Complete Orchestral Works 22

1. Persischer (Persian March), march for orchestra, Op. 289 (RV 289)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

2. Maxing-Tänze, waltz for orchestra, Op. 79 (RV 79)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

3. L'inconnue (Unknown One), polka française for orchestra, Op. 182 (RV 182)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

4. Kontroversen (Controversies), waltz for orchestra, Op. 191 (RV 191)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

5. Carnevals-Spektakel-Quadrille (Carnival Sights Quadrille), for orchestra, Op. 152
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

6. Nachtigall-Polka (Nightingale Polka), for orchestra, Op. 222 (RV 222)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

7. Immer Heiterer, waltz in ländler style for orchestra, Op. 235
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

8. Der lustige Krieg (The Merry War), quardrille for orchestra, Op. 402
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

9. Aus der Heimath (From Home), polka-mazurka for orchestra, Op. 347 (RV 347)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

10. Ninetta-Walzer, for orchestra, Op. 445
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

11. Klipp-Klapp (Click-Clack), galop for orchestra, Op. 466 (RV 466)
Composed by Johann II Strauss
Performed by Czecho-Slovak State Philharmonic Orchestra (Kosice) Conducted by Johannes Wildner

Amazon.com

Sàndor, still active at 90 as this reissue appears, was a student of Bartók and a preferred interpreter of his music. Since this set appeared on nine LPs in the early 1960s, it has been the standard for Bartók's piano music; in this fine-sounding reissue, it still is. Sàndor can hit hard enough for such virtuoso pieces as the Piano Sonata and "Out of Doors," but he also retains the romantic element heard in the composer's own playing which tempers the harsher qualities of the music. While this collection isn't quite as complete as advertised (some early, insignificant piano music by Bartók is omitted), it includes all of Bartók's significant piano music, including such relatively obscure gems as the Bagatelles, eight Improvisations, and many delectable folk arrangements which will appeal even to listeners who think Bartók is too challenging for them. Vox's recorded sound, superbly remastered, resists obsolescence as effectively as Sàndor's performances. Even with the inclusion of the early books of "Mikrokosmos," which will appeal mostly to piano students, this set is worth several times the asking price. --Leslie Gerber

Customer Reviews:

Microcosmos.......2007-03-08

Sándor was a champion not only of Bartók's music but also of Bartók's style of playing. He often complained that people were too quick to see Bartók as ultra-modern, and to fail to appreciate the rich seam of lyricism that also runs through his music.

The piano music is dominated by short pieces, many of them written for piano students, notably the collections "Microcosmos" and "For Children". These, together with suites of folk dance arrangements, make up the bulk of the solo piano output.

Sandór plays these short, and often simple pieces, with neither too much nor too little art. As a gifted teacher, he knew unerringly how much music each of these small vessels held. The result is beguiling - but be warned: no-one can listen to the 153 short pieces of Microcosmos end-to-end. This is an anthology to be dipped into, not swallowed whole.

The remastering is pretty successful (fortunately - some of Vox's CD reissues are plagued by severe deterioration of the original tapes). And it's for half nothing-what's not to like?

Great value with a few flaws.......2006-07-28

I am not a Bartok expert by any scale, but I do like the way these pieces, without exception, are played. There are, however, a couple of other problems.

As mentioned by an earlier reviewer, very few of the works are split into tracks - Mikrokosmos is divided into 7 for each of its six volumes, and to accomodate for a full CD. In these seven tracks there are 121 songs. I would have much preferred if the songs had been split into tracks. Almost the entire CD set is this way - Fifteen Hungarian Songs is one track, Fourteen Bagatelles, etc. It is very annoying when one wants to hear a particular song in those tracks and not the others.

Another detriment to the collection is the recording quality. It is decent most of the time, but in loud sections the piano buzzes. One might be able to ignore it, but I think that it detracts from the passion of the forte quite a bit.

Overall, for $18 it is pretty decent, but if you are like me and like to keep your music library neatly organized (and aren't extremely cheap), I would not recommend this set.

eeh, I guess I don't like Bartok that much.......2006-07-25

I like the fact that Bartok is into the folk tradition and all, but he just tends to forget the fact that melody has to be SOMEWHERE in the music. I'm all for creative expression when you're sitting alone at the piano, but abstract music should be reserved for performance art. I like playing some of your stuff Bela, but I just don't want to listen to you.

Best classical value out there.......2005-10-05

To put this set in perspective, for months I would go to my local Tower Records fishing for worthwhile classical CDs at least once a week. One of the discs that sat in the bins the longest was a single CD of Bartok piano music, played by Zoltan Kocsis. It was Volume 7 of a complete series. This CD listed for $17.99, and as long as I went to that Tower Records, it did not budge an inch, nor was its price amended.

Now, Kocsis is one of the greatest pianists alive, and if anyone is worthy of commanding a premium, it is him. And to be fair, that CD is going to be re-released on October 11 as part of a Collector's Edition - eight CDs, $63.97 MSRP. But it's already going up against this little gem, which contains five CDs with all of the truly great solo-piano works by an internationally recognized Bartok specialist for $21 - not much more than the cost of one CD from the other set. This kind of value is not to be taken lightly.

I came to this set with my impression of Sandor informed by his complete Prokofiev - ultra-hard, sometimes rhythmically slack, always melodically lacking in some way or another. But he held a very special feeling for Bartok, and saved his best playing for the great Hungarian. In passages like the first of the Three Csik Dances, the opening of the Improvisations Op. 20, or in the Ten Easy Pieces, there is a simplicity, charm and wistful homesickness that is quite touching. In pieces like the Out of Doors suite, the Sonata, or the Burlesques, there is a vicious, impulsive energy, a wicked sense of humor and an overabundance of overtones. It is never mindless, inappropriate or even overly harsh - it's just very, very loud.

In this set I like best the endless landscape of the Sonatina, the unusual colors and fragrances in the Etudes, the brilliantly conceived Bear Dance (the last of the Ten Easy Pieces), and the multifaceted, complex, gorgeous Improvisations. Any fan of Bartok should hear these.

5 Stars for the music and performance.......2005-04-04

This is a fantastic deal, but the problem with this Collection stems from the fact that the pieces are often not separated by tracks. This is especially annoying for the Children's Pieces and Mikrokosmos. There are so many pieces, one wears out the fast forward button and still may miss the particular piece one is looking for. The booklet is fairly insightful, and the performer is widely hailed as the supreme interpreter of Bartok's piano music. So aside from this slightly annoying at times and ridiculously annoying at other times flaw, this is one of the best deals in Classical music. Don't hesitate. Add it to the cart.

