an old recording like this to the overly brilliant and sometimes unmusical sounds of many recent recordings. There continues to be a lot of life in those old 78 rpm recordings, and Opus Kura has done full justice to these ones. In fact, Opus Kura now seems like it is the definitive historic classical label.
I will say one thing about Weingartner's Seventh: It is incomparably finer than Toscanini's with the NYPO from the same year. Weingartner allows the music time to breathe, varies the tempo appropriately, and does not fall into the Italian's habit of taking the Vivace so fast that it loses its triple rhythm and sounds as though it were in duple meter.

Track Listings:

Track Listings

track listings

Track Listings

Upland Breakdown

Classical Highlights: Bach

Brand New Boogie

Music: Actions [Live]

Double Happiness [Import]

Fallin 4 U

Changing Channels

Bruno Walter Conducts two Romantic Masterpieces

David Allan Coe Presents Don Gibson

Bersuit Vergarabat Y Punto [Import]

Dream on #2 [CD-single] [Import]

Cheerio & Toodle Pip-Complete Singles [Import]

Cyber Trance Presents Xmas Trance Best [Import]

Honegger: Pacific 231 / Rugby

Magik, Vol. 5: Heaven Beyond