Complete Orchestral Works 7

1. Zeitgeister, waltz for orchestra, Op. 25 (RV 25)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

2. Bachus-Polka, for orchestra, Op. 38
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

3. Odeon, quadrille for orchestra, Op. 29 (RV 29)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

4. Schnee-Glöckchen (Snowdrops), waltz for orchestra, Op. 143 (RV 143)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

5. Neuhauser-Polka, for orchestra, Op. 137 (RV 137)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

6. Kron-Marsch (Crown March), for orchestra, Op. 139 (RV 139)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

7. Ballg'schichten (Tales of the Ball), waltz for orchestra, Op. 150 (RV 150)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

8. Furioso-Polka, polka quasi galop for orchestra, Op. 260 (RV 260)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

9. Deutscher Krieger-Marsch (German War March), for orchestra, Op. 284 (RV 284)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

10. Kolonnen, waltz for orchestra, Op. 262 (RV 262)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

11. Kriegers Liebchen, polka-mazurka for orchestra, Op. 379
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

12. Nordseebilder (North Sea Pictures), waltz for orchestra, Op. 390 (RV 390)
Composed by Johann II Strauss
Performed by Polish Chamber Philharmonic Conducted by Oliver von Dohnanyi

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.

Average customer rating:

Excels in performance and acoustically
The sting of awakening.
The True Incarnation of Messian's Mystic Art
outstanding - music, performance, and sound
Essential Messiaen!

Olivier Messiaen: Complete Organ Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Messiaen

ASIN: B00005UOVM
Release Date: 2002-10-08

Tracks:

Apparition De L'eglise Eternelle
La Nativite Du Seigneur: I. La Vierge Et L'enfant
La Nativite Du Seigneur: II. Les Bergers
La Nativite Du Seigneur: III. Desseins Eternels
La Nativite Du Seigneur: IV. Le Verbe
La Nativite Du Seigneur: V. Les Enfants De Dieu
La Nativite Du Seigneur: VI. Les Anges
La Nativite Du Seigneur: VII. Jesus Accepte La Souffrance
La Nativite Du Seigneur: VIII. Les Mages
La Nativite Du Seigneur: IX. Dieu Parmi Nous

Tracks:

Le Banquet Celeste
Offrande Au Saint Sacrement
Diptyque
Les Corps Glorieux: I. Subtilite Des Corps Glorieux
Les Corps Glorieux: II. Les Eaux De La Grace
Les Corps Glorieux: III. L'ange Aux Parfums
Les Corps Glorieux: IV. Combat De La Mort Et De La Vie
Les Corps Glorieux: V. Force Et Agilite Des Corps Glorieux
Les Corps Glorieux: VI. Joie Et Clarte Des Corps Glorieux
Les Corps Glorieux: VII. Le Mystere De La Saints Trinite

Tracks:

Meditations Sur Le Mystere De La Sainte Trinite: I. Le Pere Des Etoiles
Meditations Sur Le Mystere De La Sainte Trinite: II. Dieu Est Saint
Meditations Sur Le Mystere De La Sainte Trinite: III. La Relation Reelle En Dieu Est Reellement Identique A L'essence
Meditations Sur Le Mystere De La Sainte Trinite: IV. Dieu Est
Meditations Sur Le Mystere De La Sainte Trinite: V. Dieu Est Immense - Dieu Est Eternel - Dieu Est Immuable...
Meditations Sur Le Mystere De La Sainte Trinite: VI. Dans Le Verbe Etait La Vie Et La Vie Etait La Lumiere...
Meditations Sur Le Mystere De La Sainte Trinite: VII. Le Pere Et Le Fils Aiment, Par Le Saint-Esprit, Eux-Memes, Et Nous
Meditations Sur Le Mystere De La Sainte Trinite: VIII. Dieu Est Simple - Les Trois Sont Un
Meditations Sur Le Mystere De La Sainte Trinite: IX. Je Suis Celui Qui Suis

Tracks:

Prelude
Verset Pour La Fete De La Dedicace
Monodie
L'ascension: I. Majeste Du Christ Demandant Sa Gloire A Son Pere
L'ascension: II. Alleluias Sereins D'une Ame Qui Desire Le Ciel
L'ascension: III. Transports De Joie D'une Ame Devant La Gloire Du Christ Qui Est La Sienne
L'ascension: IV. Priere Du Christ Montant Vers Son Pere
Messe De La Pentecote: I. Entree (Les Langues De Feu)
Messe De La Pentecote: II. Offertoire (Les Choses Visibles Et Invisibles)
Messe De La Pentecote: III. Consecration (Le Don De Sagesse)
Messe De La Pentecote: IV. Communion (Les Oiseaux Et Les Sources)
Messe De La Pentecote: V. Sortie (Le Vent De L'esprit)

