A Bach Recital

On this CD:

1. Two part invention for keyboard No. 8 in F major, BWV779
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

2. Two part invention for keyboard No. 1 in C major, BWV 772
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

3. Cantata No. 147, "Herz und Mund und Tat und Leben," BWV 147 Jesu, Joy of Man's Desiring
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

4. Suite for solo cello No. 3 in C major, BWV 1009 Bourees I and II
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

5. Harpsichord Concerto No. 5 in F minor (or for oboe or violin in G minor) BWV 1056 Largo
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

6. Partita for lute in E major, BWV 1006a Prelude
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

7. Partita for lute in E major, BWV 1006a Gavotte en Rondeau in E major
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

8. Partita for solo violin No. 1 in B minor, BWV 1002 Sarabande
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

9. Partita for solo violin No. 1 in B minor, BWV 1002 Double
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

10. Cantata No. 140, "Wachet auf, ruft uns die Stimme," BWV 140 Sleepers Awake
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

11. Prelude for lute in C minor, BWV 999
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

12. Fugue for lute in G minor, BWV 1000
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

13. Anna Magdalena Bach Notebook Menuet in G major
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

14. Anna Magdalena Bach Notebook Mussette
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

15. Anna Magdalena Bach Notebook Menuet in G minor
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

16. Work(s) Marche Allegro
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

17. Suite for lute in G minor, BWV 995 Sarabande
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

18. Suite for lute in G minor, BWV 995 Gavotte en Rondeau
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

19. Toccata, Adagio, and Fugue for organ in C major, BWV 564 Adagio
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

20. Suite for lute in E minor, BWV 996 Bouree
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

21. Suite for orchestra No 3 in D major, BWV 1068 Air on the G String
Composed by Johann Sebastian Bach
Performed by Simon Wynberg

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Partita in E, BWV 1006a: Prld
Partita in E, BWV 1006a: Loure
Partita in E, BWV 1006a: Gavotte En Rondeau
Partita in E, BWV 1006a: Menuett I And Menuett II
Partita in E, BWV 1006a: Bourree
Partita in E, BWV 1006a: Gigue
Son Romantica: I. Allegro Moderato
Son Romantica: II. Andante Espressivo
Son Romantica: III. Allegretto Vivo
Son Romantica: IV. Allegro Non Troppo E Serioso
Danza Mora
Capricho Arabe
Vals
The Troubadours Three: Melancholy
The Troubadours Three: Sonnet
The Troubadours Three: Celebration
Five Bagatelles: I. Allegro
Five Bagatelles: II. Lento
Five Bagatelles: III. Alla Cubana
Five Bagatelles: IV. Sempre Espressivo
Five Bagatelles: V. Con Slancio

Customer Reviews:

Dreamy.......2007-01-01

I've had the recording for a while and I saw her live too. The recording is a nice interpretation of Bach because of the speed of the pieces. I met her after I saw her live in '05 and she is a total doll. Buy it even if you don't like classical cuz it will change your mind.

Remarkable young artist.......2006-07-05

This CD is a stunning debut recording by one of the most gifted young guitarists to appear in some time. Her technical abilities are of the highest level. Anyone that can play the Prelude to the 4th Lute Suite this briskly AND musically is above most criticism. And I have been playing the 4th Lute Suite for thirty years myself.

Now, of course Ana Vidovic has lots of room to grow aesthetically--how could it not be so, as she made this recording before she was twenty years old? For example, the Sonata Romantica suffers a bit from excess impetus. She almost never lets the music breath and in this music, hommage to Schubert as it is, expansiveness is inherent to the style. But let us also praise her choice of repertoire. She has unerringly chosen very fine pieces from the repertoire, which is not always the case. Her Walton Bagatelles are remarkable, showing a panache that we are used to hearing only from Julian Bream, for whom they were written.

One thing that Ana Vidovic has in spades is a real ear for harmonic progression--this is one of the many things that sets this recording apart from many others by those with velocity and fingers and little else.

So, my advice is to purchase this recording. I doubt very much that you will regret it and you will be hearing a lot more from this artist over the years.

Stunning technique, needs much work.......2006-06-25

This performer deserves all the latitude necessary, as she may yet develop into a relevant, insightful, and original interpreter of the music she offers. I truly hope she does not choose to compete with Eliot Fisk in the Indy-500 or the 24-Hours of Le Mans. Based on the samples, I won't be buying this CD as I can program my computer to play just as fast or even faster, and just as clear. Instead, I recommend the Frank Bungarten recording (also available on Amazon). But Ana Vidovic does show a lot of promise, and deserves encouragement.

