Romantic Bass Duets

On this CD:

1. Ich wollt', meine Lieb', song for 2 voices & piano, Op. 63/1
Composed by Felix Mendelssohn
Performed by Kurt Moll, Harald Stamm

2. Herbstlied ("Ach wie so bald"), song for 2 voices & piano, Op. 63/4
Composed by Felix Mendelssohn
Performed by Kurt Moll, Harald Stamm

3. Abendlied ("Wenn ich auf dem Lager"), folk song for 2 voices & piano (Folksong No. 2)
Composed by Felix Mendelssohn
Performed by Kurt Moll, Harald Stamm

4. Wasserfahrt ("Ich stand gelehnet"), folk song for 2 voices & piano (Folksong No. 3)
Composed by Felix Mendelssohn
Performed by Kurt Moll, Harald Stamm

5. Chamber Duets (6), for 2 equal voices & piano, Op. 121 No. 1, Frieden der Nacht
Composed by Ferdinand Hiller
Performed by Kurt Moll, Harald Stamm

6. Chamber Duets (6), for 2 equal voices & piano, Op. 121 No. 5, Gebet
Composed by Ferdinand Hiller
Performed by Kurt Moll, Harald Stamm

7. Chamber Duets (6), for 2 equal voices & piano, Op. 121 No. 6, Hymne
Composed by Ferdinand Hiller
Performed by Kurt Moll, Harald Stamm

8. Songs (12) for 2 voices & piano, Op. 48 No. 1, Der Engel
Composed by Anton Rubinstein
Performed by Kurt Moll, Harald Stamm

9. Songs (12) for 2 voices & piano, Op. 48 No. 5, Wanderers Nachtlied
Composed by Anton Rubinstein
Performed by Kurt Moll, Harald Stamm

10. Songs (12) for 2 voices & piano, Op. 48 No. 8, Die Wolke
Composed by Anton Rubinstein
Performed by Kurt Moll, Harald Stamm

11. Songs (12) for 2 voices & piano, Op. 48 No. 2, Waldlied
Composed by Anton Rubinstein
Performed by Kurt Moll, Harald Stamm

12. Moravian Duets (Moravské dvojzpevy) Gruß aus der Ferne
Composed by Antonin Dvorak
Performed by Kurt Moll, Harald Stamm

13. Moravian Duets (Moravské dvojzpevy) Die Trennung
Composed by Antonin Dvorak
Performed by Kurt Moll, Harald Stamm

14. Moravian Duets (Moravské dvojzpevy) Soldatenabschied
Composed by Antonin Dvorak
Performed by Kurt Moll, Harald Stamm

15. Zwiegesänge zur Nacht, for 2 voices & piano, Op. 13 Sternensang
Composed by Emil Mattiesen
Performed by Kurt Moll, Harald Stamm

16. Zwiegesänge zur Nacht, for 2 voices & piano, Op. 13
Composed by Emil Mattiesen
Performed by Kurt Moll, Harald Stamm

17. Irish Popular Songs: No. 1, The Wearing of the Green
Composed by Ernst von Stockhausen
Performed by Kurt Moll, Harald Stamm

18. Irish Popular Songs: No. 2, Daherin o Machree
Composed by Ernst von Stockhausen
Performed by Kurt Moll, Harald Stamm

19. Irish Popular Songs: No. 3, The Drinaun Dhun
Composed by Ernst von Stockhausen
Performed by Kurt Moll, Harald Stamm

20. Irish Popular Songs: No. 4, How sweet the answer Echo makes
Composed by Ernst von Stockhausen
Performed by Kurt Moll, Harald Stamm

21. Irish Popular Songs: No. 5, Pastheen Fionn
Composed by Ernst von Stockhausen
Performed by Kurt Moll, Harald Stamm

22. Irish Popular Songs: No. 6, Kitty of Coleraine
Composed by Ernst von Stockhausen
Performed by Kurt Moll, Harald Stamm