Tracks:

Livre D'orgue: I. Reprises Par Interversion
Livre D'orgue: II. Piece En Trio (Pour Le Dimanche De La Sainte Trinite)
Livre D'orgue: III. Les Mains De L'abime (Pour Les Temps De Penitence)
Livre D'orgue: IV. Chants D'oiseaux (Pour Le Temps Pascal)
Livre D'orgue: V. Piece En Trio (Pour Le Dimanche De La Sainte Trinite)
Livre D'orgue: VI. Les Yeux Dans Les Roues (Pour Le Dimanche De La Pentecote)
Livre D'orgue: VII. Soixante-Quatre Durees
Livre Du Saint Sacrement: I. Adoro Te
Livre Du Saint Sacrement: II. La Source De Vie
Livre Du Saint Sacrement: III. Le Dieu Cache
Livre Du Saint Sacrement: IV. Acte De Foi
Livre Du Saint Sacrement: V. Peur Natus Est Nobis
Livre Du Saint Sacrement: VI. La Manne Et Le Pain De Vie

Tracks:

Livre Du Siant Sacrement: VII. Les Ressuscites Et La Lumiere De Vie
Livre Du Siant Sacrement: VIII. Institution De L'eucharistie
Livre Du Siant Sacrement: IX. Les Tenebres
Livre Du Siant Sacrement: X. La Resurrection Du Christ
XI. L'apparition Du Christ Ressuscite A Marie-Madeleine
Livre Du Siant Sacrement: XII. La Transsubstantiation
Livre Du Siant Sacrement: XIII. Les Deux Murailles D'eau
Livre Du Siant Sacrement: XIV. Priere Avant La Communion
Livre Du Siant Sacrement: XV. La Joie De La Grace
Livre Du Siant Sacrement: XVI. Priere Apres La Communion
Livre Du Siant Sacrement: XVII. La Presence Multipliee
Livre Du Siant Sacrement: XVIII. Offrande Et Alleluia Final

Customer Reviews:

Excels in performance and acoustically.......2006-01-26

Latry is technically and musically excellent. He "gets" the music.
The recording is a perfect mix of amibient space and reverb and direct sound. Bass extends well down to 16Hz so you will need a good system to reproduce this faithfully.

I've heard that Latry doesn't use 100% of the tonal color available on the Cavaile-Coll organ, but I feel as though it's expressive and rich.

The wind chest noise doesn't bother me. It is part of the instrument.

Overall excellent. Play this loud!!!

The sting of awakening........2006-01-24

I must confess that I've been lukewarm about Messiaen. He was often pictured in the 1970's in Hawaiian shirts and suspenders jacking his pants up to his man-boobs and this tacky image carries over all too well to some of his later music, where the extended durations are meant to be slow and glorious like the procession of a pharaoh through the streets of Thebes, or the dawning of God's grace on a sinner ( I'm trying to avoid using the word "hieratic" ) but can sometimes, if you're in the wrong mood, seem more like a senile windbag droning on without a care in the world for his auditors. His portrayal of mystical states often have an air of smugness, of impregnable autosatisfaction.

Then, occasionally, a recording like this comes along and suddenly my spine is vibrating like a Water-Pik. I'm beginning to realize that Messiaen is a far more tricky composer than I'd thought, that what seems foolproof has maybe never really been heard the right way before. Latry has the key to Messiaen in a way that Celibidache has the key to Bruckner, or Stockhausen has the key to Stockhausen. In fact, this may be the one true Messiaen recording that exists so far, in any of the categories from orchestral to piano music. Where other players seem to be twiddling their thumbs waiting for the next note, Latry fills those spaces between with terror and expectation that make you want to jump out of your skin. What usually feel like repetitious passages in Messiaen's music are revealed by Latry in all of their subtly particular glory, like God looking down at the antheap of humanity and still being able to sympathize with one overweight secretary's love problems. A repeated piercing shriek from the organ will be given a smoky, ominous feeling the first time, and then a soft, languishing one the next, and so on.