Saint-Saëns: The Complete Works for Piano & Orchestra

Average customer rating:

Russian Nights
Renaissance Man
Critically acclaimed - and a favorite of mine, too
A Fine Set, But Not as Fine as It Might Be
An Outstanding Set

Saint-Saëns: The Complete Works for Piano & Orchestra

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

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

Instrumental | Classical Music Blowout | Stores | Music
Similar Items:

Saint-Saëns: Les 5 Symphonies
Rachmaninov: Piano Concertos / Paganini Rhapsody
Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1
Mendelssohn: Piano Concerti Nos. 1 & 2; Capriccio Brillant; Rondo Brillant
Scharwenka: Piano Concerto No. 4 in F minor; Sauer: Piano Concerto No. 1 in E minor

ASIN: B00005NUPA
Release Date: 2001-10-09

Amazon.com

Pianist Stephen Hough is a certified genius, recipient of a 2001 MacArthur Foundation "genius grant." Although he apparently received the award for his explorations of uncommon piano repertoire, he also deserved it for the quality of his piano tone, which is extremely beautiful, as conveyed here by Hyperion's lush recording of the Saint-Saens piano concertos. Unlike most previous volumes of Hyperion's Romantic Piano Concerto series, this one includes some familiar works, especially the Second Piano Concerto. If you listen to that first, you'll realize just how good Hough's performances are throughout this set, since he matches any of the great pianists who have recorded the work. Notice the way he zips through the incredibly fast finale without the slightest hint of effort or rush. Although the Second, Fourth, and Fifth Concertos are the only ones still heard in our concert halls, all these pieces have their attractions--especially the delightful waltz "Wedding Cake," which would make a great concert encore. Sakari Oramo, the new music director of the City of Birmingham Symphony Orchestra, provides alert accompaniment, rich in detail, and the orchestra plays beautifully. This isn't an inexpensive set, but quality like this is cheap at any price. --Leslie Gerber

Customer Reviews:

Russian Nights.......2007-05-08

Great music! And it came with a freebie trial CD of some other Classical CDs- like getting a free CD.

Renaissance Man.......2006-04-05

Saint-Saens was a Renaissance man: botany, astronomy, archeology, mathematics, natural history, and philosophy were subjects he participated in throughout his life. He wrote articles, read papers at scientific societies, contributed notes to learned journals on the eclipse of the sun, and published a volume of poetry. Saint-Saens was also a musical child prodigy; began piano lessons at age 2 ½, at 3 wrote his first composition, and memorized a recital of Mozart and Beethoven concertos, as well as music by Handel, Hummel, and Bach. This CD of piano/orchestral works is a showcase of Saint-Saens' brilliant musical mind, one which was considered old-fashioned by modern composers of the time, and fused Classicism and Romanticism together, a style today's society is happy to have, since Saint-Saens could have easily been successful in another career.

The four character pieces for piano and orchestra are all rather interesting. Wedding Cake (6')is a waltz-caprice for piano and strings alone; a dainty showpiece in a whimsical setting, sparring gentility vs. extroverted. The Allegro Appassionato (5') is also a showpiece with lightning-quick orchestral and piano work, with a lush, contrasted middle. Rhapsodie d'Auvergne (8') uses a folk-based melody Saint-Saens heard a French washer-woman singing. Fresh, captivating melody and orchestration, the music is emotionally moving, along with come snappier folk-like ideas in contrast. The last, Africa (9'), is taken from Saint-Saens' many travels abroad: Algeria, Canary Islands, Africa, Russia, South America, USA, Scandinavia, and Indonesia; Saint-Saens in fact studied the folk music of North Africa. The work, Africa, is a sort of fantasy on many tunes from North Africa, another neat orchestral/piano showpiece.

The five piano concertos show a growth in composition from Saint-Saens over a period of time. The first (26')is inspired by the Fontainebleau forest; there is fresh vitality, youthful optimism, as well as occasional Spanish harmonic inflections, a trend Saint-Saens will continue more in his lifetime. The second concerto (21'), with its gruff, minor opening, is a Romantic counterpart to his first; long sweeping lines, a fanciful scherzo, and dramatic sweep throughout show a maturing Saint-Saens. Concerto No. 3 (25')shows Saint-Saens' penchant for melody; while the opening is a bit wandering and ponderous, there is a catchy, heroic theme; an emotional second mvt., and an infectious finale theme, a heavy barcarolle/dance type feel, for an emotional and fun concerto. The fourth concerto (24'), only in two movements, begins with a sneaky theme in a sort of theme and variation form, along with a chorale reminiscent of his "Organ" Symphony, but ending with a lively scherzo, a simple melody, and a dashing finale, showing simplicity and classicism in his mature style. The last concerto (27'), often called "Egyptian", is unabashedly Romantic, including some bold and striking Spanish rhythms, some unusual modes and syncopations, some orientalism (weird voicings and multi-cultural devices that are unusually forward-looking for Saint-Saens), and an optimistic finale. The evolution of time shows Saint-Saens embracing the past, with a special hold on Romanticism, but surprises me with no lack of inventiveness in later life, not to mention a never-quelling mind for tunefulness, evident in all of these works.

These are very good performances by Stephen Hough on piano and the City of Birmingham Symphony Orchestra under Sakari Oramo. The orchestra is rich and full, all voices speak clearly and play with lightness, humor, and grandeur when asked for; all in all a terrific ensemble presentation. The pianist is remarkably at home; nothing is heavy (which is rarely called for in Saint-Saens), bringing out the classicism in his music. Instead, texture and color are Saint-Saens' best Romantic attributes, and Hough brings those out, not to mention extremely clean playing. The piano is miked close, and the sound is forward and "dry", but Hough backs off when his role requires it, and the piano and orchestra work remarkably well together, playing off one another at times. The Hyperion sound is excellent and makes the disk a success, a resonant atmosphere and crisp playing are captured on this disk well. The CD's are full as well: CD1 at 79+ minutes and CD2 at 76 minutes, is a lot of music, and the extra four character pieces on top of the concertos makes this a must-have. Excellent performances with amazing sound; recommended. TT: 155.28

Critically acclaimed - and a favorite of mine, too.......2003-09-24

This wonderful recording of the Saint-Saens concertos does a fine job of rendering the Romantic style without getting smug about it. Hough gives them an appropriately warm and colourful feel, without lapsing into the overly lush and indistinct sound I associate with other performances. The four non-concerto pieces make this a very nice set, and the flamboyant 'Africa' in particular will keep you coming back for more.

I have always been a fan of Stephen Hough, from the first time I saw his hands dissolve into an utter blur - not for one measure or passage, but for most of a fiery encore (we got three out of him that night!). These discs prove his facility with somewhat mellower fare, and have brought Saint-Saens back to my attention after years of (unintentional) neglect. If you want mighty and massive, Saint-Saens' German or Russian contemporaries will be more satisfying; but lyrical works like these should not be overlooked if you want to be acquainted with the best of the piano concerto form.

A Fine Set, But Not as Fine as It Might Be.......2003-07-29

The most remarkable feature of this recording may also be one of its chief drawbacks-namely that all of Saint-Saens' concerted music of piano is crammed onto two chock-a-block discs. I doubt, given the technical limitations of the compact disc, that Hyperion could have added a brief etude or caprice to either of these CDs. Great value, then, except that it seems this compactness came at a price. Almost all of these works seem rushed in spots, as if Hough and company knew they were working against space constraints. I can't say for a fact that this is true, but while there is no end of brio and élan in these performances, there is often a lack of the Gallic elegance that Saint-Saens also provides in works that, not surprisingly, the suave, fastidious craftsman Maurice Ravel cited as models for his concertos.

If all you know is the popular Second Concerto, which some wag once claimed as traversing music history "from Bach to Offenbach," then you only know the shallowest of Saint-Saens' concertos. If you are not familiar with the Fourth Concerto, Saint-Saens' finest orchestral work, you should be. Built on the same architectural principles as the composer's popular Organ Symphony, this is more successful still and certainly more tasteful, though, as in the Organ Symphony, the finale is the weakest bit and keeps the concerto in the realm of the near-great rather than the great. Hough and Oramo lavish their best work on this concerto, and the performance is a winner, from the mysterious opening to the resounding appearance of the motto theme in chorale treatment by the brass. (After that, it's all downhill for the concerto anyway, as Saint-Saens ends with some especially empty display work for the pianist.)

Elsewhere, I find a lack of willingness on the part of the soloist and conductor to let the music expand naturally. This is especially true in the slow movement of the Egyptian Concerto (No. 5), which here lacks the requisite exoticism and even mysticism, I think. Ditto Saint-Saens' other North Africa-inspired piece titled simply "Africa." There may be something of the slapdash about this work anyway, though I enjoy it, but the performers give this less-than-vintage Saint-Saens no time to breathe, which it sorely needs if it is to survive at all. There's a tendency to rush the charming First Concerto, too, and there, despite all the brilliance, goes some of the charm. On the other hand, the underrated Third Concerto sounds imposing and even important in Hough's performance, and if he can't do much for the commonplace music of the finale, no one else can either.

One other problem has to do with the recording. In general, Hyperion's Romantic Piano Concerto series has featured fine, natural sound, but here the sound is very close and dry, with the piano placed in an unnaturally forward and rather airless perspective.

So while I'm, as always, impressed by the brilliance of Hough's playing in these concertos, I think something important is missing. And as fine as the Fourth Concerto and parts of the other concertos are in these performances, overall I prefer Jean-Phillipe Collard and Andre Previn. The sound on their EMI discs (catalog number 73356) is more recessed and maybe a little lacking in presence but much more realistic overall. And the performances have all the Gallic elegance that Hough and Oramo's lack. Add to this EMI's two-fer price, and you can't go wrong.

So if your budget allows for two sets of Saint-Saens concertos, certainly Hough's should be one of them. Otherwise, I think Collard is your man.

An Outstanding Set.......2001-12-13

I read a comment several years ago by the pianist Phillipe Entremont that he felt the Saint Saens concerto's lacked the emotional charge of the German concertos (Beethoven, Schumann etc.) I think this comment is shortsighted in that it neglects the many concertos written for the instrument between Beethoven and Saint Saens, a tradition that the Romantic Piano Series provides insight into. It is arguable that Saint Saens (a true Renaissance man) was the most accomplished composer-performer of his day and his piano concertos represent a high point. Perhaps the awful truth is that these concertos are fun to listen to. They are virtuoso pieces that sparkle and delight. Perhaps not as profound as some concertos but works that should be heard much more frequently in the concert hall.

Tracks:

I. En Bateau
II. Cortege
III. Menuet
IV. Ballet
Marche Ecossaise Sur Un Theme Populaire
I. Pour Invoquer Pan
II. Pour Un Tombeau Sans Nom
III. Pour Que La Nuit Soit Propice
IV. Pour La Danseuse Aux Crotales
V. Pour L'Egyptienne
VI. Pour Remercier La Pluie Au Matin
Lindaraja
I. Avec Emportement
II. Lent - Sombre
III. Scherzando
Prelude A L'apres-Midi D'un Faune
I. Nuages
II. Fetes
II. Entre-Cloches

Tracks:

I. Pavane De La Belle Au Bois Dormant
II. Petit Poucet
III. Laideronnette, Imperatrice Des Pagodes
IV. Les Entretiens De La Belle Et De La Bete
V. Le Jardin Feerique
Frontispice: For Two Pianos And One Hand
Mouvement De Vaise Viennoise
I. Prelude A La Nuit
II. Malaguena
III. Habanera
IV. Feria
I. L'Escarpolette
II. La Toupie
III. La Poupee
IV. Les Chevaux De Bois
V. Le Volant
VI. Trompette Et Tambour
VII. Les Bulles De Savon
VIII. Les Quatre Coins
IX. Colin-Maillard
X. Saute-Mouton
XI. Petit Mari, Petite Femme!
XII. Le Bal
L'Apprenti Sorcier

Customer Reviews:

Superlative Performances.......2007-03-07

Superlative Duo in superlative music - really sums up these performances. The Debussy is sublime from the "Six Epigraphes antiques" the exotic,"Lindaraja", the spirited,"Marche Ecossaise",the charming, "Petite Suite", to the modern abstract,"En Blanc et noir". The Ravel is as ravishing and the music's strong linear sweep is revealed in two pianos or four hands(with Ravel's "Frontispice" for two piano with one hand - an unusual combination). This is music that brightens up your aural realm!

Alberto Ginastera: Complete Music for Piano & Piano Chamber Ensembles

Average customer rating:

From awesome to awful . . .
cello pieces disappointing
Classic Ginastera

Alberto Ginastera: Complete Music for Piano & Piano Chamber Ensembles
Barbara Nissman , Aurora Natola-Ginastera , Laurentian String Quartet , Alberto Ginastera , and Ruben Gozalez
Manufacturer: Pierian
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Ginastera: Piano Concertos Nos. 1 and 2

ASIN: B00005LC3C
Release Date: 2001-07-31

Customer Reviews:

From awesome to awful . . . .......2005-03-04

When I first heard Ms. Nissman's performance of the dances from Estancia over a typical, everyday radio many years ago, I was quite impressed with her aplomb in tossing off Ginastera's acute rhythms --- but it was, after all, an ordinary boombox, not your high-end FM-receiver in a split-hairs, blockbuster sound system. I'd heard many of her other Ginastera pieces over a mundane radio, in fact, and became very interested in finding out more regarding her pianism.

It's with great disappointment that I must revise the earlier imprint of her being quite awesome to being somewhat awful - in this recording, at least. I can't exactly say that I was thrilled when I finally had the chance to hear the whole program and the important First Sonata. No doubt about it, Ms. Nissman has a strong and sure rhythmic sense. Her colors in such fast-moving, hard-edged music could be almost enjoyed, were she not so lead-footed, pedaling so deeply. Her articulation, already so wanting in clarity and precision, is thus even more smeared in the brillante, rapido passages. That she is not better-recorded also serves her poorly.

But then, if Ginastera was well-pleased with Nissman's performance and the recording, then apparently the rhythmic demands take highest priority over other considerations. After all, with his sylistic hallmark, that would have to be a given - and indeed, in this set, that is Ms. Nissman's strong suit (perhaps the only one...). So, who am I to complain?? We can have the moon, maybe, but it's probably unreasonable to ask for the galaxies... .

However, when I weighed the aspects of the price of boxed sets, and especially, of having to listen to these CDs over and over again (because I like Ginastera), I realized that I wouldn't be able to stand such uneven, sloppy pianism on repeat for very long, which even her fine musicianship cannot over-ride. It's too bad that this is the case, as there are still so few, if any, recordings of complete Ginastera piano and piano-chamber works in the catalogue. That said, the Nissman set is at least serviceable, in view of this gap. (See comments on the cello performance in other reviews here.)

It was after repeat listening to a different recording, a quite stupendous Brazilian pianist doing the Ginastera First Sonata, that I came to this assessment on Nissman's performance of the Sonata No. 1 and of her entire program. This new pianist's razor-sharp articulation, transparent pedaling, wide dynamic range, rhythmic integrity, and arching lines are absolutely rewarding to listen to, over and over and over. To render sensitively nuanced phrasing as the music blazes headlong and forte is not least in this other recording's high marks. Following along with the score, I was most impressed indeed.

Her tempos, though fast, are just a tad slower, but her pianism is even more ferocious than Nissman's - who takes yet higher speeds - and this is because of her dazzlingly clean technique, crisp, judicious pedal, and incisive articulation. In the hands of this Brazilian pianist, this glittering, fast-paced music throws out its flashing shafts and sparks with the clarity of diamond brilliance (and this is so in the CD's Brouwer set as well). If Nissman had taken her tempos down a couple of notches, her technical command could have been impeccable, and her overall performance could then have not suffered so.

This Hungarian guitar-piano duo - he's American, and they both have the surname Halasz (Debora and Franz; maybe they're married to each other...?) - are remarkable musicians to keep an eye on, based on the merits of their probably first CD (Ginastera- Brouwer-Ponce, BIS-CD-671, ASIN-B0000016L6; the guitar performance is equally superlative, musically and technically.) With the many-hued palette of her sensitive touch, especially showcased in the Ginastera slow movement and the Ponce, she's just splendid throughout. I'll hold out for Ms. Halasz. Maybe if we're lucky, one day she'll put out a big Ginastera recording. I'd be among the first to buy.

cello pieces disappointing.......2004-06-13

In other reviews there are many glorious comments of Barbara Nissman's playing, and they are well deserved. However, this is not a good CD to buy if you are looking for good recordings of the two cello pieces on this CD. Slow tempos, sloppy articulation, missed notes, incorrect rhythms unfortunately abound in the playing of Aura Natola-Ginastera in both the recordings of the Pampeana No. 2 and Cello Sonata. Being the wife of Alberto Ginastera herself I'm sure she has great insight into his music, but it seems as though her technical playing ability is not on a level to play these pieces well.

Classic Ginastera.......2002-01-15

Ginastera who was present during the original recordings, must have been overjoyed having Barbara Nissman. She is the ideal pianist to capture the elemental power of his ferocious gaucho-inspired folk rhythms. Her rhythmic exuberance and bravura have to be heard to be believed. It reveals Ginastera as the Bartok of Argentina as their respective treatment of gaucho and Magyar folklore is perfectly analogous. She clearly understands this point too as her stylistic insight is just as incisive in the chamber works on volume 2 as in the solo piano pieces comprising volume 1. Originally recorded on Newport records in 1992, they are now safely achived on Pierian label and protected from the deletions axe. Justly so. Nissman's spontaneity, exhilaration and stylistic insight make these performances classics that will never date.

Average customer rating:

Excellent Webern from the master Boulez and company.
Webern may grow on you and Boulez et al. are worth every penny.
Interesting and Challenging
The original and still the best
Boulez's Webern -- brilliant modern miniatures

Anton Webern: Complete Works, Opp. 1-31
Anton Webern , Pierre Boulez , Heather Harper , Charles Rosen , Isaac Stern , Halina Lukomska , Colin Bradbury , John [guitar] Williams , Daniel Majeske , Robert Marcellus , Abraham Weinstein , and Barry McDaniel
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Varèse - The Complete Works / Royal Concertgebouw Orchestra · Asko Ensemble · Chailly
Arnold Schoenberg: Serenade/Five Pieces For Orchestra
Schoenberg: The String Quartets
Berg: Chamber Concerto; Three Orchestral Pieces, Op. 6; Violin Concerto
Arnold Schoenberg: Piano Music

ASIN: B000002707
Release Date: 1991-02-08

Tracks:

Passacaglia fur grobes Orch Op.1 - LSO/Pierre Boulez
'Entflieht auf leichten Kahnen' Op.2 (Text: Stefan George) - John Alldis Chor/Pierre Boulez
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: I. Dies ist ein Lied fur dich allein... - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: II. Im Windesweben-Sehr fliebend - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: III. Am Bachesranft-Ziemlich rasch - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: IV. Im Morgentaun-Fliebend - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: V. Kahl reckt der Baum-Langsam - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: I. Eingang-Ruhevoll - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: II. Noch zwingt mich Treue-Bewgt - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: III. Ja Heil und Dank-Sehr langsam - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: IV. So ich traurig bin-Sehr fliebend und zart - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: V. Ihr tratet zu dem Herde-Langsam - Heather Harper/Charles Rosen
Funf Satze fur Streichquartett Op.5: I. Heftig bewegt - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: II. Sehr langsam - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: III. Sehr bewget - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: IV. Sehr langsam - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: V. In zarter Bewegung - Juilliard Str Qt
Sechs Stucke fur grobes Orch Op.6: I. Etwas bewegte Achtel - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: II. Bewgt - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: III. Zart bewegt - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: IV. Langsam - LSO/Pierre Boulez L
Sechs Stucke fur grobes Orch Op.6: V. Sehr langsam - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: VI. Zart bewegt - LSO/Pierre Boulez
Vier Stucke fur Geige und Klavier Op.7: I. Sehr langsam - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: II. Rasch - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: III. Sehr langsam - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: IV. Bewegt - Isaac Stern/Charles Rosen
Zwei Lieder fur mittlere Stimme und acht Instrumente Op.8, nach gedichten von Rainer Maria Rikle:... - Heather Harper
Zwei Lieder fur mittlere Stimme und acht Instrumente Op.8, nach gedichten von Rainer Maria Rikle:... - Heather Harper
Sechs Bagatellen fur Streichquartett Op.9: I. Mabig - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: II. Leicht bewegt - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: III. Zeimlich fliebend - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: IV. Sehr langsam - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: V. Auberst langsam - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: VI. Fliebend - Juilliard Str Qt
Funf Stucke fur Orchester Op.10: I. Sehr ruhig und zart - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: II. Lebhaft und zart bewegt - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: III. Sehr langsam und auberst ruhig - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: IV. Fliebend, auberst zart - LSO/Pierre Boulez L
Funf Stucke fur Orchester Op.10: V. Sehr fliebend - LSO/Pierre Boulez
Drei kleine Stucke fur Violoncello und Klavier Op.11: I. Mabige Achtel - Gregor Piatigorsky/Charles Rosen
Drei kleine Stucke fur Violoncello und Klavier Op.11: II. Sehr bewegt - Gregor Piatigorsky/Charles Rosen
Drei kleine Stucke fur Violoncello und Klavier Op.11: III. Auberst ruhig - Gregor Piatigorsky/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: I. Der Tag ist vergangen (Volkslied)-Sehr ruhig - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: II. Die geheimnisvolle Flote (Li Tai po/Bethge)-... - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: III. Schein mir's als ich sah die (aus August ... - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: IV. Ein Winterabend (Goethe0-Sehr flieBend - Heather Harper/Charles Rosen

Tracks:

Vier Lieder fur Sopran und Orch Op.13: I. Wiese im Park (karl Kraus)-Sehr ruhig - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: II. Die Einsame (Wang Xen Yu/Bethge)-Bewegt - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: III. In der Fremde (Li Tai Po/Bethge)-FlieBend - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: IV. Ein Winterabend (Georg Trakl)-Sehr ruhig - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: I. Die... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: II. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: III. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: IV. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: V. Nachts... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: VI. Gesang.. - Heather Harper
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: I. Das Kreuz-Getragen - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: II. Morgenlied (aus'Des Knaben... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: III. In Gottes Namen aufstehn-... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: IV. Mein Weg geht jetzt voruber-... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: V. Fahr hin , o Seel'-FlieBend - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: I. Christus... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: II. Dormi... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: III. Crux... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: IV. Asperges... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: V. Crucem... - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: I. Armer Sunder, du - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: II. Liebste Jungfrau, wir sind dein - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: III. Heiland, unsre Missetaten - Halina Lukomska
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: I. Schatzerl klein - Halina Lukomska/John Williams/Colin Bradley
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: II. Erlosung - Halina Lukomska/John Williams/Colin Bradley
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: III. Ave Regina - Halina Lukomska/John Williams/Colin Bradley
Zwei Lieder fur gemischten Chor und funf Instrumente Op.19, aus'Chinesisch-deutsche Jahres-... - John Alldis Choir/Pierre Boulez
Zwei Lieder fur gemischten Chor und funf Instrumente Op.19, aus'Chinesisch-deutsche Jahres-... - John Alldis Choir/Pierre Boulez
Streichtrio Op.20: I. Sehr langsam - Members of the Juilliard Str Qt
Streichtrio Op.20: II. Sehr getragen und ausdrucksvoll - Members of the Juilliard Str Qt
Sym Op.21: I. Ruhig schreitend - LSO/Pierre Boulez
Sym Op.21: II. Variationen - LSO/Pierre Boulez
Qt fur Geige, Klarinette, Tenorsaxophon un Klavier Op.22: I. Sehr maBig - Charles Rosen/Daniel Majeske/Robert Marcellus/Abraham Weinstein
Qt fur Geige, Klarinette, Tenorsaxophon un Klavier Op.22: II. Sehr schwungvoll - Charles Rosen/Daniel Majeske/Robert Marcellus/Abraham Weinstein
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: I. Das dunkle Herz-Getragen - Halina Lukomska/Charles Rosen
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: II. Es sturzt aus hohen Frisch-Bewegt - Halina Lukomska/Charles Rosen
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: III. Herr Jesus mein-Langsam - Halina Lukomska/Charles Rosen
Konzert fur neum Instrumente Op.24: I. Etwas lebhaft - Members of the LSO/Pierre Boulez
Konzert fur neum Instrumente Op.24: II. Sehr langsam - Members of the LSO/Pierre Boulez
Konzert fur neum Instrumente Op.24: III. Sehr rasch - Members of the LSO/Pierre Boulez
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: I. Wie bin ich... - Halina Lukomska/Charles Rosen
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: II. Des Herzens... - Halina Lukomska/Charles Rosen
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: III. Sterne, Ihr... - Halina Lukomska/Charles Rosen

Tracks:

'Das Augenlicht' fur gemischten Chor und Orch Op.26, Worte von Hildegard Jone - John Alldis Chor/Pierre Boulez
Variationen fur Klavier Op.27: I. Sehr maBig - Charles Rosen
Variationen fur Klavier Op.27: II. Sehr schnell - Charles Rosen
Variationen fur Klavier Op.27: III. Ruhig flieBend - Charles Rosen
Streichquartett Op.28: I. MaBig - Juilliard Str Qt
Streichquartett Op.28: II. Gemachlich - Juilliard Str Qt
Streichquartett Op.28: III. Sehr flieBend - Juilliard Str Qt
Kantate Nr.1 Op.29, Worte von Hildegard Jone: I. Zundender Lichtblitz-Getragen - Halina Lukomska/John Alldis Chor
Kantate Nr.1 Op.29, Worte von Hildegard Jone: II. Kleiner Flugel, Ahornsamen-Leicht bewegt - Halina Lukomska/John Alldis Chor
Kantate Nr.1 Op.29, Worte von Hildegard Jone: III. Tonen die seligen Saiten -Ruhig - Halina Lukomska/John Alldis Chor
Variationen fur Orch Op.30 - LSO/Pierre Boulez
Kantate Nr.2 Op.31: I. BaB. Schweigt auch die Welt - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: II. BaB. Sehr tiefverhalten - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: III. Chor. Schopfen aus Brunnen des Himmels - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: IV. Sopran. Leichteste Burden der Baume - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: V. Chor. Freundselig ist das Wort - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: VI. Chor. Gelockert aus dem SchoBe - Halina Lukomska/Barry McDaniel/John Alldis Chor
Funf Satze fur Streinchquartett Op.5: I. Heftig bewegt - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: II. Sehr langsam - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: III. Sehr bewegt - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: IV. Sehr langsam - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: V. In zarter Bewegung - LSO/Pierre Boulez
J.S. Bach/A. Webern: Fuga (Ricercata) Nr.2 aus dem 'Musikalischen Opfer' - LSO/Pierre Boulez
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): I. - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): II. (I.Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): III. (I.Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): IV. - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): V. (IV. Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): VI. (IV. Da capo) - Frankfurter Funkorchester/Anton Webern

Amazon.com essential recording

This collection presents all Webern's works with opus numbers in chronological order, allowing listeners to scrutinize the inner workings of this influential composer's intense, compressed style from the lush Passacaglia to the starkness of his late vocal works. A broadcast recording of Webern conducting a group of Schubert Dances makes a lively bonus. --Jed Distler

Customer Reviews:

Excellent Webern from the master Boulez and company........2006-09-12

Boulez has a DG recording, which I have several singles from that set. The DG is very good and recommended as a second set. This Sony recording is outstanding and the finest in my Webern collection. If you have this set , you still may want to look at the DG set. Why? Because this music is so wonderful, so that another experience is well worth the price of say $40. But if you have the DG set, you definetly want to keep that set and also get this Sony set.
Notice how few new Webern recordings are released. When conductors hear this set, I guess they feel its pointless to try to meet these standards. The artists here are all in excellent form and understanding of this extremely difficult but rewarding music.

Webern may grow on you and Boulez et al. are worth every penny........2005-09-18

If you are looking for an introduction to Webern, give this a try. It has the advatage of being comprehensive and well played. If you don't like all of Webern, so be it. If you buy this recording and give it a few listenings you will have heard enough to make an informed judgement.

I have found that Webern's music demands mutiple hearings before you can say you've really heard it. When you are in the mood for some 20th century pioneering work, turn to this recording and listen. Over time, you will be glad you did.

Interesting and Challenging.......2004-04-09

I don't know if I "like" Webern, but he is certainly interesting and challenging. The textures of his music are very fragile and transparent. The pieces are extraordinarily economical (the average Webern piece, I would guess, is about two minutes in duration, maybe less). The dissonances are extreme (strange to say, twelve-tone music can vary in how dissonant it sounds, as some twelve-tone composers (Berg, for example) use "easier" tone rows as the bases of their works). Webern was a musician of great integrity, and he pushed twelve-tone music to the radical extreme (as compared his more conservative teacher, Schoenberg, and fellow-pupil, Berg.) Again, I don't know if it works, and I don't know if I like it. I will definitely continue to listen to it. What I definitely like is this wonderful recording, with performances lovingly rendered. For this reason, I'm giving the recording five stars. However, if you want an "easier" introduction to twelve-tone and atonal music, get Berg's Violin Concerto, or even Schoenberg's piano concerto. With respect to the Schoenberg piano concerto, Mitsuko Uchida's disc is wonderful, and is highly recommended.

The original and still the best.......2003-11-25

Boulez's seminal original recordings of Webern are still important today. They capture the extraordinary distance this composer travelled from his tonal opus 1 passacaglia, though the atonal expressionism of the opus 5 and opus 6 pieces, the extreme compression of the opus 9 bagatelles, the contrapuntal abstraction of the mid-period songs to the serial masterpieces of his later years. These pieces still divide concert audiences today--I've been to Webern performances where half the audience was electrified and the other half clearly wanted to be elsewhere--but their historical significance cannot be denied. I believe their musical significance cannot either: close on a dozen of these works are amongst the finest pieces the 20th century has to offer. This set of performances, dating from the late 1960s and early 1970s and largely recorded under the direction by Pierre Boulez, has long since been regarded as being as close to definitive as one can get. I wouldn't go so far--there are occasional less impressive performances (such as the saxophone quartet) amongst the very fine ones. However, as complete sets go, I find the performances here largely superior to Boulez's more recent traversal on DG.

Technically, this set is not a Complete Works. It only includes those works that Webern published with an opus number, with the addition of the composer's wonderful orchestral transcription of the Ricercare a 6 from Bach's Musical Offering, and an old recording of Webern conducting his orchestrations of Schubert's German Dances. There are more works included on Boulez's rival set on DG--at twice the price--but most of what you gain are juvenilia.

And, for those who remain unconvinced that they'd like Webern, check out http://www.antonwebern.com -- a website that has free streaming mp3s of several of the recordings on this set. Listen to a few of them a few times (though skip the opus 16-18 songs, some of his driest works), and then decide.

Boulez's Webern -- brilliant modern miniatures.......2001-11-27

All 31 works that Webern gave official Opus numbers on 3 discs, conducted by Boulez (not Kolbe!), with the Juilliard Quartet and the London Symphony Orchestra, and a superb booklet with commentary and lyrics -- so why only 4 stars? My objection is the strictly chronological presentation, and the fact that I am not won over by Webern's vocal works -- I would vastly prefer grouping the music by form. Everything is brilliantly performed, and Charles Rosen, who accompanies sopranos on piano on several pieces, plays with sparkling luminosity. But the reason I sought out this collection is because I wanted to hear Boulez's versions of Webern's masterpieces, the "Symphony (Op. 21)" and "Variations for Orchestra (Op. 30)," as well as the string trios and quartets. Here these instrumental works are mixed among the lieders, Webern's many vocal works, and I find this frustrating. I prefer hearing the instrumental pieces grouped together, as on the Dohnanyi or Sinopoli discs of orchestral works (see my reviews of both), or the Schoenberg or Emerson Quartet's discs of the string trios and quartets (see my reviews of both). Unfortunately there is not a Boulez disc comparable to the Dohnanyi (on London) or Sinopoli (on Teldec). So it's either this Sony box or the several more recently recorded discs on DG, unless of course you are a total Webern fanatic and want the Ultra-Complete box with all the numbered AND un-numbered pieces...

It's really hard to fault this excellent Webern collection. Obviously if you have a more catholic appreciation of Webern's music than I (including the vocal works), my criticism is irrelevant. If you are a completist on a budget, this is a clear choice over the more expensive box. But if you are looking for an introduction to Webern's music, the best of which is some of the best of the 20th century in my opinion, I suggest that you begin with 1) Dohnanyi and the Cleveland Orchestra, and 2) the Schoenberg Quartet.

[There is a mistake on the site. Pierre Boulez is the conductor, not Helmuth Kolbe. Careful inspection of the box reveals that Kolbe was the engineer...]

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 9 ~ The Orchestral Works

Average customer rating:

POWER AND POETRY

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 9 ~ The Orchestral Works

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 1 ~ Sonatas
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 6 ~ Nocturnes
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 5 ~ Polonaises & Impromptus
Chopin: Complete Piano Works Vol 13 - Chamber Works

ASIN: B000005ZYU
Release Date: 1998-03-17

Tracks:

Pno Con in f,Op.21, Maestoso
Pno Con in f,Op.21, Larghetto
Pno Con in f,Op.21, Allegro vivace
Con in e,Op.11, Allegro maestoso
Con in e,Op.11, Romanze: Larghetto
Con in e,Op.11, Rondo: Vivace

Tracks:

Intro ''La ci darem la mano'',Op.2,Largo-Poco piu mosso
Theme ''La ci darem la mano'',Op.2,Allegretto
Var I ''La ci darem la mano'',Op.2,Brilliante
Var II ''La ci darem la mano'',Op.2,Veloce ma accuratamente
Var III ''La ci darem la mano'',Op.2
Var IV ''La ci darem la mano'',Op.2
Var V ''La ci darem la mano'',Op.2, Adagio-Alla Polacca
Fantasy On Polish Airs,Op.13
Rondo a la Krakowiak,Op.14
Rondo a la Krakowiak,Op.14, Andante spianato
Rondo a la Krakowiak,Op.14,Grand Polonaise

Customer Reviews:

POWER AND POETRY.......2001-12-19

When Garrick Ohlsson won top prize at the Chopin Competition (1970) in Warsaw (with, appropriately enough, the Warsaw Philharmonic Orchestra, under the baton of Witold Rowicki), he astounded the musical world in very much the same way Van Cliburn did when he seized the '57 Tchaikovsky award.

It is fitting, obviously, as part of his complete traversal of Chopin's piano works, that Mr. Ohlsson now return to the concertos, and to the other works for piano and orchestra--- and return he does with a wisdom and impressive emotional spectrum that raises these compositions to rarified heights.

Frankly, the set is self-recommending: Ohlsson establishes, especially in the concertos, an awesome balance between their masculine and feminine natures--- his piano centrally focused and magical, lushly supported, again, by the WPO, but this time under Kazimierz Kord. Now, however, over thirty years later, Ohlsson's maturity as a pianist adds a decided "gravitas" to his Chopin interpretations, as well as a shimmering spontaneity, a sense of abandon and cheekiness, an exquisitely rich, full-blooded romanticism, and a mercurial sparkle that, taken altogether, reveal him as one of our foremost and rewarding Chopinists.

This set is, strangely enough, quite essential not only for Ohlsson's phenomenal concerto performances, but for the other "less regarded" works, as well. Yes, without a doubt! To these well-worn ears, never has the Variations for Piano and Orchestra in B-flat, Op. 2 been more touchingly conceived, the Fantasia on Polish Airs, Op. 13 more spiritual in feeling, the Krakowiak, Op. 14 more overtly joyful, the Andante Spianato and Grand Polonaise, Op. 22 such an exceptional revelation of divine melancholy in tandem with rousing exhuberance.

And what a glorious sound world the Arabesque engineers have given Ohlsson and the WPO! One feels surrounded by a comforting warmth, a musical security, a tangible "wholeness." Mr. Ohlsson's piano is always completely realistic, each note a gift, chordal work full and flush--- and the instrument placed nicely forward, yet well-integrated.

[Running time--- CD 1: 72:34 CD 2: 62:24]

Average customer rating:

Classics of Spain

Manufacturer: Golden Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

4-for-3 International | 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: B00012QMHM
Release Date: 2004-02-10

Tracks:

Concierto de Aranjuez: Adagio - Irina Kircher,
Carment Suite No. 2: Habanera (1st Movement)
Carment Suite No. 2: Chanson du Toreador
Carmen Suite No. 1: Prelude 1st Act
Carmen Suite No. 1: Aragonaise, Prelude 4th Act
Carmen Suite No. 1: Intermezzo, Prelude 3rd Act
Carmen Suite No. 1: Seguedille, 1st Act
Carmen Suite No. 1: Les Dragons d'Alcala, Prelude 2nd Act
Carmen Suite No. 1: Les Toreadors, Introduction 1st Act
From Suite Espanola Op. 47: Granada - Irina Kircher
From Suite Espanola Op. 47: Sevilla - Irina Kircher
From Suite Espanola Op. 47: Asturias - Irina Kircher
Espana - Royal Philharmonic Orchestra
Danza Espanola Op. 5/5 - Peter Schmalfuss
Gypsy Tunes for Violin and Orchestra - Berlin Symphony Orchestra, Hans Kalafusz

Tracks:

Sombrero de Tres Picos ("Three Cornered Hat") Excerpts - III: Tanz Der
Sombrero de Tres Picos ("Three Cornered Hat") Excerpts - VII: Tanz Der
Sombrero de Tres Picos ("Three Cornered Hat") Excerpts - IX: ...
Hommage a Tarrega: Garrotin - Irina Kircher
Hommage a Tarrega: Soleares - Irina Kircher
Wedding of Luis Alonso
Tango, No. 2 from Espana, Op. 165 - Irina Kircher
Rhapsodie Espagnol: Malaguena
Rhapsodie Espagnol: Habanera
Rhapsodie Espagnol: Feria
Fandango, From "Tres Piezas Espangnolas" - Irina Kircher
Fantastic Dances: Day Dream
Fantastic Dances: Revel
Danse Rituelle du Feu - Peter Schmalfuss
Maruxa (Vorspiel 2nd Act)

Howard Hanson: Complete Symphonies and Other Works (Box Set)

Average customer rating:

A nice sampler of Hanson at a good price

Howard Hanson: Complete Symphonies and Other Works (Box Set)

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B0000006Z5
Release Date: 1994-07-06

Tracks:

Symphony No. 1 In E Minor, 'Nordic': Andante solene; Allegro con forzo
Symphony No. 1 In E Minor, 'Nordic': Andante teneramente, con semplicita
Symphony No. 1 In E Minor, 'Nordic': Allegro con fuoco
Elegy In Memory Of Serge Koussevitsky
Symphony No. 2, 'Romantic': Adagio; Allegro moderato
Symphony No. 2, 'Romantic': Andante con tenerezza
Symphony No. 2, 'Romantic': Allegro con brio

Tracks:

Symphony No. 3: Andante lamentando-agitato
Symphony No. 3: Andante tranquillo
Symphony No. 3: Tempo scherzando
Symphony No. 3: Largamente e pesante
Fantasy Variations on a Theme of Youth
Symphony No. 6: Andante
Symphony No. 6: Allegro scherzando
Symphony No. 6: Adagio
Symphony No. 6: Allegro assai
Symphony No. 6: Adagio
Symphony No. 6: Allegro

Tracks:

Symphony No. 4, Op. 34, 'Requim': Kyrie (Andante inquieto)
Symphony No. 4, Op. 34, 'Requim': Requiescat (Largo)
Symphony No. 4, Op. 34, 'Requim': Dies irae (Presto)
Symphony No. 4, Op. 34, 'Requim': Lux aeterna (Largo pastorale)
Serenade For Flute, Harp And Strings, Op. 35
The Lament For Beowulf, Op. 25
Pastorale For Oboe, Harp And Strings, Op. 38
Suite From The Opera 'Merry Mount,' Op. 31: Overture(Lento)
Suite From The Opera 'Merry Mount,' Op. 31: Children's Dance (Allegro molto)
Suite From The Opera 'Merry Mount,' Op. 31: Love Duet (Largamente, molto espressivo)
Suite From The Opera 'Merry Mount,' Op. 31: Prelude To Act II And Maypole Dances (Allegro grazioso; Piu animato; Allegro Molto)

Tracks:

Mosaics
Piano Concerto In G, Opus 36: Lento molto e molto tranquillo - Allegro deciso
Piano Concerto In G, Opus 36: Allegro feroce, molto ritmico
Piano Concerto In G, Opus 36: Andante molto espressivo
Piano Concerto In G, Opus 36: Allegro giocoso
Symphony No. 5, 'Sinfonia Sacra,' Opus 43
Symphony No. 7, 'A Sea Symphony': Lo, The Unbounded Sea (Largamente)
Symphony No. 7, 'A Sea Symphony': The Untold Want (Adagio)
Symphony No. 7, 'A Sea Symphony': Joy, Shipmate, Joy! (Allegro molto - Molto meno mosso)

Customer Reviews:

A nice sampler of Hanson at a good price.......2000-09-05

Any fan of Hanson's romantic compositions will enjoy this 4 disc set. Schwartz and the Seattle Symphony more than ably perform these varied works. Disc 1 is probably the best of the four, not only because it contains the better-known Romantic and Nordic Symphonies, but also because of the inclusion of the "Elegy" to Koussevitsky, a sad but deeply romantic work. On disc 2, you have got to listen to the 2nd Movement of the 3rd Symphony, arguably, the most romantic of all of Hanson's works, and brilliantly performed by Schwartz et al. The Merry Mount Suite, Mosaics, and the Piano Concerto are the most enjoyable performances on discs 3 and 4. If you like romantic classical music, then this set would make a nice addition to any collection.

Dvorák: The Complete Published Orchestral Works

Average customer rating:

20 Hours of Dvorak at a Bargain Price

Dvorák: The Complete Published Orchestral Works

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music
Similar Items:

Prokofiev: Complete Music for Solo Piano
Wagner: Tristan und Isolde [Includes Bonus DVD]

ASIN: B0001FYRB2
Release Date: 2004-07-20

Tracks:

Allegro
Adagio Molto
Allegretto
Finale: Allegreto
Allegretto
Molto Moderato
Allegro Giusto
Molto Maestoso
Allegro Giusto

Tracks:

Allegretto
Poco Adagio
Scherzo: Allegro Con Brio
Finale: Allegreto Con Fuoco
Allegro Con Moto
Allegretto Grazioso
Un Poco Allegretto E Grazioso
Andante Con Moto
Andante

Tracks:

Allegro Moderato
Adagio Molto, Temp Di Marcia
Allegro Vivace
Allegro Non Tanto
Adagio
Scherzo: Furiant: Presto
Finale: Allegro Con Spirito

Tracks:

Allegro
Andante Sostenuto E Molto Cantabile
Scherzo: Allegro Feroce
Finale: Allegro Con Brio
Allegro Con Brio
Adagio
Allegretto Grazioso - Molto Vivace
Allegro, Ma Non Troppo

Tracks:

Allegro, Ma Non Troppo
Andante, Con Moto
Andante Con Moto, Quasi L'istesso Tempo - Allegro Scherzando
Finale: Allegro Molto
Allegro Maestoso
Poco Adagio
Scherzo Vivace - Poco Meno Mosso
Finale: Allegro

Tracks:

Adagio- Allegro Molto
Largo
olto Vivace
Allegro Con Fuoco
Sumphonic Variations, Op. 78

Tracks:

Allegro Agitato - Jeno Jando
Andante Sostenuto
Allegro Con Fuoco
The Water Goblin, Symphonic Poem, Op. 107

Tracks:

Allegro Ma Non Troppo - Ilya Kaler
Adagio Ma Non Troppo - Ilya Kaler
Allegro Giocoso, Ma Non Troppo - Ilya Kaler
Romance For Violin And Orchestra In F Minor, Op. 11 - Ilya Kaler
Mazurka For Violin And Orchestra, Op. 49 - Alexander Trostianski

Tracks:

Allegro - Maria Kliegel
Adagio Ma Non Troppo - Maria Kliegel
Finale: Allegro Moderato - Andante - Allegro Vivo - Maria Kliegel
Walderuhe For Cello And Orchestra, Op. 68/5 - Dmitry Yablonsky
Rondo For Cello And Orchestra, Op. 94 - Dmitry Yablonsky

Tracks:

No. 1 In C Major
No. 2 In E Minor
No. 3 In A Flat Major
No. 4 In F Major
No. 5 In A Major
No. 6 In D Major
No. 7 In C Minor
No. 8 In G Minor
No. 1 In B Major
No. 2 In E Minor
No. 3 In F Major
No. 4 In D Flat Major
No. 5 In B Flat Minor
No. 6 In B Flat Major
No. 7 In C Major
No. 8 In A Flat Major

Tracks:

Rhapsody, Op. 14
No. 1
No. 2
No. 3

Tracks:

The Noon Witch, Op. 108
The Golden Spinning-Wheel, Op. 109
The Wild Dove, Op. 110

Tracks:

Moderato
Tempo Di Valse
Scherzo: Vivace
Larghetto
ale: Allegro Vivace
Moderato, Quasi Marcia - Oslo Philharmonic Wind Soloists
Minuetto - Oslo Philharmonic Wind Soloists
Andante Con Moto - Oslo Philharmonic Wind Soloists
Allegro Molto - Oslo Philharmonic Wind Soloists
Notturno In B Major, Op. 40
Five Prague Waltzes
Polka In B Flat Major, Op. 53 A / 1

Tracks:

I
II
III
IV
V
VI
VII
Preludium (Pastorale)
Polka
Sousedska (Minuetto)
Romance (Romanza)
Fineal (Furiant)
Andante Con Moto
Adagio
onderato (Alla Polacca)
Andante
Allegro
Polonaise In E Flat Major
Festival March, Op. 54

Tracks:

King And Charcoal Burner, Overture
Prelude To Act 1
Prelude To Act 2
Ballet Music From Act 3
Overture
Prelude To Act 2
Infernal Dance From Act 2
Prelude To Act 3
Overture
Polonaise
Dmitrij, Overture
Armida, Overture

Tracks:

Vanda (Overture), Op. 25
In Nature's Realm (Overture), Op. 91
Carnival (Overture), Op. 92
Othello (Overture), Op. 93
My Home (Overture), Op. 62

Tracks:

Hussite Overture, Op. 67
Selma Seklak Overture, Op. 37
Dramatic Overture, Op. Posth
Scherzo Capriccioso, Op. 66
A Hero's Son, Op. 111

Customer Reviews:

20 Hours of Dvorak at a Bargain Price.......2004-08-03

This 17-CD set collects together in one box all the published orchestral works of Antonin Dvorak. It's neatly done: each CD is in a paper envelope and there is a 51-page booklet (with knowledgable and helpful notes for each disc) all fitted into a cardboard box no thicker than that ordinarily used for a two-CD opera recording. All this music has been issued previously on separate discs or sets by Naxos and most of it is, if I'm not mistaken, still available that way. But this collection is one easy way to scoop up all of Dvorak's orchestral music at once. There is much music here that is almost never heard, certainly not in the concert hall and even on CD. For instance, I cannot recall ever seeing a recording (and I know I've never heard in performance) Dvorak's 'Intermezzi.' And the rarely-heard 'Legends' are nicely done here by Stephen Gunzenhauser and the Czecho-Slovak Radio Symphony Orchestra. Of course, the name of the orchestra tells you something: some of these performances were recorded before the breakup of Czechoslovakia into Slovakia and the Czech Republic. Yes, some of the recordings go back to the late 1980s. No matter - the sound is quite acceptable throughout.

There are numerous participants in these recordings, many of them orchestras in the Czecho-Slovak area, as well as the Polish National Radio Orchestra, the Russian Philharmonic and even London's Royal Philharmonic (in a smashing performance, with Maria Kliegel, sure one of our best current cellists, in the Cello Concerto). Conductors include Gunzenhauser, Antoni Wit, Camilla Kolchinsky, Dmitry Yablonsky, Michael Halasz, Zdenek Kosler, Libor Pesek, and Robert Stankovksy.

Obviously one wouldn't buy this set for the most familiar Dvorak pieces - the 'New World' Symphony, the Cello Concerto, the Slavonic Dances - if that was all one was interested in. There are too many fine performances of those already on the market. But how many of you have recordings of poorly known but top-drawer works like the 'Czech Suite,' the 'American Suite,' (it is fashionable to dismiss this suite, but it's actually one of Dvorak's best), or some of the orchestral music from his many operas--overtures to 'King and Charcoal Burner,' 'The Jacobin,' 'Kate and the Devil,' 'Rusalka'? All of these, and more, are here. I recently returned from a trip and the only music I took along was this box of Dvorak. I never got sated, or bored, by it.

I was also quite taken by the performance of one of my favorite pieces by Dvorak, his 'Wind Serenade,' here played by the Oslo Philharmonic Wind Soloists. And there are marvelous performances by Gunzenhauser and the Polish NRSO of 'The Noon Witch,' 'The Golden Spinning Wheel,' and (a particular favorite of mine) 'The Wild Dove.'

And then there's the super-bargain Naxos price. This is an easy recommendation for the music lover in the market for this specific collection of music.

Scott Morrison