23. Der Tod und das Mädchen ("Vorüber, ach vorüber"), song for voice & piano, D. 531 (Op. 7/3)
Composed by Franz Schubert
Performed by Kurt Moll, Harald Stamm

24. Erlkönig ("Wer reitet so spät"), song for voice & piano, D. 328 (Op. 1)
Composed by Franz Schubert
Performed by Kurt Moll, Harald Stamm

25. Odins Meeresritt, ballad for voice & piano, Op 118
Composed by Carl Loewe
Performed by Kurt Moll, Harald Stamm

26. Archibald Douglas for voice & piano, Op 128
Composed by Carl Loewe
Performed by Kurt Moll, Harald Stamm

27. Tom der Reimer, Scottish ballad for voice & piano, Op 135a
Composed by Carl Loewe
Performed by Kurt Moll, Harald Stamm

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006O0NT
Release Date: 2002-12-03

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:

Il matrimonio segreto: Se fiato in corpo avete
Don Pasquale: Cheti, cheti immantinente
Marino Faliero: Israele, che vuoi?...Se pur giungi a trucidarlo
I Puritani: Il rival salvar tu dei...Suoni la tromba
Attila: Uldino, a me dinanzi...Tardo per gli anni
Don Carlos: Restez!
Simon Boccanegra: Suona ogni labbro il mio nome
Un Giorno de Regno (Il finto stanislao): Tutte l'ami!

Amazon.com

This disc is remarkable in many ways. Not only does it bring together two of opera's reigning lower-voiced superstars, it shows them at their best and presents, in addition, repertoire we rarely get to hear. In the past, Samuel Ramey has occasionally come across as bland and Thomas Hampson as just a bit too eager for a man with what is essentially a very lyric baritone voice. But their chemistry here works: Ramey is filled with passion--some of it comic (as Don Pasquale), some of it vitriolic (as Fiesco), and some of it loony (as Attila); throughout, his burnished tone never lets him down. Hampson is charming and in handsome voice as well--equally light and patterful when comic (a delicious Malatesta), and nicely dire (Ezio and Rodrigue). He isn't up to Simon Boccanegra's stature either vocally or emotionally (for that, listen to the classic performance of Piero Cappuccilli, but the sheer loveliness of his singing is enough to carry the day. A must for fans of either gent, and an intelligent, unhackneyed collection of music to boot. --Robert Levine

Customer Reviews:

The Troubles with Thomas.......2005-12-31

This could have been a fantastic album, but ends up falling well short of that owing to Thomas Hampson. I have never understood the fawning praise Mr. Hampson receives. His voice is unpleasant, his musical interpretations are well-below average, and his coloratura is completely non-existant -- for an excellent example of this, compare, in the Pasquale duet, Ramey's exquisite descending scales in the "aspetta, aspetta, cara sposina" phrase with Hampson's sloppy counterpart, "il poverino, sogna vendetta". The "i" in "poverino" is supposed to carry over four separate notes, and not one note, a whooping cough, and a closing note! Judging by some interviews I've read and/or seen, Mr. Hampson appears to be a decent, down-to-earth gentleman. As an opera singer, however, he's mediocre at best. This recording is worth owning thanks to Ramey, who is absolutely top-notch.

Make sure you buy 2!.......2005-01-05

One to keep, one to give away. You'll wind up burning one for the car and one for the office regardless. A friend lent me this CD and I've bought 4 so far. One of the best! I can't recommend it enough.

But one complaint.......2004-08-21

Amusing concept, wonderful singing. But one question: Why was the Dandini-Don Magnifico duet from LA CENERENTOLA not included? Since they wanted to have two buffo duets, I think that would have been a better choice that the MATRIMONIO SEGRETO number.

Voices of power.......2004-03-21

It had always been my impression that when basses and baritones got together to sing, they were either intent on murdering each other, or else they were engaged in a jolly, male-bonding patter song. "No Tenors Allowed" (NTA) has examples of both of these types of duets. But the lower voices are also opera's authority figures, so we also have a smattering of Doges and Kings on this CD.