Best version of the Prelude BWV 1006 for Guitar.......2006-05-21

For anyone following ALL previous versions of Bach's Fourth Lute Suite (Williams, Barrueco, Galbraith, Russell, and a long etc) Vidovic deserves a place of her own. Her playing is superb: it has energy, character, precision and strength enough to deceive anybody ignoring she was barely 19 at the time of the recording. If you do not have this CD buy it now. Bear in mind it is not Sony, or BMG with their outstanding sound engineers, but Vidovic makes up for all that absence. She is part of a new generation of croatian world class virtuosi and in my opinion, a clear step forward in Classical Guitar Playing.

WOW.......2006-04-09

I just got this recording after seeing her live. Ana Vidovic is amazing. Probably one of my favorite players.

Average customer rating:

A Divine Revelation
Fantastic

Dinu Lipatti: Besancon Recital
Dinu Lipatti , Frederic Chopin , and Johann Sebastian Bach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

$7.99 and Under | Blowout Music | Stores | Music

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

$7.99 and Under | Prices | Blowout Music | Stores | Music
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Great Recordings Of The Century - Dinu Lipatti
The Complete Chopin Recordings
Dinu Lipatti plays Chopin, Enescu, Ravel, Liszt & Brahms
Chopin: Waltzes Nos. 1-14
Piano Concertos

ASIN: B0001HAHPA
Release Date: 2004-03-23

Tracks:

I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Menuet I & Menuet II
VI. Gigue
I. Allegro Maestoso
II. Andante Cantabile Con Espressione
III. Presto
No.3 In G Flat
No.2 In E Flat
No.5 In A Flat Op.42
No.6 In D Flat Op.64 No.1
No.9 In A Flat Op.69 No.1
No.7 In C Sharp Op.64 No.2
No.11 In G Flat Op.70 No.1
No.10 In B Minor Op.69 No.2
No.14 In E Minor Op.Posth.
No.3 In A Minor Op.34 No.2
No.4 In F Op.34 No.3
No.12 In F Minor Op.70 No.2
No.13 In D Flat Op.70 No.3
No.8 In A Flat Op.64 No.3
No.1 In E Flat Op.18

Customer Reviews:

A Divine Revelation.......2005-06-14

Everyone who knows what they are talking about agrees: Dinu Lipatti was heaven sent. Cortot thought so, so did Walter Legge and countless others. This recording is nothing short of the last and greatest divine revelation Lipatti gave us. The Schubert G Flat Major impromptu is one of the most amazing performances around. If you are a pianist, you must listen to Lipatti to understand what piano playing means.

Fantastic.......2004-07-08

One of the most classic recitals in music history, played by a GOD.

Average customer rating:

An excellent classical guitarist: With his own sound
Bravo!
A great recording

Bach Guitar Recital

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Baroque Guitar
Julian Bream: The Ultimate Guitar Collection-Volume 2
Music of Spain
Bach: Lute Suites, Trio Sonatas
Ultimate Guitar Collection

ASIN: B000002RU9
Release Date: 1994-08-16

Tracks:

Prelude, Fugue And Allegro BMV 998: I Prelude
Prelude, Fugue And Allegro BMV 998: II Fugue
Prelude, Fugue And Allegro BMV 998: III Allegro
Suite BMV 996: I Prelude (Passaggio-Presto)
Suite BMV 996: II Allemande
Suite BMV 996: III Courante
Suite BMV 996: IV Sarabande
Suite BMV 996: V Bourree
Suite BMV 996: VI Gigue
From Partita BMV 1004, In D Minor: Chaconne
Partita BMV 1006a In E Major: I Prelude
Partita BMV 1006a In E Major: II Loure
Partita BMV 1006a In E Major: III Gavotte en Rondeau
Partita BMV 1006a In E Major: IV Menuett I - Menuett II - Menuett I
Partita BMV 1006a In E Major: V Bourree
Partita BMV 1006a In E Major: VI Gigue

Customer Reviews:

An excellent classical guitarist: With his own sound.......2007-04-13

Julian Bream is, without a doubt, one of the premiere classical guitarists of the modern recording era. Comparisons between great guitarists is often unfair and misleading as they each have their own styles - and each musician and his/her style tends to be particularly well suited to certain types of music. For example, Andres Segovia's style, cultivated by self-teaching throughout his now ended life, concentrated on flowing legatto smoothness and flowing melodies. Bream's, on the other hand, while equally masterful, is better characterized as emphasizing the precision and crispness of each and every individual note. What better composer to focus on to show this particular proclivity that J. S. Bach, whose work, having been written largely for the keyboards (harpsichord) but also for the lute and triple harp, tends to emphasize the kinds of music Bream excels at. Stacatto phrasings, each written to be played with crystalline exactness, are the types of pieces wherein Bream's magnificence is conspicuous and best showcased. Thus, the special relevance of this particular compilation of some of his best Bach work on this CD.