While many composers benefit from different approaches, for Messiaen, facts are facts -- to play him you must not only be from France, but must be a Catholic. French Catholics, who have a body of literature behind them with one foot in the secular world, by writers such as Leon Bloy, Huysmans and Julien Green, are not to be compared with Catholics anywhere else. To listen to Latry play Messiaen is to marvel at the arbitrary cruelty and unfairness of the church, its shocking lapses behind the scenes allowed to slide on the basis of an infallibility we're meant to take on faith... And then to realize that this faith, unrewarded and abused, trampled on and thrown away, is precisely for this reason, precisely because it's hopeless, our absolute duty towards God. Latry's Messiaen is a celebration of terror, disappearance, awe and infinitely black spasms of traumatized joy.

The True Incarnation of Messian's Mystic Art.......2005-04-24

You will not find a better recording of Olivier Messiaen's organ works than this gem. Approved by a Catholic Church official in the liner notes as capturing the religious ideals that Messian sought to reveal, Latry's playing on the formidable Notre Dame Cathedral organ contains a gravity and seriousness that give a rare and divine character to the music. Latry was blessed by Messiaen himself as the best interpreter of his works, and the reason for that is evident here. The music pours fourth in a majestic tide, and Latry uses his formidable talent, the full resources of the outstanding 600-year old organ, and the natural, extra-long reverberation in the medieval cathedral to capture the mysticism that pervades Messiaen's art. This is art music of the highest caliber, and will greatly reward repeated listenings.

outstanding - music, performance, and sound.......2004-04-14

This CD set was released at a perfect time for me: just after hearing ALL of the material live at St. James cathedral in Seattle, performed by the young Paul Jacobs. He told the audience that the music had changed his life. Play these CDs on a good system, and I think you will understand. Best concert of any sort in a decade for me.

The music is incredible, and would only sound exactly right in a cathedral. To get as close to live sound as possible, I wish this recording was in a surround format (SACD or DVD-A), however for stereo, this is excellent, as others have noted. It's a must have.

Essential Messiaen!.......2003-06-19

If you are a Messiaen fan, you simply must own this CD! It is essentail for a number of reasons.

For one, it is a complete recording of all of his organ works--quite an audio library, as you can see from the list of pieces included! Second is the quality of the recording (assured since this is a Deutsche Grammophon recording). It is digital, clear, and amazing. An old recording of Messiaen playing his own organ works is available, but it is a mono recording which he plays on a lackluster organ, as opposed to this recoring which is (of course) stereo, digital, and recorded on the organ at Notre Dame Cathedral--a magificent instrument that does justice to Messiaen. Also, while Messiaen is a favorite composer, his skills as an organist are not world-class as Olivier Latry's, whose playing here is masterful, inspired and technically perfect. You put all that together--excellent composer, recording, instrument, and organist--and you have "Messiaen: Complete Organ Works"... which from my first listening of it has become my favorite CD, bar none.

The reason why will be apparent to you as you listen to the very first track: "Vision of the Eternal Church." The piece is intended to invoke a musical interpretation of what it would be like to experience an apparition of the Church of God. As such, the first half is a constant build, one long crescendo, as if the vision were appearing slowing... the second half is a fading away, one long decrescendo. When Latry gets to the climax right in the middle of the piece, you'll see immidiately how all the elements come together (excellent recording, composer, instrument and artist)... it is the single most triumphant, majestically rendered chord you will ever hear. (You can almost hear the stone of the cathedral shaking, it is that magnificent!)

Latry's versatility is apparent when you hear the softer, more nuanced pieces, such as "Diptyque," which are as delicate as "Vision of the Eternal Church" is majectic. In short, most of the pieces are given a definitive interpretation by Latry.

I own every other recording of Messiaen's organ music, and this one stands far and above all of the others. If you don't know Messiaen's organ works, this CD is clearly your best bet; if you have heard his organ works before, or own other CDs, you'll smile as you listen to how Latry interprets each piece.

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

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Passacaglia fur grobes Orch Op.1 - LSO/Pierre Boulez
'Entflieht auf leichten Kahnen' Op.2 (Text: Stefan George) - John Alldis Chor/Pierre Boulez
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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
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Funf Satze fur Streichquartett Op.5: IV. Sehr langsam - Juilliard Str Qt
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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
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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...]