The basso cantante of Samuel Ramey and the baritone of Thomas Hampson swirl together like chocolate liqueur in coffee. This CD vibrates with dark sonics. Both artists bring their considerable powers of interpretation to these roles--no fooling around with buffo here, just wonderful singing.

There are a total of eight duets by Cimarosa, Donizetti, Bellini, and Verdi on this CD. Among my favorites:

"Cheti, cheti immantinente" from Donizetti's "Don Pasquale"--The elderly Don Pasquale (Ramey) and his personal physician Malatesta (Hampson) plot to catch Pasquale's young 'bride' in the garden with her lover. This might not sound like a particularly jolly situation, but the duet captures the verve of a hilarious plot--lots of "oh ho's," "ha ha's," and "hee hee's" scattered throughout--the very epitome of bass-baritone hilarity. Listening to this duet, I'm almost tempted to regret Ramey's preference for serious roles over lighter repertory like "Don Pasquale." His old buffoon schemes and whines and chuckles without a trace of vulgarity, just pure musicality. Both singers are patter-perfect.

"Suona ogni labbro il mio nome" from Verdi's "Simon Boccanegra"--This is the first of two great duets between adversaries Jacopo Fiesco, patrician and currently Doge of Genoa (Ramey) and Simon Boccanegra, a plebian and the future Doge (Hampson). Fiesco still hasn't forgiven Boccanegra for stealing the love of his daughter, Maria, who has borne Boccanegra a daughter out of wedlock. In this duet, Ramey's fury contrasts vividly with Hampson's pleading, "Padre mio, pieta t'implora..." as the baritone tells him of the loss of his little daughter (Fiesco's granddaughter). What Boccanegra does not yet know is that his lover, Maria has died. This duet is another fine example of a Verdian father-daughter heartbreaker, in which both men are mourning the loss of a daughter. Hampson sings with dramatic conviction, almost a sweet sound compared to the menacing undercurrent of Ramey's bass, but also dignified.

If you are a fan of the lower fach in Italian opera, NTA is a 'must' for your CD library.

A Masterful Double Bill.......2002-08-13

This is one cd that I may actually wear out. I love this collection! What a marvelous idea, to highlight the most under-represented opera format--the bass/baritone duet--and bring together two of the current best--Ramey and Hampson--to pull it off. I am a bass-baritone and find all these selections a wonderful change of pace from the usuall opera recording. The liner notes are hilarious, with their tongue-in-cheek (or not) poke at tenors. My only complaint, and it is a significant one, is this the libreto. Come on, guys, no English (or German or French) translations? It would have helped with the duets from lessor known operas, Cimarosa's, for instances. But all in all, an excellent effort that I recommend highly!

Average customer rating:

Awesome musicality
Fabulous? Yes!!!

The Fabulous Victoria De Los Angeles

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

General | Soundtracks | Styles | Music
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Release Date: 1994-02-15

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Sheherazade: Asie
Sheherazade: La Flute enchantee
Sheherazade: L'Indifferent
Cinq Melodies populaires grecques: Le Reveil de la mariee
Cinq Melodies populaires grecques: La-bas vers l'eglise
Cinq Melodies populaires grecques: Quel galant m'est comparable
Cinq Melodies populaires grecques: Chanson des cueilleuses de lentisques
Cinq Melodies populaires grecques: Tout gai!
Duex Melodies hebraiques: Kaddisch
Duex Melodies hebraiques: L'Enigme eternelle
L'Invitaiton au voyage
Phidyle
L'Enfant Prodigue: Recit. & Air de Lia: L'annee en vain chasse l'annee
Poeme de l'amour et de la mer: La Fleur des eaux
Poeme de l'amour et de la mer: Interlude
Poeme de l'amour et de la mer: La Mort de l'amour

Tracks:

Cinco Canciones Negras: Cuba dentro de un piano
Cinco Canciones Negras: Punto de habanera
Cinco Canciones Negras: Chevere
Cinco Canciones Negras: Cancion de cuna para dormir a un negrito
Cinco Canciones Negras: Canto negro
Coleccion de canciones amatorias: Llorad corazon
Coleccion de canciones amatorias: Iban al pinar
Cuatro madrigales amatorios: Con que la lavare?
Cuatro madrigales amatorios: Vos me matasteis
Cuatro madrigales amatorios: De donde venis, amore?
Cuatro madrigales amatorios: De los alamos vengo, madre
Cinco canciones playeras espanolas: Rutas
Cinco canciones playeras espanolas: Pregon
Cinco canciones playeras espanolas: Las 12
Cinco canciones playeras espanolas: El pescador sin dinero
Cinco canciones playeras espanolas: Coplilla
Quatre cancons: Canco de grumet
Quatre cancons: Cancon incerta
Quatre cancons: Maig
Quatre cancons: Anacreontica
La Dama d'Arago
El can dels ocells
Canco de Sega
El combat del somni: Damunt de tu nomes les flors
El combat del somni: Aquesta nit un mateix vent
El combat del somni: Jo et presentia com la mar
Triptic de Mossen Cinto: L'Harpa Sagrada
Triptic de Mossen Cinto: Lo violi de Sant Francesh
Triptic de Mossen Cinto: Sant Fransech i la cigala

Tracks:

Chansons de Bilitis: La Flute de Pan
Chansons de Bilitis: La Chevelure
Chansons de Bilitis: Le Tombeau des Naiades
Fetes galantes: En sourdine
Fetes galantes: Fantoches
Fetes galantes: Clair de lune
Noel de enfants qui n'ont plus de maisons
Chants populaires: Chanson espagnole
Chants populaires: Chanson francaise
Chants populaires: Chanson italienne
Chants populaires: Chanson Herbraique
Trois jours de vendange
Le Rossignol des lilas
Tristesse, Op. 6, No. 2
Au bord de l'eau, Op. 8, No. 1
Les Roses d'Ispahan, Op. 39, No. 4
Troujours (No. 2 de Trois Poemes d'un jour, Op. 21)
Siete Canciones populares espanolas: El pano murano
Siete Canciones populares espanolas: Sequidilla murciana
Siete Canciones populares espanolas: Asturiana
Siete Canciones populares espanolas: Jota
Siete Canciones populares espanolas: Nana
Siete Canciones populares espanolas: Cancion
Siete Canciones populares espanolas: Polo
Doce canciones gallegas: As florinas dos toxos
Triptico, Op. 45: Farruca
Villancicos: Pastorcito santo
Psyche
Soneto a Cordoba

Tracks:

Proserpina: E dove t'aggiri
Le violette
Joshua: Oh! had I Jubal's lyre
Der Tod und das Madchen, D. 531
Die schone Mullerin, D. 795: No. 2: Wohin?
D. 547: An die Musik
Op. 59, No. 8: Dein blaues Auge
Op. 84, No. 4: Vergebliches Standchen
Op. 27, No. 1: Chanson d'amour
Op. 46, No. 2: Clair de lune
Let Us Wander
Lost Is My Quiet
Schlaf in deiner engen Kammer
Ah! lamenta, oh bella Irene
Irish Songs: Oh! Would I Were But That Sweet Linnet
Irish Songs: He Promised Me At Parting
Irish Songs: They Bid Me Slight My Dermot Dear
Welsh songs: The Dream
Mignon und der Harfner, D. 877: Nur wer die Sehnsucht kennt
Les Fleurs des landes: Le Trebuchet
Moglichkeit
Der Apfel
Schottische Ballade
Pastorale
Pleurs d'or
Sapphische Ode
La Partenza

Amazon.com

The word "fabulous" seems vulgar when applied to the Spanish diva whose delicately shaded voice encompassed music from the middle ages to the present. This four-disc compilation emphasizes her song repertoire, to which she brought warmth, intelligence, linguistic integrity and irresistible sincerity. Her dignity makes listeners want to come to her, and she rewards them with an intimate, personal experience, especially in this small-scale repertoire by Ravel, Debussy, Duparc, Fauré, lots of Spanish composers and German masters such as Schubert and Brahms. --David Patrick Stearns

Customer Reviews:

Awesome musicality.......2006-07-26

This 4-CD set is a tribute to the concert career of the great Victoria de Los Angeles. The first 3 CDs show her totally at home in the art song of France and of her native Spain. In the French art songs, her silvery, creamy tone, her legendary legato and her perfect French diction make for wonderful and unforgettable performances. These include a sensual Scheherazade, magnificient singing in the Duparc songs and a phenomenal Poeme de L'amour et de la mer of Chausson (try to keep your eyes dry by the end of La mort de l'amour). In the Chausson, while de Los Angeles does not opt for the intensely Wagnerian approach, her sensitive singing more than does justice to the poetry and the feelings of the character. The Spanish songs showcase de Los Angeles at her most natural, flamboyant and attractive singing. The tunes are catchy, full of bouncy rhythms and De Los Angeles's fabulous voice never ceases to amaze. The 4th CD shows the wonderful chemistry between de Los angeles and the great Gerald Moore. While she does not erase memories of Fischer-Dieskau and Schwarzkopf in the Schubert selections, the Brahms songs are excellent and her Faure songs here are earth shaking in their elegance and refinement. The Italian and the famous Handel aria helps to prove De Los Angeles's reputation as an excellent bel canto singer. Her duets with Fischer-Dieskau are absolutely memorable and gorgeous.
The set comes with booklet including full words plus translations, helpful notes on De Los Angeles's concert career and a dozen of beautiful and rare black and white photos. Victoria de Los Angeles's concert career was as prolific as her legendary operatic performances and continued well after her retirement from the operatic stage. This introspective and almost encycopledic release is a real treat and is absolutely recommended. I totally agree with the editor's review who states that the word "fabulous" fails in every respect to fully capture the artistry of the Spanish soprano. Victoria de Los Angeles is definitely one of the most wonderful lyric sopranos of the 20th century and is one of the most heavenly artists to have ever graced the concert scene. A must-have for any collection.

Fabulous? Yes!!!.......1999-09-13

The album is a marvelous sampling of this great singer's artistry. Her performances of the French and Spanish composers are something special. The De Falla "Seven Popular Folksongs" are powerful, passionate; the last song, "Jota," raised the hair on the back of my neck.

I was delighted to see Faure's "Claire de lune" on the album, and equally delighted with De Los Angeles' elegant rendition of this work. The only recording of the song I've liked better is from an LP featuring Frederika Von Stade.

Customer Reviews:

Glorious achievement.......2007-02-24

Anthony Goldstone and Caroline Clemmow have already established themselves in the Schubert discography with their world class recordings of Schubert's piano works. Goldstone, in particular, has a reputation for being one of Schubert's greatest champions. The caliber of his interpretations is simply phenomenal. Beyond this, when Clemmow joins Goldstone to form their illustrious piano duo, we have been given an ambrosia of world premiere piano arrangements: Mendelssohn's 3rd, Dvorak's 9th, Tchaikovsky's 4th, his Romeo and Juliet overture, Grieg's piano concerto, and now these exquisite rarities of Schubert.

For those who don't haughtily snub their nose at piano transcriptions or arrangements, you can expect some of the most gorgeous and highly effective piano arrangements. There's no need to compare these arrangements with the original versions because this music has a life of its own in the resonant tones of the piano. The Trout Quintet, Schubert's most beloved chamber work, was first published by Joseph Czerny (1785-1831). In addition to the first publication, Czerny arranged the work for piano duet, so as to extend its popularity. In this Golden Age of recordings, one may argue, "Why bother with a hack-job arrangement when prominent chamber ensembles have recorded it?" My response is that the Trout Quintet becomes something new and incredible through the hands of a piano duo. For those who truly love this work, you can find just as much delight and ecstasy when it is solely played on the piano. The textures, phrases, melodic lines, and especially the harmonies become clear, luminous and elevated. The rich piano tones and timbres are ample and versatile enough to match the intimacy and variety of nuance found in the chamber work. From the energetic first movement, to the sublime second movement, the wondrous vigor and the power of expression are all present. The Theme and Variations and the Finale retain all the splendor and beauty found in the chamber version. Overall, there is not a single lackluster moment to be found: the work is celebrated, transmogrified, and faithfully performed.

In Ede Poldini's (1869-1957) Study for two pianos on Schubert's Impromptu in E flat major, the original Impromptu receives an updated and highly ornamented rendition. The magnificent music is always transparent, but Poldini adds trills, arpeggios and orchestral-like decorations in the style of Liszt or Thalberg. The cutest moment occurs halfway through the study when Poldini surprises us with a theme from Schubert's Wanderer fantasy; it fits perfectly within the texture of the Impromptu. Huttenbrenner's piano transcription of Schubert's Rosamunde overture is probably the most successful arrangement I've heard in a while. How can one argue against the merits of this arrangement? If Schubert conceived these notes for a piano sonata, we would be doubly enthralled by its drama. And that's what it sounds like: an oustanding sonata movement, resplendent with Schubert's typical juxtaposition of brooding moments and light-hearted melodies.

The Polonaise in B flat major, "realised by Anthony Goldstone" and Prokofiev's transcription of the Waltzes are a nice bonus, but the CD reaches an apex with a truly inspired piano performance of the profound Adagio from the D. 956 String Quintet. In the expansive CD notes, Goldstone humbly apologizes for even recording it, fearing he might offend purists. I'm somewhat disappointed with his lack of confidence, however, because this work needs no prefaced apology: as music it is one of the greatest and most exalted pieces Schubert ever wrote. On the piano, its transcendentalism and poignancy is gracefully presented. Admittedly, the desire to make comparisons between the actual string quintet and piano duet version are quite strong. The piano duet doesn't match the subtleties of a chamber ensemble, but the music reaches the same divine plane. I also commend Goldstone and Clemmow's dynamic interpretation, especially during their execution of the violent central section.

Bottom line: These performances are a shining example of a superlative piano duo reaching great heights of musicality and spectacular effect. The piano arrangements of Schubert's Trout Quintet, his Rosamunde overture and the miraculous Adagio D. 956 are glorious achievements. In the hands of this competent duo, the chamber works become impressive pianistic simulacrums of the highest quality. Highly recommended.

The Romantic Handel: Solo Cantatas & Love Duets Composed in Italy

Average customer rating:

The Romantic Handel: Solo Cantatas & Love Duets Composed in Italy

Manufacturer: Helicon Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000005BI9
Release Date: 1997-10-23

Tracks:

Spande ancor al mio dispetto: Air: Spande ancor
Spande ancor al mio dispetto: Recitative: Ah, che da fiere
Spande ancor al mio dispetto: Air: Da balza in balza
Se pari e la tua fe: Air: Se pari e lat ua fe
Se pari e la tua fe: Recitative: Il penar
Se pari e la tua fe: Air: Non s'afferra il mar
Scherzano sul tuo volto: Recitative: Eccomi giunto al lido
Scherzano sul tuo volto: Duet: Scherzano sul tuo volto
Prelude - Allemande - Courante
Senza occhi e senza accenti: Duet: Senza occhi e senza accenti
Son come quel nocchiero: Recitative: Ah, che questa non basta
Son come quel nocchiero: Air: Son come quel nocchiero
Non S'emendera Jamas: Air: Non s'emendera jamas
Non S'emendera Jamas: Recitative: Si, del quereros
Non S'emendera Jamas: Air: Dicente mis ojos
O Fleeting Joys Of Paradise: O Fleeting Joys
O Fleeting Joys Of Paradise: O Fleeting Joys of Paradise: Part II
O Fleeting Joys Of Paradise: O Fleeting Joys of Paradise: Part III
Harpsichord Suite No. 5 In E Major: Air - Variations ('Harmonious Blacksmith')

Beniamino Gigli: Arias, Duets And Songs 1926-1937

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Beniamino Gigli: Arias, Duets And Songs 1926-1937

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Arias | Opera & Vocal | Styles | Music

General | Oper