It includes only four major pieces - each of which has, of course, subsets/parts. The Basic pieces are all by J.S. Bach and include:
1. Prelude, Fugue and Allegro BWV998
2. Suite BWV 996
3. Chaconne from Partita BWV 1004, and
4. Parita BMV 1006a

Originally recorded in 1994 and recently re-released by EMI Classics, this CD showcases Bream's greatest abilities as a musician of chiming precision and maturity. The fact that his renditions of these pieces are unique and differ in many ways from the versions recorded by Segovia, Williams and others - render them no less excellent. Simply put, they are different. Excellence comes in many flavors! Born in 1933, he is, perhaps, the most thoroughly accomplished of living classical guitarists and it is arguable that his style represents more than a 'difference' with Segovia's musicianship - but a generational C change and progression in the interpretation of pieces such as these written, by-in-large, in the 18th century.

No matter how you see this issue, I am confident that any lover of classical guitar will enjoy (many times) this CD and Bream's highly stylized and precise renditions of some of J.S. Bach's most memorable and complex masterworks.

Bravo!.......2002-02-20

Bream makes this music sound like it was written for the guitar. The individuality of contrapuntal lines is extraordinary. Musically compelling interpretations. I never get tired of listening to this album.

A great recording.......2000-05-01

Julian Bream is definitely among the best musicians of the 20th century, and his performance is supreme in this recording of Bach's compositions, originally written for the lute (though still debated in the academia) and violin. If you like Bach, this CD will not disappoint you in any way. These pieces are among the most popular for the classical guitarists, and matches the sound of the guitar very well.

Average customer rating:

Familiar Music As Played By A True Artist

My First Recital

Manufacturer: Essay
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Inventions | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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My Second Recital: Ruth Laredo, Piano
Learning By Example Series, Vol. 1

ASIN: B00000082W
Release Date: 1993-07-15

Tracks:

The Well-Tempered Clavier, Book 1: Prld No.1 in C, BWV 846
Two-Part Invention No.1 in C, BWV 772
Two-Part Invention No.4 in d, BWV 775
Two-Part Invention No.8 in F, BWV 779
Fant in d, K.397
Son in C, K.545: Allegro
Son in C, K.545: Andante
Son in C, K.545: Allegro
Fur Elise
Son in G, Op.49, No.2: Allegro Ma Non Troppo
Son in G, Op.49, No.2: Tempo Di Menuetto
Waltz in A, Op.64, No.1 ('Minute Waltz')
Waltz in b, Op.69, No.1 (After The Warsaw Autograph)
Grand Valse Brillante in A, Op.18
Preludes, Book 1: The Girl With The Flaxen Hair
Suite Bergamasque: Clair De Lune
Scenes From Childhood, Op.15-Selections: From Foreign Lands And People
Scenes From Childhood, Op.15-Selections: A Curious Story
Scenes From Childhood, Op.15-Selections: An Important Event
Scenes From Childhood, Op.15-Selections: Dreaming (Traumerei)
March From Peter And The Wolf

Customer Reviews:

Familiar Music As Played By A True Artist.......2000-08-30

This album contains all those supposedly trite and "easy" recital warhorse pieces played to perfection. You would think that the result would be pedantic and boring, but Laredo's playing demonstrates the vitality a first-rate artist can bring to even the most familiar pieces. If you are a piano student, or if you know one, get this CD just for the inspiration it provides.