Average customer rating:

A beautifully thought-out programme and stunning playing
Nancy Allen

A Celebration For Harp

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Nancy Allen Plays Ravel & Debussy
The Most Relaxing Harp Album in the World... Ever!
Music for Solo Harp

ASIN: B000002SDH
Release Date: 1990-10-25

Tracks:

Toccata
French Suite No.6 In E, BWV.817: Allemande and Courante
Sonata In E K 380: Andante comodo
Three Lute Dances: Courante
Three Lute Dances: Pavane
Three Lute Dances: Bransles
Three Lute Dances: Le Coucou Daquin
Romeo And Juliet: Aubade
BMV.1031: Siciliano
Violin Sonata No 2: Andante
Op12 No 7: Prelude
Siciliana
B Flat K545: Sonata
Les Barricades mysterieuses
A K208: Sonata
A K 209: Sonata
BMV639: Ich ruf zu dir
Jesu Joy Of Man's Desiring
Confusing

Customer Reviews:

A beautifully thought-out programme and stunning playing.......2007-04-18

I bought this CD (with slight trepidation) because I was sure I would enjoy most of the music. The trepidation was only because, having discovered the inimitable Andrew Lawrence-King, I wasn't sure how the sound of the modern harp would stack up against his amazing instruments and the even more amazing range of sounds he gets from them. But I needn't have worried. Nancy Allen makes a beautiful, if mostly conventional, sound on her modern harp and her virtosity takes away one's breath. Her articulation is possibly the cleanest of any player of the modern harp I've heard and her sense of rhythmn is faultless. I'm no fan at all of modern music but I even enjoyed the two pieces by Prokofiev on this CD. I can't recommend it highly enough.

Nancy Allen.......2007-04-16

Nancy Allen is the best harpist in the world and this CD reflects that.

Massenet: Complete Works for Solo Piano, Piano Concerto & Complete Works for Piano Duet

Average customer rating:

Rare French Musique...

Massenet: Complete Works for Solo Piano, Piano Concerto & Complete Works for Piano Duet
Aldo Ciccolini , Jules Massenet , Sylvain Cambreling , and Orchestre National de l'Opera de Monte Carlo
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Massenet: Orchestral Suites
French Piano Concertos
Jules Massenet: Ballet Suites
Massenet: Orchestral Suites
Kullak / Dreyschock: Piano Concertos

ASIN: B0000CE7FS
Release Date: 2004-06-01

Tracks:

I. Andante Moderato - Allegro Non Troppo (Cadenza)
II. Largo
III. Airs Slovaques: Allegro - Allegro Maestoso - Allegro Molto Animato
1. Papillons Noirs (Allegro Agitato Molto)
2. Papillons Blancs (Allegro)
1. Eau Dormante (Lent Et Calme)
2. Eau Courante (Vite)
Toccata
Musique Pour Bercer Les Petits Enfants
1. Nocturne: Andante Con Moto
2. Marche: Allegro Con Molto Di Moto
3. Barcarolle: Andantino Quasi Andante
4. Rigodon: Allegro Non Troppo
5. Melodie (Elegie Jouee Par Les Erinnyes): Lento Ma Non Troppo
6. Saltarello: Allegro Vivace
7. Vieille Chanson: Andante Quasi Andantino
8. Legende: Allegretto - Presto
9. Fughetta: Andantino Quasi Allegretto
10. Carillon: Allegro
1. Andantino (Calme Et Soutenu Sans Lenteur)
2. Allegretto Con Grazia - Con Moto
3. Triste Et Lent
4. Allegretto Scherzando
5. Andante Cantabile Espressivo (Quasi Recitativo)
6. Allegro Deciso Con Moto
7. Allegretto (Calme Et Simplement)

Tracks:

Valse Folle
Valse Tres Lente (Tres Lente Et Tres Douce)
Devant La Madonne (Souvenir De La Campagne De Rome, Nuit De Noel) (Allegro Moderato)
I. A L'Ombre (Assez Lent Et Mysterieux)
II. Dans Les Bles (Modere)
III. Grand Soleil (Avec Ampleur)
I. Feuilles Jaunes (Assez Lent)
II. Deux Novembre (Triste, Assez Lent)
III. Joyeuse Chasse (Tres Anime)
I. Noel (Tres Modere)
I. En Songeant (Tres Lent)
III. On Valsait (Mouvement De Valse)
I. Premiers Nids (Vif, Alerte Et Gai)
II. Lilas (Tres Modere Et Caressant)
III. Paques (Sortie De La Grand-Messe) (Modere)
1. Avec Entrain (In C)
2. Tres Anime (In G)
3. Expressif Et Triste, Sans Lenteur (In B Flat Minor)
4. Tres Anime (In D Flat)
5. Avec Elan (In C)
6. Avec Ampleur, Sans Lenteur (In F)
1. Modere Et Bien Rythme (In B Minor)
2. Allegretto, Avec Delicatesse (In G)
3. D'Une Allure Franche Et Gaie, Mesure Cependant (In C)
La Vierge: Danse Galileenne
I. Andante (In F)
II. Allegretto Quasi Allegro (In G)
III. Andante (In D Flat)
1. Tres Calme Avec Un Sentiment Intime (In E Flat)
2. (Sans Indication De Mouvement) (In G)

Customer Reviews:

Rare French Musique..........2007-02-12

.
Nice reissue of some rare French piano music, at a bargan rate.

Ciccolini is an adequate pianist who specializes in French art. His readings of Satie are questionable--but Massenet's piano pieces are otherwise unobtainable.

Jules Massenet is not widely remembered now--aside from a couple of operas which maintain a toehold in the repetoire. In his heyday during the Second Empire, however, he was an important teacher and opera impresario. These little piano pieces reflect the pale rosy eroticism popular in art during the corrupt reign of Napoleon III.
.

Hindemith: Complete Orchestral Works, Vol. 3 (Box Set)

Average customer rating:

Great collection for a great project

Hindemith: Complete Orchestral Works, Vol. 3 (Box Set)

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Hindemith: Complete Orchestral Works, Vol. 2 (Box Set)
Paul Hindemith: Complete Orchestral Works [Box Set]
Hindemith: Complete String Quartets
Alban Berg Collection / Various (Coll)
The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues

ASIN: B00005B17N
Release Date: 2001-04-17

Tracks:

Concerto For Clarinet And Orchestra: Rather Fast - Reinhold Friedrich
Concerto For Clarinet And Orchestra: Ostinato. Fast - Reinhold Friedrich
Concerto For Clarinet And Orchestra: Quiet - Reinhold Friedrich
Concerto For Clarinet And Orchestra: Gay - Reinhold Friedrich
Concerto For Horn And Orchestra: Moderately Fast - Reinhold Friedrich
Concerto For Horn And Orchestra: Very Fast - Reinhold Friedrich
Concerto For Horn And Orchestra: Very Slow/Moderately Fast/Fast/Lively/Very Slow - Reinhold Friedrich
Concerto For Trumpet, Bassoon, And Strings: Allegro Spiritoso - Reinhold Friedrich
Concerto For Trumpet, Bassoon, And Strings: Molto Adagio/Allegro Pesante - Reinhold Friedrich
Concerto For Trumpet, Bassoon, And Strings: Vivace - Reinhold Friedrich
Concerto For Flute, Oboe, Clarinet, Bassoon, Harp, And Orchestra: Moderately Fast - Reinhold Friedrich
Concerto For Flute, Oboe, Clarinet, Bassoon, Harp, And Orchestra: Grazioso - Reinhold Friedrich
Concerto For Flute, Oboe, Clarinet, Bassoon, Harp, And Orchestra: Rondo. Rather Fast - Reinhold Friedrich

Tracks:

Violin Concerto: Massig Bewegte Halbe - Dene Olding
Violin Concerto: Langsam - Dene Olding
Violin Concerto: Lebhaft - Dene Olding
Kammermusik No.4, Op.36/3 For Violin Solo And Large Chamber Orchestra: Signal, Breite Majestatische Halbe - Dene Olding
Kammermusik No.4, Op.36/3 For Violin Solo And Large Chamber Orchestra: Sehr Lebhaft - Dene Olding
Kammermusik No.4, Op.36/3 For Violin Solo And Large Chamber Orchestra: Nachtstuck, Massig Schnelle Achtel - Dene Olding
Kammermusik No.4, Op.36/3 For Violin Solo And Large Chamber Orchestra: Lebhafte Viertel - Dene Olding
Kammermusik No.4, Op.36/3 For Violin Solo And Large Chamber Orchestra: So Schnell Wie Moglich - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Vorspiel. Langsam, Jedoch Fliessend - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Lied. Leicht Bewegt - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Intermezzo. Munter - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Lied. Langsam - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Marsch. Nicht Schnell - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Musik Zum Kaspertheater. Lustig - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Tanz Der Holzpuppen. Allegretto - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Lied. Langsam - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Melodram. Schnell-Sehr Langsam-Langsam-Sehr Langsam - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Wiegenlied. Langsam - Dene Olding
Tuttifantchen, Orchestral Suite, Christmas Fairy Tale: Schlusslied. Breit, Freudig - Dene Olding

Tracks:

Kammermusik No.5, Op.36/4 For Viola Solo And Large Chamber Orchestra: Schnelle Halbe - Brett Dean
Kammermusik No.5, Op.36/4 For Viola Solo And Large Chamber Orchestra: Langsam - Brett Dean
Kammermusik No.5, Op.36/4 For Viola Solo And Large Chamber Orchestra: Massig Schnell - Brett Dean
Kammermusik No.5, Op.36/4 For Viola Solo And Large Chamber Orchestra: Variante Eines Militarmarsches - Brett Dean
Konzertmusik, Op.48 For Viola And Large Chamber Orchestra: Lebhaft - Brett Dean
Konzertmusik, Op.48 For Viola And Large Chamber Orchestra: Ruhig Gehend - Brett Dean
Konzertmusik, Op.48 For Viola And Large Chamber Orchestra: Lebhaft - Brett Dean
Konzertmusik, Op.48 For Viola And Large Chamber Orchestra: Leicht Bewegt - Brett Dean
Konzertmusik, Op.48 For Viola And Large Chamber Orchestra: Sehr Lebhaft - Brett Dean
Der Schwanendreher Concerto For Viloa And Small Orchestra After Old Folk Songs: Zwischen Berg Und Tiefem Tal - Brett Dean
Der Schwanendreher Concerto For Viloa And Small Orchestra After Old Folk Songs: Nun Laube, Lindlein Laube. Fugato. Der Gutzgauch Auf Dem Zaune Sass - Brett Dean
Der Schwanendreher Concerto For Viloa And Small Orchestra After Old Folk Songs: Variationen: Seid Ihr Nicht Der Schwanendreher? - Brett Dean
Trauermusik For Viola And String Orchestra: Langsam - Brett Dean
Trauermusik For Viola And String Orchestra: Ruhig Und Bewegt - Brett Dean
Trauermusik For Viola And String Orchestra: Lebhaft - Brett Dean
Trauermusik For Viola And String Orchestra: Choral: Vor Deinen Thron Tret Ich Hiermit - Brett Dean

Tracks:

Kammermusik No.6, Op. 46,1 For Viola D'Amore And Orchestra: Massig Schnell, Majestatisch - Brett Dean
Kammermusik No.6, Op. 46,1 For Viola D'Amore And Orchestra: Langsam - Brett Dean
Kammermusik No.6, Op. 46,1 For Viola D'Amore And Orchestra: Massig Schnell, Bewegt - Brett Dean
Kammermusik No.6, Op. 46,1 For Viola D'Amore And Orchestra: Lebhaft, Wie Fruher - Brett Dean
Kammermusik No.7, Op.46,2 For Organ And Orchestra: Nicht Zu Schnell - Brett Dean
Kammermusik No.7, Op.46,2 For Organ And Orchestra: Sehr Langsam Und Ganz Ruhig - Brett Dean
Kammermusik No.7, Op.46,2 For Organ And Orchestra: Ohne Tempobezeichnung - Brett Dean
Organ Concerto: Crescendo - Brett Dean
Organ Concerto: Allegro Assai - Brett Dean
Organ Concerto: Canzonetta And Two Ritornelli - Brett Dean
Organ Concerto: Phantasy On Veni Creator Spiritus - Brett Dean

Customer Reviews:

Great collection for a great project.......2006-04-08

This box set contains mostly the wind, violin, viola, and organ concertos that Hindemith wrote. Most of these works are hard to find on disc, especially the organ works. The Violin Concerto soloist Dene Olding is a little weak, and the orchestra at times empahsizes this by showing a full force that Olding simply can't match. I find the wind concertos to be tedious and not very interesting. But the Kammermusik are uniformly excellent. The viola works are fine, as well. I thought the Trauermusik was especially good, heartrending when it needed to be, contemplative in the best sense of the word. Albert's conducting throughout is solid and sure, but it's a shame that not all of Hindemith's music is equally good. No conducting can save the clunkers from themselves (like the mediocre Clarinet Concerto), but for the price, it's a set definitely worth exploring.

Average customer rating:

Brilliant in many ways
classical gems
Nobody Does It Better
Good CD
A cultural treasure

Spanish Guitar Music

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Essential Guitar: 33 Guitar Masterpieces

ASIN: B00000277B
Release Date: 1991-04-05

Tracks:

Asturias
Tango
Canarios
Fandango
Nocturno
El Colibri
Sonata In D
The Corregidor's Dance
Fisherman's Song
The Miller's Dance
Mondronos
La Nit de Nadal
El Noy de la Mare
La Maja de Goya
Cordoba
Recuerdos de la Alhambra
Spanish Dance No. 5
El Testamen de Amelia
Prelude No. 4 In E Minor
Sevilla
Homanaje
Fantasia
Fandanguillo, Op. 36

Customer Reviews:

Brilliant in many ways.......2005-10-04

'The guitar is a genuinely Spanish instrument,' writes Uwe Kraemer, and it (along with the classical music for it) is one of the great gifts of Spanish culture to the world. The period of composition for guitar in Spanish culture began in the 1500s, and has never really faded. Guitarist John Williams (not to be confused with the composer of the Star Wars themes) is a master of this instrument, and has selected a repertoire of pieces spanning all four centuries of the instrument.

This is a solo album - all of the pieces here are arranged for single guitar. Some of the music is distinctively Spanish, while others bear a Catalan and Portuguese influence. Few of the composers on this album are well-known names in the Northern-European culture, but in the Latin culture, these are names that are known, and the music even more so.

From the earliest century of guitar music, composers such as Gaspar Sanz and Alonso Mudarra show the origins of this kind of work, which includes dissonances that occasionally sound like modern composition. There are pieces with lively spirit and power, inspiring dance in a more popular mode.

Mateo Albeniz has only one surviving composition; a church organist in the late eighteenth/early nineteenth century, he was influenced by Scarlatti and wrote for the harpischord - Williams has transcribed the piece for guitar here.

From the nineteenth to early twentieth centuries, many composers were productive: Isaac Albeniz, Julio Sagreras, Manuel de Falla, Enrique Granados, Francisco Tarrega, Heitor Villa-Lobos, and Joaquin Turina. Some like de Falla were very influenced by traditional Spanish stories and musical themes, whereas others like Granados drew inspiration from the broader aspects of European musical tradition. Villa-Lobos shows the transportation of Spanish music into the new world, becoming a noted name in Brazilian music (which, ironically, is the only major South American country without Spanish as its primary language).

Joaquin Rodrigo and Frederico Moreno Torroba represent composers in this grand style up to the present day.

John Williams' playing is technically sound and has flashes of emotional power and inspiration. Many pieces here are wonderful, but 'The Miller's Dance', the 'Fandango' and the Villa-Lobos 'Prelude No. 4 in E minor' stand out as the greatest of tracks here, being nothing short of brilliant.

classical gems.......2003-07-09

A treat for the solo guitar enthusiast, this is a sparkling collection of Spanish classics, full of drama and passion, played to perfection by John Williams. His technique is dazzling, with a purity and clarity even in the fast and fiery parts, and never a squishy note to be heard.
The music takes us back to the mid 16th century with Alonso Mudarra's "Fantasia", which is short and charming, as well as another early composer, Gaspar Sanz (1640-1710), with his "Canarios", up to many 20th century masters like de Falla, Torroba, and the only non-Spaniard represented, the Brazilian Heitor Villa-Lobos.
Favorites include Albeniz' "Cordoba", which has a marvelous "rasqueado", and the familiar but exciting "The Miller's Dance" by de Falla, but every track is impressive on this CD, as well as entertaining, something solo guitar music occasionally fails to be.

Having been reared by a mother who loved her guitar almost as much as her children, I have heard these pieces played often and by many great artists, but never better, or more enjoyably. This is a compilation that consists of previously released material, some from the 70's and 80's; the sound throughout is excellent, and the total time 73:46.

Nobody Does It Better.......2001-11-24

I regard the recording of "Leyenda" on this CD the best. All other recordings are weak, especially during the buildup of the arpeggio and the strummed chords. Williams is the only guitarist I've heard (including Segovia) to give this dramatic masterpiece the dose of power it deserves--from the bright arpeggio to the whipsaw chordal strums. Other great performances on this CD are "Canarios," "Sonata in D," "Madronos," "Cordoba," and "Recuerdos de la Alhambra." To give an indication of just how powerful Williams' playing is, I've heard Christopher Parkening's and David Brandon's duo (which I highly regard) performance of "The Miller's Dance," and found it lacking the dynamism and excitement of Williams' solo performance. A few of the other compositions on this CD don't appeal to me much; otherwise, I'd rate this CD higher.

Good CD.......2001-10-15

Nice round choice of pieces, well performed. Naturally there are favorites, but overall, a lovely work.

A cultural treasure.......2001-10-09

While converting CDs to MP3s recently, I rediscovered this 1990 CD. I've always loved Williams' lively performances of "Canarios" and "Fantasia", but was struck, one week before the terrorist war began, by the gentle, sad beauty of "Recuerdos de la Alhambra" [Keepsakes of the Alhambra palace]. Tarrega's composition, an inspired work of genius, could serve to restore hopes of peace to the world.

Rodrigo: Complete Orchestral Works, Vol. 7

Average customer rating:

Austerely Moving Spanish Music--Not Your Usual Rodrigo

Rodrigo: Complete Orchestral Works, Vol. 7

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Complete Orchestral Works 1
Rodrigo: Complete Orchestral Works 4
Complete Orchestral Works 3
Rodrigo: Complete Orchestral Works, Vol. 6
Complete Orchestral Works 2

ASIN: B0000BX5KK
Release Date: 2003-10-21

Tracks:

Cantan Por Belen Pastores
Duermete Nino
Aire Y Donaire
Pastorcito Santo
Coplillas De Belen
A La Chiribirivuela
La Espera
A La Clavelina
Rezare Dia Y Noche En Todos Los Instantes
Y Caminare Sobre Las Llanuras Sin Limites
Te Doy Las Gracias, O Senor
Musica Para Un Codice Salmantino
Cantico De San Francisco De Asis

Customer Reviews:

Austerely Moving Spanish Music--Not Your Usual Rodrigo.......2003-10-29

For some reason although I am attracted mightily to Spanish orchestral and piano music--I've recently written rave reviews of new recordings of Granádos piano music and of delightful Guridi vocal and orchestral music--I am not all that fond of guitars. And since Rodrigo's reputation was built solidly upon his guitar concerti (e.g. the ubiquitous 'Concierto de Aranjuez' and 'Concierto para un gentilhombre') and because I've found that music to be facile but not emotionally involving being being 'pretty,' I had not particularly investigated his music beyond those concerti. My loss, it turns out.

This is Volume 7 of Naxos's ongoing series presenting Rodrigo's complete orchestral music. It contains vocal/orchestral music on religious texts and it is striking from beginning to end.

'Retablo de Navidad' (1952) is a collection of Christmas songs set for soprano and bass soloists, chorus and orchestra. Highly varied, they are consistently engaging and show us a Rodrigo whose skills include fascinating use of varied meters, polytonality, quasi-medieval harmonies as well as Spanish-inflected French-derived impressionistic sound. Particularly moving are the solo soprano's 'La Espera,' whose text expresses hope that the Christ-Child will come, and a lullaby sung by Joseph and Mary, 'Duérmete, Niño,' to words by Rodrigo's wife, Victoria Kamhi. There is also a light-hearted a capella choral song, 'A la Chiribirivuela,' with a tongue-twisting onomatopoetic text.

'Himnos de los neófitos de Qumrán' (1965-74) is a setting of three texts from the Dead Sea scrolls, written in a style that I simply would not have expected from Rodrigo. It is polytonal, uses a tone-row, and has harmonies based consistently on minor seconds, yet it is entirely accessible, its sparse textures conveying the sincerity of these almost whispered hymns of praise for the Almighty. The three archangels--soprano soloists María Jesús Prieto, Victoria Marchante, and Ada Allende--are simply stunning in the purity of their tone and the accuracy of their tuning; the male chorus is hardly less impressive. This twenty-minute set of 'hymns' is destined, surely, to become a repertoire piece [and indeed, I've put in a call to the music director of our local professional chamber choir to put him onto this music].

'Musica para un códice salmantino' ('Music for a Salamancan Codex,' 1953), is an eleven-minute setting for bass soloist, mixed chorus and orchestra written for the septicentenary of the University of Salamanca, which was an important repository of learning during the Dark Ages and an intellectual center of the Renaissance. It is set to 'Oda a Salamanca,' by the university's former rector, the distinguished proto-existentialist philosopher/poet Miguel de Unamuno (1864-1936). The text sings the praises of the city and its university ('Oh, Salamanca! Amongst your golden stones the students learnt of love, as the fields which embrace you gave forth their ripe fruits'). The music here creates a feeling of the glory of the Spanish Renaissance with modal harmonies and occasional brass fanfares.

'Cántico de San Francisco de Asis' ('Canticle of Saint Francis of Assisi,' 1982) for chorus and orchestra was written to celebrate the 800th anniversary of the birth of St. Francis. This 19-minute piece is one of Rodrigo's last works. Set to a poem of praise by the saint ('All-highest, omnipotent good Lord, to you be all praise, glory') translated into Spanish, it lists the things for which we should praise God--Mother Earth, Brother Fire, Sister Moon, Brother Sun, Brother Wind and, finally, Sister Death. The string-dominated orchestral music is solemn, medieval in tone with occasional brass and wind interjections and with portentous timpani toward the end. The tone is mystical, austere, ultimately jubilant. The Chorus and Orchestra of the City of Madrid under the direction of José Ramón Encinar are effective, here as in the earlier pieces.

I have to say that I was moved and delighted by this CD, partly because it came as such a suprise to me. I had no idea that Rodrigo was capable of such deeply moving music. And that's one reason I keep listening to new music, music I might not otherwise have heard--for moments like these.

Strongly recommended.

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