Average customer rating:

Horowitz Shines in Uncharacteristic Repertoire.
Delightful "Recital"

Horowitz: A Baroque & Classical Recital

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | 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
Similar Items:

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. VI: Horowitz Performs Beethoven
Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63
The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert
The Romantic & Impressionist Era
Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics

ASIN: B00000290E
Release Date: 1994-07-19

Tracks:

Muzio Clementi: Sonata In E-Flat Major, Op. 12 No. 2 - III Rondo
Muzio Clementi: Adagio sostenuto In F Major
Muzio Clementi: Sonata In B-Flat Major, Op. 25 No. 3 - II Rondo
Muzio Clementi: Sonata In A Major, Op. 50 No. 1 - II Adagio
J.S BACH - F. BUSONI: Corale Prelude 'Ich ruf' zu dir Herr Jesu Christ'
Domenico Scarlatti: Sonata In F-Sharp Major, K 319 (L35)
Sonata In G Major, K 260 (L124)
Joseph Haydn: Sonata In C Major, HOB. XVI: 48 - I: Andante con espressione
Joseph Haydn: Sonata In C Major, Hob. XVI:48 - II: Rondo
Lugwig van Beethoven: Sonata No. 28 in A major, Op. 101 - I: Allegretto ma non troppo
Lugwig van Beethoven: Sonata No. 28 In A Major, Op. 101 II: Vivace alla Marcia
Lugwig van Beethoven: Sonata No. 28 In A Major, Op. 101 III: Adagio ma non troppo, con affetto -- Allegro

Customer Reviews:

Horowitz Shines in Uncharacteristic Repertoire........2003-03-08

Volume Five of Sony's Vladimir Horowitz reissue cobbles together the pianist's live and studio recordings of music from the Baroque and Classical era.

From about 1950 on, Muzio Clementi's music was often featured on Horowitz's programs. Despite his advocacy, the pianist was unable to spark a Clementi-revival, as he did with Scarlatti and Scriabin. Yet, in Horowitz's hands, Clementi's music emerges as convincing and compelling. Horowitz plays the isolated sonata movements with characteristic clarity, technical control, and deft phrasing--hinting and Clementi's pre-echo of romanticism while honoring the era's Classical framework.

When playing Bach, Horowitz generally relied on Ferruccio Busoni's inimitable transcriptions. Horowitz greatly admired--even worshiped--Busoni and considered his arrangements the ideal transference of Bach's music to the modern piano. This Chorale Prelude, recorded for a GoodYear Tire promotional album in 1969, is played with appropriate reverence. The performance demonstrates that Horowitz's ability to suspend one line above another, his control of part writing is every bit as astonishing as Glenn Gould's, and his tone is a lot more pleasing.

The hallmarks of Horowitz's Scarlatti can be heard in the two Sonatas heard here: perfect transference of Scarlatti's sound world onto the modern piano; infinite grades of detachment and color; careful use of the sustaining pedal; flawless judgment of dynamics--from soft-softer-softest on the lower end, yet never pushing the piano too far into the forte range.

Horowitz always seemed at home with Haydn's diverse pianistic textures and musical humor. The pianist plays the opening movement of the C-major Sonata at a much broader tempo than usual, phrasing it as if it were an opera aria. The second movement, one of Haydn's wittiest rondos, runs at a brisk tempo, with the sudden key-shifts and off-beat accents handled with Horowitz's usual aplomb.

Horowitz was not congenial to late Beethoven, and felt that the piano works after Op. 81a were not meant for public performance--certainly not for today's mammoth concert halls. The pianist made an exception to his ban on Beethoven's late piano music for the Sonata in A major, Op. 101, performing it occasionally: in the 1930s, in 1967, 1980, and during his disastrous 1983 tour. In 1988, the intrepid Thomas Frost found several performances from 1967 recitals, spliced them together, and nervously presented the final product to Horowitz for approval. Much to Frost's surprise, Horowitz consented to release the Beethoven, along with several shorter works. This is pianistically one of the finest Op. 101s ever committed to disc (but his concert performances from 1980 were even more polished). For once, Beethoven's murky late piano writing is clear. The first movement sounds almost Wagnerian in its pathos. The dotted rhythms in the march are Schumannesque, the accents nearly brutal--no other performance on this work so clearly demonstrates Beethoven's influence on Schumann. The fugue is played with unprecedented clarity, despite a few quite inconsequential wrong notes--no pianist gets through this fugue unscathed.

The sound varies, given the diverse recording locales, but remains acceptable.

Delightful "Recital".......2000-11-22

Volume Five of Vladimir Horowitz's "Complete Masterworks Recordings" is a delightful collection of baroque and classical gems. But don't let the title fool you, this is not a single concert recital but instead an assortment of studio and live recordings ranging from 1963 through 1972. The other thing to be aware of with this disc is a majority of this material is also included on "Discovered Treasures" -- don't get both as I did. Anyway, back to the title at hand. The Clememti Sonatas are morsels of ear candy while the Bach-Busoni is achingly beautiful (and definitely superior to Evgeny Kissin's recording). Two more Scarlatti Sonatas (K319 & K260) are played with the passion that only Horowitz can bring to this composer's works, and then he goes on to perfectly capture the delicate grace of the first movement of Haydn's C-major Sonata and the forcefulness of its second movement. The final selection on this CD is a 1967 live recording of Beethoven's 28th Piano Sonata. While Horowitz recorded Beethoven Sonatas from the early and middle periods throughout his career, this is one of the few recordings he made of a late Sonata. Unfortunately, the solemn first movement is marred by numerous coughs from the Queens College audience, but Horowitz's playing is so masterful that you quickly forget about it (although I would not make this your definitive version -- check out Pollini's recording as well). Overall, "A Baroque and Classical Rectal" is as enjoyable a volume as any of the nine Horowitz "Masterworks" titles.

Average customer rating:

Julius Baker in Recital, Vol.2

Manufacturer: Video Artists Int'l
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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Julius Baker in Recital

ASIN: B000003LJ6
Release Date: 1995-05-18

Tracks:

Sonata No. 4 In F Major, KV 13: Allegro
Sonata No. 4 In F Major, KV 13: Andante
Sonata No. 4 In F Major, KV 13: Menuetto I And II
Sonata In G Minor, BWV 1020: Allegro moderato
Sonata In G Minor, BWV 1020: Adagio
Sonata In G Minor, BWV 1020: Allegro
Sonatine
Sonatine: Moderato
Sonatine: Allegretto
Sonatine: Vivace
Divertissement No. 5 In G Major, Op. 68: Adagio
Divertissement No. 5 In G Major, Op. 68: Scherzo (Presto)
Prelude No. 2

Average customer rating:

Superb Guitarist

Guitar Recital

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Guitar Recital
Sor, Aguado, Tárrega: 19th Century Guitar Favourites
Steve Kostelnik, Laureate, 1996 GFA Competition: Guitar Recital
Guitar Recital
Villa Lobos: Guitar Music

ASIN: B00000DAJH
Release Date: 1998-09-29

Tracks:

Prelude In A Major
Estudio Brillante
Mazurka In G Major
Mazurka In C Major
Endecha
Prelude In D Major
Oremus
Maria
Prelude In E Major
Sonata In A Minor, BWV 1003: Grave
Sonata In A Minor, BWV 1003: Fuga
Sonata In A Minor, BWV 1003: Andante
Sonata In A Minor, BWV 1003: Allegro
Prelude For Guitar: Eyes Of A Recollection
Opern-Revue Op. 8 No. 2: Lucia di Lammermoor
Th Varit Finale

Customer Reviews:

Superb Guitarist.......2000-06-24

Fabio Zanon's CD is a great recording to have a anyone's current CD collection. He is a fine example of a current generation classical guitarist. This music encompasses musical styles ranging from the Baroque to the twentieth century. His performance of Bach is extremely clean, and equally important is Zanon's fluent treatment of the melodies in Tarrega's music. One could ponder while listening if he was not native to any of the styles contained on this disc. After obtaining this recording, the listener will want to see this performer live to appreciate the talent even more!

Recital at Carnegie Hall, November 25, 1956

Average customer rating:

A missable item among the riches of the Schwarzkopf catalog
A complete Schwarzkopf lieder recital.

Recital at Carnegie Hall, November 25, 1956

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000DO02
Release Date: 1990-10-25

Customer Reviews:

A missable item among the riches of the Schwarzkopf catalog.......2006-03-20

Since this double-CD is long out of print, I suppose there's not much value in criticizing it in detail. EMI has released dozens of lieder and opera recordings with their preeminent star, including great live concerts from Salzburg with Gerald Moore from this period in the mid-Fifties.

Compared to Moore and Edwin Fischer, by far her best accompanist, George Reeves is stiff and unimaginative, not to mention that the paino sounds thin and clattery. Schwarzkopf recorded every song here in at least one and often multiple versions that are much better. Unless you want a souvenir of Schwarzkopf live in New York, this set is a miss.

A complete Schwarzkopf lieder recital........2003-09-07

Lieder recitals featured prominently in the career of Elisabeth Schwarzkopf. Not many were recorded in their entirety, however, announced encores and all, or approved for issue. This double CD offers an opportunity to hear her in her prime, recorded in Carnegie Hall, New York, 25th November 1956.

With George Reeves, who brings vast experience and plenty of personality to the piano accompanying, Schwarzkopf delivers a succession of her favorite items, none too demanding (apart from an operatic aria) and all enthusiastically applauded by the audience. One or two of the Schubert strophic songs are given interesting dynamic "interpretative" presentations, not attempted in her studio recorded versions. After a bracket of Mozart lieder, Schwarzkopf announces that she has received many requests for the inclusion of an operatic aria. She provides one of Fjordiligi's arias from "Cosi fan tutte", coping wonderfully well with its many difficulties.

Tracks:

Chaconne - Nathan Milstein/Josef Blatt
Son in g, BWV 1001: Adagio - Nathan Milstein
Son in g, BWV 1001: Fuga (Allegro) - Nathan Milstein
Son in g, BWV 1001: Siciliano - Nathan Milstein
Son in g, BWV 1001: Presto - Nathan Milstein
Son in g, BWV 1001: Paganiniana (Vars) On Themes By Nicolo Paganini - Nathan Milstein
Con in e, Op.64: Allegro Molto Appassionato-Presto - Nathan Milstein/Josef Blatt
Con in e, Op.64: Andante - Nathan Milstein/Josef Blatt
Con in e, Op.64: Allegretto Non Troppo-Allegro Molto Vivace - Nathan Milstein/Josef Blatt
Nocturne in c# - Nathan Milstein/Josef Blatt
Scherzo-Tarantelle - Nathan Milstein/Josef Blatt

Amazon.com

This concert was recorded at the Library of Congress in 1946, and it's typical of a violin recital of that time, including a concerto played with piano accompaniment. The great Nathan Milstein was at the height of his career, and his playing is simply stupendous. The Bach Sonata is even more amazing than in Milstein's two studio recordings, and the unaccompanied Paganiniana will give other violinists nightmares. And I don't mind hearing the Mendelssohn with piano when it's played this beautifully. The sound shows its age, but it's listenable. Beware of a rip-off of this disc on the Italian Strings label; this edition is the original. --Leslie Gerber

Album Description

Hold on to your hat! Released herein, for the first time, is a disc of astonishing violin playing: one of this century's greatest masters captured at the peak of his powers. This 67 minute disc offers ample evidence for the widely held contention that Milstein was among a handful of the greatest violin virtuosi of his time. This disc includes performances of many of the works that made Milstein famous. His Vitali Chaconne features the impeccable intonation and beautifully focused vibrato that made his name legend. Faster and more intense than the studio recordings that he would later make, Milstein's Bach G minor Sonata brings together intellectual strength and the heartfelt emotion that marks all of the performances in this recital. In a class by itself is the astounding virtuosity of Milstein's Paganiniana- simply one of the most amazing displays of digital facility that one will ever hear. This disc includes a real rarity - Milstein's performance of the Mendelssohn Violin Concerto, Op. 64, with piano accompaniment. Because of the resultant prominence of the solo violin part, violin enthusiasts will be particularly excited about the opportunity to hear Milstein's interpretation "up close". As encores Milstein offers his own haunting transcriptions of Chopin's Nocturne in C sharp minor as well as a spectacularly fiery rendition of Wieniawski's Scherzo-Tarantelle.

Customer Reviews:

Totally amazing, despite the crude recording.......2004-04-01

I basically buy and listen to violin recordings with my daughter, the violinist, when she begins to learn each new piece. We bought this one for the Vitali Chaconne, and before hearing it we frankly did not have high hopes - my daughter tends to turn up her nose at the noise on older recordings, and neither of us liked Milstein's recording of the Bach Partita #3, but...Wow! The expressive sound that comes through the snap, crackle, pop, and hiss of the '40s recording technology is wonderful! The live-performance energy that you can sense on this disc makes you forget feeling "spoiled" by crystal-clear, heavily edited, DDD CDs. The Vitali is wonderful, and the totally unexpected piano-accompaniment-only version of the Mendelssohn concerto really makes you appreciate the solo violin even more. This is one to seriously consider even if you have the prejudices that we did at first.

A poor recording of wonderful music played near perfectly........1998-11-03

Recoreded in 46', this disc has many cracks, snaps and pops which are a little bit annoying, but the musicianship on the disc is amazing. It contains a wonderful selection of pieces ranging from sad and romantic to fast and virtuosic. Milstein is a phenomenal violinist and this recording captures him at his best. This record is a must have for violin fan fans as well as anyone with a pulse.

5 stars even though the recording is bad.

Music Review: