Dresden Manuscript I: Sonatas 1-4 in F Major

On this CD:

1. Suite for lute, No 1 in F major (Dresden Manuscript, book 1)
Composed by Sylvius Leopold Weiss
Performed by John Schneiderman

2. Suite No. 2 for lute in F major (Dresden Manuscript, book 1)
Composed by Sylvius Leopold Weiss
Performed by John Schneiderman

3. Suite No. 3 for lute in F major (Dresden Manuscript, book 1)
Composed by Sylvius Leopold Weiss
Performed by John Schneiderman

4. Suite No. 4 for lute in F major (Dresden Manuscript, book 1)
Composed by Sylvius Leopold Weiss
Performed by John Schneiderman

Tracks:

Guitar Concerto in D: Largo
Oboe Concerto In D Minor: Adagio
Oboe Concerto In D Minor: Siciliano
The Four Seasons ( Winter): Largo
Flute Concerto No. 3 In D: Cantabile
Guitar Concerto in A minor: Largo
Oboe d'Amore Concerto In G: Adagio
Flute Concerto In G: Arioso
Concerto No 1 In B Flat For Oboe, Strings & Continuo: Adagio
Oboe Concerto No 1 In B Flat: Largo
Concerto In A: Sicilienne
Concerto In G For Two Guitars: Andante
Concerto In D For Oboe, Strings & Continuo: Grazioso
Concerto In C For Oboe, Strings & Continuo: Introduzione (Larghetto)
Oboe Concerto In C: Siciliana
Water Music (Suite No 1 In F): Air
Oboe Concerto No 2 In B Flat: Andante
Suite No 1: Andante
Concerto In F: Preludio
Canon In D

Customer Reviews:

PLEASE BE AWARE.......2007-02-25

The audio samples given here are from the Vivaldi for Valentines CD in this same Philips series. NOT Bach.

The Vivaldi was great, though.

Bubble Bath Baroque.......2005-09-27

Light some candles, run a bubble bath, put in bath beads, pop this CD into your stereo and indulge in a bath that would mean you've pampered yourself in extremis. This particular recording from the popular Set Your Life To Classical series is a real treat for Bathtime, or in my opinion, anytime. It is indeed, as the title suggests, a relaxing serenade to wash your cares away. It is therapy, a perfect companion to a massage, reading a book, drinking tea, anything you can do alone to pamper yourself and to relax. Iona Brown, a female conductor, takes Sir Neville Marriner's place and conducts the Academy of St Martin In The Fields performing such works as the opening track - the Lute Concerto by Vivaldi as well as Track 4's Largo from the Winter movement in The Four Seasons, track 12's Concerto For Two Guitars by Corelli and the Oboe Concerto in D by Telemann. Also featured on here Oboe Concerti by Handel and Water Music Suite, and other conductors featured on here are Raymond Leppard and his English Chamber Orchestra. The Canon in D has never sounded more radiant than on here as it is conducted by Sir Neville Marriner and closes the CD nicely. A more relaxing way to take a bath you'll be hard-pressed to find. This music is gorgeous, it's affordable (on the Used Item section and the regular price) and is as always, a great intro to classical music and a fun, innovative way to enjoy it.

Cleansing Sounds To Wash Away Tensions.......2003-01-09

This is pleasing, pastoral music picked to relieve that which tenses up our bodies and souls.

Turn on this excellent baroque collection from the likes of Vivaldi, Telemann, Handel and Pachelbel (among others) superbly played by such virtuosos as Rampal, Holliger et al.

Sweeping instrumental arias are so relaxing! This one will soothe the savage beast as well as those tired bods.

Great Classical Music Series Gorgeous Music.......2002-12-22

The cd series "Set Your Life To Classical Music", composes a variety of baroque, classical and romantic instrumental music that serves the purpose of leisure and background while you engage in the day or evening's activities. The purpose is therapeutic. There are other titles in the series, such as "Bach For Breakfast", "Beethoven For Book Lovers" "Chopin And Champagne", "Baroque For Bedtime", "Puccini and Pasta", "Mozart For The Morning Commute", the series goes on and on. It is a great way to soothe your tensions and provides stress-free, nearly New Age style music that you'd more than likely hear at a masseur's place of business. One can also make the argument that this is the music you'd hear at an elevator. What I like about all these series is that they are also a great introduction to instrumental/classical music. The ensembles performing the classical works are virtuosic and well known in world of classical performance, such as Sir Neville Marriner and St. Martin In The Fields, I Musici and the New Age, Yani-style musician, Zamfir, who specializes in rare instruments such as pan pipes.

On this recording, specifically designed to accompany your bubble bath, there are beautiful, slower-paced movements from Baroque flute, violin and oboe concertos. There are the Sicilian style movements of such composers as Vivaldi, Bach and Telemann. The largo from the Winter movement is a richly melodic and dreamy piece for strings, and the concluding work, Canon In D Major, is an elegant, graceful and heartfelt chamber piece that has become iconic in Baroque music. It was used in the film, Ordinary People and is very popular in classical music for weddings. I strongly recommend all the cds in the series. They are a perfect way to get you into some of the most beautiful classical music ever written, and are a great way to involve music as the wordless, instrumental soundtrack in your life.

A relaxing serenade.......2000-12-28

This is a wonderful collection of Baroque pieces that will truly relax and wash away stress and tension. I especially like the oboe and classical guitar pieces. If you are a fan of the pan flute, this is also a good CD for you, but the pan flute actually is the down side of the CD for me. All the songs are first rate!

Twilight of the Gods: The Essential Wagner Collection

Average customer rating:

Wonderful collection and price!
Awesome collection!
Helicopters? Marines?
A great addition to my music collection
Quintessential Wagner

Twilight of the Gods: The Essential Wagner Collection

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Wagner: Overture & Preludes
The Best Of Wagner
Wagner: The "Ring" Without Words
Wagner without Words
25 Thunderous Classics

ASIN: B000009ON7
Release Date: 1998-08-11

Tracks:

The Valkyries: Ride Of The Valkyries
Twilight Of The Gods: Siegfried's Funeral March
Lohengrin: Prelude to Act III
The Flying Dutchman: Overture
The Flying Dutchman: Sailors' Chorus
The Rheingold: Journey Down To Nibelheim
The Mastersingers Of Nuremberg: Overture
Tannhauser: Overture
Tannhauser: Entry Of The Guests
Tannhauser: Tannhauser's Pilgrimage
Siegfried: Act III Orchestral Interlude
Twilight Of The Gods: Siegfried's Rhine Journey
Twilight Of The Gods: Finale
The Rheingold: Entry Of The Gods Into Valhalla

Tracks:

Lohengrin: Prelude To Act I
Lohengrin: Bridal Chorus
Parsifal: Prelude to Act I
Parsifal: Good Friday Music
Parsifal: Transformation Scene
Tannhauser: Venusberg Music
Tannhauser: Pilgrims Chorus
The Mastersingers Of Nuremburg: Prelude To Act III
The Rheingold: Vision Of Valhalla (Scene II Introduction)
Siegfried Idyll
Siegfried: Brunnhildes Awakening
Tristan And Isolde: Prelude To Act III
Tristan And Isolde: Death Of Isolde

Amazon.com

If you like your Wagner served up in bleeding chunks or if you're simply in a hurry to hear the tunes, then this compilation is for you. The performances, drawn from the Polygram (mainly Deutsche Grammophon) back catalog, are for the most part authoritative. They feature the likes of Herbert von Karajan, with the Berlin Philharmonic, and Karl Böhm, with the Bayreuth Festival Orchestra (and chorus), in extracts from recordings of complete operas, and conductors Giuseppe Sinopoli, Otto Gerdes, and Antal Doráti in some of the more familiar overtures and preludes. Singing, without which it is impossible to get the full flavor of Wagner's work, is skirted whenever possible: this is an unapologetic tribute to Wagner the orchestral genius. At times the salesmanship is a little overblown--the glitzy packaging includes a cover shot of the helicopters from Apocalypse Now--and the sound, some of it from very good originals, seems to have been juiced with a little added digital reverb, resulting in an overall glassiness. The gaps between tracks are minimized, disco style, so there's no dead air, and the whole thing has an Entertainment Tonight feel to it. Were he around, Wagner would have screamed bloody murder, then happily taken his cut of the action. For today's on-the-go listener, this may well be the most practical way to enjoy Wagner's music, but we won't be happy until it motivates at least one newcomer to seek out a recording of a complete opera. Anyone who does that will find out what "apocalypse" really means. --Ted Libbey

Customer Reviews:

Wonderful collection and price!.......2007-05-11

I found this to be a nice collection of favorites, especially to keep in the car and listen to. It is a variety of well known compilations. Although not encompassing, it is perfect as a review for driving, relaxing, and enjoyment. Plus, the price is right!

Awesome collection!.......2007-01-10

This is a great collection of some of Wagner's most memorable songs for those of you who do not want to buy the whole opera's for some of his works.

Helicopters? Marines?.......2006-12-05

Do those infotainment marketing mavens ever get it right? Talk about Hollywood disconnect! Not only are the helicopters irrelevant, but to quote from the gushy drivel on the jacket, "The gripping power of Richard Wagner's music was demonstrated with spectacular effect in...Apocalpse Now, when the "Ride of the Valkyries' became synonymous with the chilling journey of Marine 'Huey' helicopters into battle..."

Marine? Marine? Them Hueys in the movie was ARMY Air Cav, slick! "First of the ninth--air mobile." If you're going to dally down that primrose path, at least get it right.

Better yet, drop the choppers. Most people who listen to Wagner probably realize that quality of an artistic work has a mystically inverse relationship to the number of helicopters contained in it.

As for the music, it is good, but the operatic equivalent of sound bites, which may be just right for people who are new to Wagner or just can't take very much of him. Hmm...perfect for a helicopter ride, perhaps?

A great addition to my music collection.......2006-07-20

This CD takes the place of all my other Wagner music. VERY well done. Somehow I didn't realize that there were two cds in the package--what a pleasant surprise! Of the two cds, I like the first one best, but they are both good. I listen to this cd daily on my way to work. Stirring! I am so glad that I purchased this. Some purists might have a problem with the fact that some of the selections are not there in their entirety. I have no problem with that though. I recommend this to anyone who loves Wagner.

Quintessential Wagner.......2006-05-15

Okay, so I like Wagner. I LOVE "Ride Of The Valkyries". Do I want to go out and buy every single stinkin thing Wagner did? No. If you are a die-hard Wagner fan you probably will not think much of this collection.

But if you like Wagner and appreciate "Ride Of The Valkyries", and maybe require it in just a little more substance than what is included in "Apocolypse Now Redux", then this is what you want. The extra tracks are bonuses and are quite good. Meets my needs, presentation great, performance excellent. I recommend it for anyone that needs a Wagner fix.

Average customer rating:

One of two Jochum sets of Bruckner
Bruckner by Jochum
The Best Complete Bruckner Symphonies
A good, but not great, Bruckner cycle.
Outstanding set!

Bruckner: The Complete Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Sibelius: The Complete Symphonies & Tone Poems
Strauss: Orchestral Works
Mahler: The Complete Symphonies
Dvorák: The Symphonies
Debussy, Ravel: Orchestral Works

ASIN: B00004YA0T
Release Date: 2000-11-07

Tracks:

Sym No.1 in c: I. Allegro
Sym No.1 in c: II. Adagio
Sym No.1 in c: III. Scherzo: Schnell
Sym No.1 in c: IV. Finale: Bewegt, Feurig

Tracks:

Sym No.2 in c: I. Moderato
Sym No.2 in c: II. Andante
Sym No.2 in c: III. Scherzo: Massig Schnell
Sym No.2 in c: IV. Finale: Mehr Schnell

Tracks:

Sym No.3 in d: I. Mehr Langsam, Misterioso
Sym No.3 in d: II. Adagio (Bewegt) Quasi Andante
Sym No.3 in d: III. Ziemlich Bewegt
Sym No.3 in d: IV. Allegro

Tracks:

Sym No.4 in E flat 'Romantic': I. Bewegt, Nicht Zu Schnell
Sym No.4 in E flat 'Romantic': II. Andante Quasi Allegretto
Sym No.4 in E flat 'Romantic': III. Scherzo: Bewegt - Trio: Nicht Zu Schnell
Sym No.4 in E flat 'Romantic': IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.5 in B flat: I. Intro: Adagio - Allegro
Sym No.5 in B flat: II. Adagio - Sehr Langsam
Sym No.5 in B flat: III. Scherzo: Molto Vivace - Schnell
Sym No.5 in B flat: IV. Finale: Allegro Moderato

Tracks:

Sym No.6 in A: I. Maestoso
Sym No.6 in A: II. Adagio: Sehr Feierlich
Sym No.6 in A: III. Scherzo: Nicht Schnell - Trio: Langsam
Sym No.6 in A: IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.7 in E: I. Allegro Moderato
Sym No.7 in E: II. Adagio: Sehr Feierlich Und Sehr Langsam
Sym No.7 in E: III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
Sym No.7 in E: IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.8 in c: I. Allegro Moderato
Sym No.8 in c: II. Scherzo: Allegro Moderato
Sym No.8 in c: III. Adagio: Fierelich Langsam, Doch Nicht Schleppend
Sym No.8 in c: IV. Finale: Feierlich, Nicht Schnell

Tracks:

Sym No.9 in d: I. Feierlich, Misterioso
Sym No.9 in d: II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
Sym No.9 in d: III. Adagio - Langsam, Feierlich

Amazon.com

Here's a welcome box of all Bruckner's numbered symphonies led by a distinguished specialist renowned during his lifetime for his identification with the composer. Neatly laid out with each symphony on a disc of its own (no annoying midsymphony changeovers) and in top-quality late-1970s sound, this is an irresistible bargain for such superb performances. Jochum's Bruckner was spontaneous-sounding, with generally swift tempos tempered by flexible rhythms and slow movements that squeeze all the juice from this heartfelt music. The Dresden orchestra is a marvelous instrument for these works, with a beefy, warm sound and brass players that can whip up the excitement in the grand climaxes. Individual conductors, whether vintage greats like Furtwängler or more recent Brucknerians such as Wand on RCA and Tintner on Naxos, may equal or better Jochum in individual works, but taken as a complete traversal of these massive scores, Jochum's is second to none. --Dan Davis

Customer Reviews:

One of two Jochum sets of Bruckner.......2007-04-22

The other complete set of Eugen Jochum conducting Bruckner's symphonies, of course, is the series he recorded for DG in stereo between 1958 and 1967 with the Bavarian RSO or (in Symphonies 1, 4, and 7-9) the Berlin Philharmonic, following a number of recordings of individual symphonies he made in the pre-LP days. Although Jochum's basic conceptions remained consistent over the years, that earlier set finds Jochum more consistently alert and a shade more vibrant than in this valedictory go-round with the canonical Bruckner symphonies, taped in the late 1970s. By comparison, the overall impression here is of slightly lower voltage, although the flip side is that this cycle is also just that much more serene, and aptly so (Bruckner's music has been described as "blazing calm").

Even so, this boxed set has a lot to recommend it, whether or not in preference to the DG cycle. There is the burnished and responsive delivery of the great Dresden orchestra, perhaps the oldest in Europe. There is EMI's warm and atmospheric sound, which in this remastering is considerably better focused and more detailed than in the first CD incarnation of this cycle. This cycle's Seventh and Ninth Symphonies arguably make a deeper impression than their counterparts in the DG series--even if the DG cycle compensates with more successful readings of the Fourth and Eighth. Above all, there is Jochum's lifelong identification with Bruckner's music (but NOT, as another reviewer suggested, due to a personal relationship between the conductor and the composer, who had died six years before Jochum was born!). Personal preference will dictate whether you go for the DG or EMI cycle; either way, you will hear Bruckner via one of the last exponents of a more flexible, less "monumental" (and also less stolid) approach to this composer's music.

Bruckner by Jochum.......2005-10-03

These CDs contain performances of the nine Bruckner symphonies.
Of these 3,4,7,8,9 are remarkable, with 4, 8 and 9 being
masterpieces. The performances by Eugen Jocum and the Dresden
Staatskapelle orchsetra are well-designed, and played at tempi
that seem to represent the composer's intentions. The recording
quality is good, except for dynamics: the sound volume is
on the low side. One needs a high grade system for adequate
reproduction, especially given the wide dynamic range and
timbral subtlety characteristic of Bruckner.

The Best Complete Bruckner Symphonies.......2005-09-25

The reason that this is the best complete symphony recordings of Bruckner is that conductor Eugene Jochum had a close relationship with Bruckner himself and knew the music like the palm of his hand. despite any negative commentary or the fact the preferred editions are conducted by the eminent Herbert Von Karajan, this box set is by far the best. All the symphonie sound great, polished, romantic, idealized, spiritual, energetic, passionate and mysterious, especially the opening movement of the final 9th, which comes in both versions here. This is a true winner for a recording box set. Your other choice should be Karajan though. But Jochum masters the music with great affinity and brilliant technical musicianship. In this recording, particularly impressive are the 7-9th. The early symphonies are German-Romantic Wagner/Mahler style but entirely Bruckner's individualized style. It is music that is heavy, and not music for a beginner to hear. It is deep, highly emotional, music to meditate by. It's slow-moving, dream-like and powerful, horns and brasses sounding fatalistic at times, while the winds and strings evoking either intensity or quietness. Bruckner himself would love this set. He certainly approved of Jochum conducting.

A good, but not great, Bruckner cycle........2005-02-18

Ideally, I wanted to review the DG Jochum cycle, since I actually prefer that one, but it's NLA as of this posting, so I'll just make some comments about both cycles here.

Eugen Jochum may have been the greatest advocate of Bruckner, of the 20th Century. However, I have lived with this cycle, and especially the DG one, for many years now, and I have come to view his Bruckner interpretations as somewhat overrated, even in comparison with his "old school Bruckner" colleagues. Perhaps my opinion is a little skewed by overexposure, but I have other recordings I turn to more frequently that have not started to "wear" on me as much as some of Jochums. For one example, I am not, by any means, a "Karajan freak" (I have also come to view his last VPO Eighth, over which most people seem to be "ga ga," a bit overrated, as well) but I find his full DG cycle from the 70's and early 80's, for one, to be more consistently satisfying, with the exception of the first, fourth, and sixth, in all of which Jochum is clearly better, imo. I must say I do get tired of the cliches' about Karajan's performances being too "cool, polished, and sterile," and Haitink's being too "light," etc. These preconceptions, often based on preconcieved opinions about the conductors themselves, precludes people from really having to seriously consider their recordings, just as the opposite preconception that Jochum is THE Brucknerian of the century tends to make his recorded preformances somehow beyond reproach.

Based on Jochum's reputation, I eagerly awaited the DG cycle, back at a time in the late 80's when I was first getting into Bruckner when there were relatively few Bruckner recordings in print. Even on first listening, there were certain things about his interpretations that didn't sound right to me. Admittedly, at that time, I knew virtually nothing of the "old school," with its more flexible tempi, dynamics, and more dramatic approach, to Bruckner. Since then, I have become very well acquainted with recordings of the "old school" Bruckner conductors such as Schuricht (his 1943 Ninth is one of my ten favorites), Furtwangler (his 1944 Ninth might BE my favorite), Hausegger, Kabasta, Abendroth, Matacic; Walter and Horenstein's mono recordings, etc. etc...and I still don't find many of Jochum's interpretations to compare all that favorably.

One thing you can say with some degree of confidence about Jochum is that most of his interpretations are amazingly consistent over a half century of recordings. Compare his recordings of the Fourth and Seventh from the late 1930's to those from his later DG and EMI cycles, and they are remarkably similar, both in terms of timings, tempos, and phrasing. Two examples of "Jochumisms" that have come to grate on me a bit over time are: 1) As much as I love most of his Fourth, esp. the finale, which I think he "nails" better than any other conductor, I feel that he turns the andante quasi allegretto into an adagio (in general, I can never understand why many conductors insist upon turning this flowing movement into a dirge); 2) The slow tempo he chooses for the lovely "enchanted forest" motif (as I call it) that flows out of the beautiful intro of the Seventh, which ultimately steers the whole first movement toward a slow and stodgy tempo. Jochum's Seventh almost sounds like it starts out with two adagios. His first movement isn't excessively slow in terms of it's total timing (and I've noticed that many listeners pay too much attention to timings anyway), but in terms of it's lack of flexibility and flow: there are readings of this movement a minute of two longer (like Chailly, for example, although I think his Seventh is a bit overrated) that still have a better sense of ebb and flow to them. Some examples of sevenths I prefer to Jochum's are Sinopoli's; Karajan 70's DG; Inbal's; Wand's 70's Cologne recording; Furtwangler's 1951 BPO (Rome); Abendroth's 1956 recording; and Haitink's 70's recording.

Jochum's Fifth was one of the biggest disappointments of my Bruckner collection, esp. after all of the things I had heard about it's legendary status. Although I think his inner movements are just fine (except the slow movement of his 1938 Fifth, which I found a little too slow), I think he is too slow--and even more importantly not flexible enough--in the all important outer movements. But the "Jochumism" that grates on me the most, in ALL of his recordings, is his excessive stretching out of the coda of the finale, made even less convincing by the lack of a strong underpinning of timpani. Karajan (whose DG Fifth was my first, and is still my favorite, followed by Horenstein, Welser-Most, and Gielen) augmented this thrilling coda--Bruckner's best, even better than the Eighth's, if it's done properly--with an extra set of timpani, and very effectively. If any of you are rolling your eyes (esp. you "Karajan-bashers") at Karajan's use of extra timpani, remember that Jocum augmented the brass section for the famous chorale of the Fifth's finale...this is part of what the vanishing art of interpretation is all about. On the subject of timpani, one of the characteristics of the Bruckner "old school" was the ideal that the Bruckner orchestra started from the ground (bass) up, and needed a strong underpinning of timpani (too often missing in recent recordings), esp. in climactic moments: Furtwangler's recordings provided the best example of this; most of Jochum's recordings are surprisingly lacking in powerful timpani, and this is particularly exposed in his somewhat melodramatic lengthening of the Fifth's final coda.

In general, I find Jochum's Eighth and Ninth to be a bit terse, except for his readings of the third movement of the Ninth, which was consistently one of his best movements, esp. his Dresden recording. If his readings of 1-7--except, again, his 1,4, and 6, which I find generally excellent--tended to lack flexibility on the slow side, the outer movements of his Eighth and the first movement of his Ninths tended to lack flexibility on the fast side. One very notable exception, however, is his 1949 Hamburg Eighth, which is my very favorite Jochum recording, and perhaps one of my ten favorite Eighths overall. He gets everything right here, with a good amount of flexibility...which makes it even more puzzling to me that the outer movements of his later recordings of the Eighth were so terse by comparison.

As far as the merits of the DG cycle versus the EMI, again, there is very little to choose as far as interpretations: they are remarkably similar. The only difference that really jumped out at me was that the first movement of the Dresden Ninth was not only a little too terse, but strangely "herky jerky" in terms of some awkward tempo relations, which create more distraction than tension. Although I feel that the adagio of the Dresden Ninth is Jochum's most searching account of this movement, I still like the Ninth from the DG set a bit better.

In terms of recorded sound, again I'd have to give the nod to the DG cycle. The older DG recordings sound more natural to me, whereas the late analog EMI recordings are a bit too brightly lit, almost sounding like early digital in places. The seemingly endless permutations of packaging, repackaging, and recoupling of both of these cycles, and the individual recordings from them, has become a bit absurd, but at least it has made it very easy to pick up most of these recordings in used CD bins.

Outstanding set!.......2004-08-07

To win conducting Bruckner demands from a director several issues . You must have a first order orchestra ; second your rapport with the orchestra ; third Bruckner symphonies are a real challenge they are real difficult works because you have to maintain the sound all along the work ; fourth: the different mood changes and the running time of every symphony demands a serious analysis and commitment with the inspired and rapture melodic lines inmersed ; fifth : to underline and emphasize the sforzandos , the dramatic accents are almost an epic achievement ; sixth : since the undeniable influenc of Wagner in Bruckner you have to keep the balance and obviously to have studied Wagner in every work and consider the fact if Wagner would have lived twenty years more Would it sound in the brucknerian mood? and if all the previous factors were not enough , you have to consider the giant directors in Bruckner : Wilhelm Furtwangler , Hans Knappersbutch , Jasha Horenstein ,Carl Suricht , Horst Stein and obviously Eugene Jochum and the most remarkable Bruckner conductor in the actual times : Daniel Barenboim .
Jochum was a noble man and he had another important point to his favour : the orchestra : placed in the East Germany kept his sound due the isolation in the thirties forties and fifties . I underline this because the character and presence of similar orchestras as the Gewandhaus of Leipzig let obtain a pure sound ; and not a traditional vision .
This set is relevant in your collection because the standard level of every work is very high and often inspired . So it is easier for you to make a musical journey all the way.
I really recommend to you .

Average customer rating:

A must own!
Music for a desert isle
Very nice set, but the Brahms is outstanding
INCREDIBLE VOILIN
King David

David Oistrakh

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
David Oistrakh: Brahms/Sibelius/Tchaikovsky
Legend: David Oistrakh [CD & DVD]
Beethoven, Sibelius: Violin Concertos
The Devil's Trill: Showpieces for violin & piano

ASIN: B000001GQI
Release Date: 1996-01-23

Tracks:

Konzart Fur Violine, Streicher Und Continuo A-moll BWV 1041: Allegro Moderato
Konzart Fur Violine, Streicher Und Continuo A-moll BWV 1041: Andante
Konzart Fur Violine, Streicher Und Continuo A-moll BWV 1041: Allegro Assai
Konzert Fur Violine, Streicher Und Continuo E-dur BWV 1042: Allegro
Konzert Fur Violine, Streicher Und Continuo E-dur BWV 1042: Adagio
Konzert Fur Violine, Streicher Und Continuo E-dur BWV 1042: Allegro Assai
Konzert Ur 2 Violinen, Streicher Und Continuo D-moll BWV 1043: Vivace
Konzert Ur 2 Violinen, Streicher Und Continuo D-moll BWV 1043: Largo Ma Non Tanto
Konzert Ur 2 Violinen, Streicher Und Continuo D-moll BWV 1043: Allegro
Romanze Fur Violine Und Orchester Nr. 1 G-dur Op.40
Romanze Fur Violine Und Orchester Nr. 2 F-dur Op.50

Tracks:

Konzert Fur Violine Und Orchester D-dur Op. 77 In D Major: Allegro Non Troppo
Konzert Fur Violine Und Orchester D-dur Op. 77 In D Major: Adagio
Konzert Fur Violine Und Orchester D-dur Op. 77 In D Major: Allegro Giocoso, Ma Non Troppo Vivace
Konzert Fur Violine Und Orchester D-dur Op.35 In D Major: Allegro Moderato
Konzert Fur Violine Und Orchester D-dur Op.35 In D Major: Canzonetta. Andante
Konzert Fur Violine Und Orchester D-dur Op.35 In D Major: Finale. Allegro Vivacissimo

Customer Reviews:

A must own!.......2007-03-07

The Bach concertos are amazing. I don't think I've heard a better violin tone in my life than what is captured here. The Brahms concerto is also great. I didn't love the Tchaikovsky concerto compared to some other recordings I've heard, but that is just personal taste. I would highly recommend picking up this double disc.

Music for a desert isle.......2007-02-05

The entire disc is wonderful, but if I could only take one recording on a shipwreck, it would be this version of the Bach E major concerto. Oistrakh's vibrancy and warmth of tone are unparalleled. Available recordings of this great artist are regrettably few; any fan of the violin should grab this collection while they can.

Very nice set, but the Brahms is outstanding.......2004-08-13

Though I usually prefer a bit more briskness in the faster movements, the Bach pieces for both single and double violins are given fine performances. Especially lovely is the Oistrakhs' reading of the adagio in BMV 1043. Thankfully, the sound does not exhibit the kind of steeliness or stridency fairly often characteristic of other Baroque and Early Classical period recordings....The two Beethoven Romances with Eugene Goossens and the Royal Philharmonic are given expectedly warm, songful readings.

On disc two, the Tchaikovsky Concerto is not as well recorded as the Brahms (discussed later). In comparison, it sounds just a tad boxy and muddy, but it's still okay. At various times in the first movement the pace is a bit slow, with Konwitschny sharing the responsibility. Overall, though, it's a nice performance, with the last movement being particularly enjoyable. This said I still prefer Oistrakh's stereo reading with Ormandy. My absolute favorite is the stunning Heifetz/Reiner.

The biggest attention getter for me in this compilation is the Brahms Concerto. The obvious comparison is with Oistrakh/Klemperer. For quite some time I have considered that performance among the finest---and I still do. But I do not get as much satisfaction from it as this one (in very fine mono) with Konwitschny and the Dresden Staatskapelle. One key reason is that Oistrakh is miked closer than he is with Klemperer. I hear more of his violin, and it sounds wonderful. A sense of warmth and richness is more apparent. Oistrakh seems more relaxed as well. With Klemperer, by comparison, he seems less attuned to beauty, more business-like and slightly restless. With Konwitschny, he seems to be enjoying more thoroughly what he is doing, more focused on making music as opposed to just playing notes. Hear how he brings more suppleness and sensitivity to the adagio. Indeed, throughout the entire performance he is no less virtuostic than he is with Klemperer yet he seems more able to let his emotions speak with greater expressiveness. Though I still enjoy the Oistrakh/Klemperer with its more massive and powerful orchestral approach, it is this Oistrakh/Konwitschny, along with a very different account, the Heifetz/Reiner, that sits at the top of my list of favorites in this magnificent work.

INCREDIBLE VOILIN.......2003-06-27

THIS GUY IS GREAT, YOU SEE HIS FACE AND YOU THINK HE'S A REDNECK BUT HIS FINGERS "PLAYS" WITH THE VIOLIN.
HE IS ONE OF THE GREATEST OF ALL TIMES

King David.......2001-09-15

Oistrakh, that great Russian violinist of sentiment and technical prowess is shown at his best in this collection. The Heifetz/Reiner version of Brahms on RCA seems to be the most famous, but this performance by Oistrakh and Konwitschny is better. Oistrakh has much more heart than Heifetz. Heifetz has always been cold blooded. If you want warmth and sentiment, Oistrakh is your man. Oistrakh also has a Brahms concerto with Klemperer, in stereo. If you must have one in stereo, the one with Klemperer will suffice, since Oistrakh's performance with Szell has not yet been issued on cd. The Beethoven romances are filled with such warmth and emotion, it's bound to give you goose bumps. The Tchaikovsky is also played in the grand, warm Oistrakh manner. Once you hear Oistrakh's deep sense of emotion, you will be hard pressed hearing it by others. There are many good performances, but get Oistrakh's. You'll be glad you did.

Great Recordings Of The Century - Mozart: Clarinet Concerto, Sinfonia Concertante / Meyer, Vonk

Average customer rating:

For Mozart On His 250th Birthday
We're Raised In a Mechanical World After All
No better or worse than the regular clarinet
The most convincing I've yet heard
An Instant Classic

Great Recordings Of The Century - Mozart: Clarinet Concerto, Sinfonia Concertante / Meyer, Vonk
Wolfgang Amadeus Mozart , Hans Vonk , Sabine Meyer , Diethelm Jonas , Staatskapelle Dresden , Sergio Azzolini , and Bruno Schneider
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Weber: Clarinet Concertos Nos. 1 & 2; Concertino; Clarinet Quintet
Mozart: Clarinet and Horn Quintets
Johann & Carl Stamitz: Clarinet Concertos
Great Recordings Of The Century - Dinu Lipatti
Sabine Meyer - A Night at the Opera

ASIN: B00000I7W8
Release Date: 1999-03-09

Tracks:

Clarinet Concerto in A, K.622
Clarinet Concerto in A, K.622
Clarinet Concerto in A, K.622
Sinfonia Concertante in E flat, K.297b
Sinfonia Concertante in E flat, K.297b
Sinfonia Concertante in E flat, K.297b

Amazon.com

No timbral difference separates this midprice reissue of one of the best-loved concertos by Mozart from its previous, full-priced equivalent. There's a bit more ambience and warmth and less stridency on top. If you own the original CD, there's no need to replace it, but first-time buyers should snap up these sensitive, stylish performances in their Great Recordings of the Century guise. One of the main attractions is the extended compass and deliciously "woody" tone of Sabine Meyer's basset clarinet. The clarinetist's fleet, effortless dispatch of the Clarinet Concerto's outer movements is a delight to the ear, and her improvised (or so they seem!) flourishes fit into their environment as if Mozart had written them himself. Whatever arguments have arisen over the Sinfonia Concertante's authenticity, no controversy marks this fetching interpretation by Meyer and colleagues. Hans Vonk lets the Dresden Staatskapelle be their gorgeous, collective self, although the less-caloric Orpheus Chamber Orchestra boasts greater transparency in its version. Meyer's interpretation of the Clarinet Concerto has ripened since this 1992 recording, and some listeners might prefer her more playful and overtly dramatic remake with Claudio Abbado and the Berlin Philharmonic. Still and all, Mozart lovers will find both a bargain and a gold mine upon acquiring this disc. Warmly recommended. --Jed Distler

Customer Reviews:

For Mozart On His 250th Birthday.......2006-01-28

It is one of the single greatest concertos ever composed for any instrument, composed by a man whose 250th birthday is being celebrated on this very day.

Mozart's celebrated Clarinet Concerto has received an endless number of recordings over the decades, many of them exquisitely done. But this particular 1990 recording by clarinettist Sabine Meyer for EMI, with the late Hans Vonk leading the Dresden State Orchestra (Staatskapelle Dresden), is particularly brilliant in the way it brings out the work's inherent poignancy, and with it the knowledge that the great Wolfgang completed the work with only two months left in his life.

Since it is known that the work was composed with a basset clarinet in mind, this is how Meyer performs her solo part on this recording (as well as on her later recording with Claudio Abbado and the Berlin Philharmonic). But it never sounds like she is resorting to period-instrument fussiness in her solo role. The joyous outer movements are balanced by the haunting and touching slow movement to which Meyer brings out the gorgeous expressiveness of her instrument. Vonk and the Dresden orchestra accompany her with a good deal of panache.

Using the far lesser-known Sinfonia-Concertante for clarinet, oboe, bassoon, and horn was a very cagey move, given that the authenticity of this piece insofar as it relates to the Mozart canon is doubted by some musicologists. The performance by Meyer (using a modern clarinet), members of her own Sabine Meyer Wind Ensemble (Diethelm Jonas [oboe]; Bruno Schneider [horn]; and Sergio Azzolini [bassoon]), and the Dresdeners under Vonk pretty much certifies that this is indeed a true Mozart composition, full of warmth and wit in its writing.

This is a recording that genuinely lives up to EMI's claim of it being one of the Great Recordings of the Century, and is well recommended, especially for this day when we honor the great Mozart's birthday.

We're Raised In a Mechanical World After All.......2004-05-21

Her playing is brilliant, and so is her tone.

And very accurate in terms of the written score too. And her tone is so dark especially in the bass. She uses the German system, i.e. using a string instead of a clip for holding the weed. Her tone is nonetheless more sweet than bitter. That makes one wonders how that kind of tone could be transcendental? And whether that was the kind of tone that appealed to Mozart so much?

More seasoned audience may prefer Carl Leister, a real German maestro. His tone may not be that bright, but he mixes perfectly well with the other woodwinds and the orchestra and more importantly, his playing is poetic.

Nearly all great musicians are poetic particularly those of the older generation, including Dohnanyi (composer/pianist), Casals, Rachmaninoff, Cortot, Bartok, Rubinstein, Rampal, Arrau, Richter, Michelangeli: their tempi are never that rigid, and their scales are never that "perfectly" even. Not even Heifetz or Backhaus, Rachmaninoff or Gilel or Glenn Gould or even Pletnev (Kissin is perhaps an exception)... Yet, they are so full of life, vivid and effective. Well, when Carl Leister comes to the second movement of thesame concerto, like these great muscians of the past, his sweet-bitter tone is apt to break your heart...

Sure the Sabine has music in her pocket. Does she really play from her heart? Doesn't she sounds more like a small part of a big machine that turns around at the dictation of Karajan's baton? With her tone is so outstanding, her tempi so metronome correct and her playing so cautious... So, what is her statement ( or personal interpretation ) on this piece of music? And where is the poetry??

All in all, I rate Meyer one star lower than Galway the flutist albeit the style of the two are so close.

No better or worse than the regular clarinet.......2002-07-17

I may be a dummy, but I didn't hear much difference between the instrument on this one and the regular clarinet. I have no problem with this CD, it's excellent, but I feel as if the slow movement of the Clarinet Concerto could have broken my heart a bit more.

The most convincing I've yet heard.......2001-12-17

The fact that Ms. Meyer has made yet another recording of this work has me in anticipation, especially when some say it is even better than this 1990 recording. That is hard to imagine.* As someone who's often felt existsing interpretations just don't quite do it, I was thrilled to discover this disc. Meyer gets the balance of pathos, playfulness, innocence, and naivete just right. Tempi are brisker than most performances but to me sound just right. The tone is dark and almost smokey at times, partly because she plays a basset clarinet for which the work was written, partly because she is a superb colorist who gets a maximum of impact with a minimum of flashy external effect. The slow movement plumbs the depths like I've never heard excepting maybe Reginald Kell, only Meyer has even more technique than Kell! In the first movement, though, she finds more depth and profundity in the development without ever really seeming to push--she is just such a natural with this music. And although this is not billed as a "period performance," she ad libs ornametations in the concerto very much in line with what reports tells went on in Mozart's day, giving the whole performance a very improvisatory feeling. (By contrast, Anthony Pay does no such ornamentations on his recording with Hogwood and the Academy of Ancient Music, a recording that IS billed as "period" or "authentic," but which comes off a bit dutiful and dull.) The finale is as rolicking as one could wish for, without the heavy-handed tendency some take of playing the secondary theme as a dark and mysterious portent of death or misfortune. Vonk and the Staatskapelle Dresden accompany her with energy and clarity (listen to those airy strings!), maybe sounding a *little* too Romantic at times, but only *slightly* so. Sonics are warm and first-rate. This truly is a "Great Recording of the 20th Century."

*Post script later: Having now listened to the later live recording with Claudio Abbado and the Berlin Philharmonic, I can state that this Vonk CD is to my ears the better recording. Meyer is wonderous on both, but Abbado and the BPO skate over the music, missing inner textures and lines in the process. The strings in that recording sound overly smooth (Karajan would have been scourned if he'd performed it so "slick") and through much of the performance everyone seems on autopilot. It may be the autopilot of a Gulfstream GV, but it's still autopilot.

An Instant Classic.......2001-03-05

I usually associate the amazing performances in EMI's "Great Recordings of the Century" series with definitive mono releases from the 50s, like Furtwangler's Beethoven 9th, or even great analog stereo dates from the 60s & 70s like Perlman's Paganini Caprices or his Brahms Violin Sonatas with Ashkenazy, or (though I'm not a big opera fan) Karajan's Strauss operas. But it takes a truly special recent digital recording, an instant classic if you will, to earn the GROTC label -- like Perlman's Beethoven Violin Concerto or this album of Mozart's Concertos. Hans Vonk leads one of the world's great orchestras, the Staatskapelle Dresden, through Mozart's Clarinet Concerto and Sinfonia Concertante, which is a concerto for four winds. The soloists are all amazing, with clarinetist Sabine Meyer leading the pack. This is Mozart at its best -- these are truly magnificent works and performances.

Jean Sibelius: Violinkonzert/Serenaden/Humoreske

Average customer rating:

Dismal!
A divider, not a uniter
Striving for effect (or maybe just showboating?)
A splendid rendition
She did it

Jean Sibelius: Violinkonzert/Serenaden/Humoreske

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Mendelssohn/Brahms: Violin Concertos
Anne-Sophie Mutter: The Berlin Recital
Brahms: Violin Concerto; Schumann: Fantasie, Op. 131
Tchaikovsky, Korngold: Violin Concertos
Alban Berg: Violin Concerto "To the Memory of an Angel" (1935) / Wolfgang Rihm: "Time Chant" Music for Violin & Orchestra (1991-92) - Anne-Sophie Mutter

ASIN: B000001GRK
Release Date: 1996-02-13

Tracks:

Conerto For Violin And Orchestra In D Minor, Op. 47: 1. Allegro moderato
Conerto For Violin And Orchestra In D Minor, Op. 47: 2. Adagio di molto
Conerto For Violin And Orchestra In D Minor, Op. 47: 3. Allegro, man non tanto
Conerto For Violin And Orchestra In D Minor, Op. 47: Serenade No. 1 In D Major, Op. 69a - Andante assai
Conerto For Violin And Orchestra In D Minor, Op. 47: Serenade No. 2 In G Minor, Op. 69b - Lento assai
Conerto For Violin And Orchestra In D Minor, Op. 47: Humoresque No. 1 In D Minor, Op. 87 No. 1 - Commodo

Amazon.com essential recording

The very first notes of this extraordinary performance show how thoughtfully Anne-Sophie Mutter has approached the work. Sibelius's marking for the solo violin is dolce ed espressivo, which for most violinists would mean "with vibrato." But Mutter plays senza vibrato and achieves a hauntingly expressive effect over the muted pianissimo oscillations of the orchestral violins. Happily, she sustains this high level of engagement with the score through the entire account, playing the taxing solo part with riveting intensity, making every note count, producing a gloriously rich and varied tone, and giving the listener a memorable musical experience in the process. The effect of all this on André Previn and the Staatskapelle Dresden, to paraphrase Mark Twain, appears to have been prompt and electric. They give a spectacular reading of the score, one notable for both its sonorous depth and its sense of atmosphere. --Ted Libbey

Customer Reviews:

Dismal!.......2007-06-21

I am sorry to disagree with those who seem to like this performance as much as they do. I think that they should listen to what Isaac Stern does with this music -- to me the way it should be played. Here the soloist playing is, well, fussy and contrived. Mutter often emphsizes the wrong things and phrases and plays some of the notes in odd ways that I doubt the composer intended. Her rhubato, for example, does not inform, but instead distracts. Mutter and the orchestra play the work so slowly that they strain and sometimes very nearly lose altogether the integrity of the music's melodic line. How can one play Sibelius like this? (I do not think I can blame the tempos chosen on the conductor. Mutter seems determined to play almost everything too slowly.) Mutter's playing betrays no understanding of this music at all. Add the fact that neither the conductor nor the orchestra seems to have any idea of what Sibelius might be about, producing as a result laughably dull, directionless accompaniment, and we are left with a dismal performance by all.

A divider, not a uniter.......2005-11-02

Violin mavens aren't middle-of-the-road, any more than opera buffs. Mutter typically divides opinion strongly about whether her highly technical, extremely detailed and personal playing is a sign of exceptional musicianship or the opposite: a self-absorbed fussiness that ignores the composer so that everything can focus on herself.

I fall into the latter group. To my ears this is an impossibly fussed-over Sibelius concerto, with hardly a natural phrase to be heard. I won't go into detail--what's the point? The consensus here seems to be that this is a gorgeous woman playing a gorgeous violin in a gorgeous virtuosic romp. Okay.

Striving for effect (or maybe just showboating?).......2005-08-28

There seem to be two Anne-Sophie Mutters. The first was the violinist from her debut till about 1994, who made some of the best recordings I've heard in modern times, even if some of them were perhaps a *little* over-hyped. The second is this far more technical, far more, well, egotistical soloist, who seems to say in every recording, "Woohoo, look what *I* can do." Or, to put it another way, she plays the violin but not the concerto. Watching her in a recent documentary comment on her first recording of the Beethoven concerto, she said it had nothing to do with how she would handle the piece today. Undoubtedly so, and what a pity. I have nothing against interpretations that get off the beaten path and take us to unfamiliar regions, but her journey today sounds superficial, with overly-mannered playing (slooowing down at the eeend of eeevery phraaaaaase) and a futzing with vibrato and color every ten bars, rather than saving her special effects for key dramatic moments. That latter would demonstrate to me that she knows the *concerto* as well as the *violin.* As it is, now that she has conquered the fiddle--and there is no doubt that she has; she almost seems bored with it at times--she should dedicate her life to studying the *scores.* Hubby Andy (although he wasn't her hubby back then) wades through the work with a decaffeinated Staatskapelle Dresden, following his partner rather than sparring with her. The second movement works best, where things really do get a bit over the top at the big climax, but even here it comes dangerously close to hysterics and melodrama. This concerto to me is about fire meeting ice. In their hands, it's about blubber meeting more blubber.

For some really intense accounts, try Heifetz/Beecham, Mullova/Ozawa (and I'm generally not an Ozawa fan, but the two of them struck magic here), and above all, the gold standard, Oistrakh/Rozhdestvensky, where the fire and ice are almost too much to bear, and the technique is just as assured, if not as showboaty. Listening to these recordings, you get the impression the artists studied the work first and then decided how they would approach it from the point of view of violin technique. I greatly admire Mutter's prowess on her instrument, but technique is not an end to itself, and I have not gotten the feeling she has really penetrated a work to the core since her 1992 recording of the Berg concerto. Perhaps this is the danger of being the world's number one violin star at the moment. If so, she needs to get over herself.

A splendid rendition.......2005-01-28

The post-Karajan Mutter continues to impress me with her growing musical maturity, and her in-depth exploration of the Sibelius is yet another testament to her artistry. As with all of her recordings, her fabulous tone is evident throughout, as is a technique that is more than equal to the challenges of the composer. I would dispute the one reviewer who argues that she slows down in the more technically challenging passages; certainly one cannot make that claim in the 3rd movement, which is certainly as brisk in its tempi as any recording available on the market today, and in any case, Mutter has always had a tendency to try and draw everything she can out of each note. A particularly notorious example of this would be her youthful recording of the Beethoven concerto with Karajan, where slow tempi cause the whole piece to become absolutely bogged down to a level beyond redemption. One certainly cannot find anything of that sort in this recording of the Sibelius, which remains a coherent performance throughout.

So why only 4 stars? Well, first and foremost, Previn & the Dresden Staatskapelle really seems to be phoning in their performance at times, and with a concerto like this, such a defect can cause quite a bit of damage. This could be due to mike placement as much as anything, but whether it is the sound engineer or the performers themselves, the result is an ensemble that sounds at times disengaged and at others overwhelmed by the soloist.

Also, as another reviewer has observed, a 47-minute CD at full price (where a third of the music consists of nice but relatively inconsequential compositions), simply put, is a ripoff. Why not fill it out a little? Put all six Humoreskes on the recording, or a tone poem if you like, or perhaps a lesser known piece like the Suite Mignonne. There are plenty of options, but none is explored here. Consumers expect a full CD for full price, so DG should deliver accordingly.

However, the consumer should be have nothing to complain about when it comes to Mutter's performance. She certainly appears to be fulfilling all of her potential as an artist.

She did it.......2001-10-03

When I first bought the CD I was skeptical, I haven't found many non-Finnish musicians who could make Finnish music sound like it should. You have to be able to imagine vasts forests and thousands of blue, clean lakes on a sunny day in the backgraound. But Mutter did it. She plays with feeling and yet she is very sharp. The only diappoinment was the conductor, I think he did a very sloppy job, the orcestra was dragging along too much, it sounded like they needed a good kick in the pants. But Mutter's performance made it all up. One of the best performances of Sibelius I've ever heard.

Beethoven: Symphonies Nos. 1-9 (Box Set)

Average customer rating:

Great Beethoven Cycle
a fine combination of quality and value
THIS SET IS AN ABSOLUTE STEAL
Excellent
Pleasing overall...

Beethoven: Symphonies Nos. 1-9 (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Beethoven: The 5 Piano Concertos; Choral Fantasy
Beethoven: Complete Symphonies
Brahms: The Complete Symphonies / Karajan, Berlin PO
Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B000001VWY
Release Date: 1995-05-16

Tracks:

Symphony No. 3 In E Flat Major, Op. 55 'Eroica': Allegro Con Brio
Symphony No. 3 In E Flat Major, Op. 55 'Eroica': Marcia Funebre (Adagio Assail)
Symphony No. 3 In E Flat Major, Op. 55 'Eroica': Scherzo (Allegro Vivace)
Symphony No. 3 In E Flat Major, Op. 55 'Eroica': Finale (Allegro Molto)
Symphony No. 1 In C Major, Op. 21: Adagio Molto. Allegro Con Brio
Symphony No. 1 In C Major, Op. 21: Andante cantabile con moto
Symphony No. 1 In C Major, Op. 21: Menuetto (Allegro molto e vivace)
Symphony No. 1 In C Major, Op. 21: Finale (Adagio, Allegro molto e vivace)

Tracks:

Symphony No. 7 In A Major Op. 92: Pocco sostenuto-vivace
Symphony No. 7 In A Major Op. 92: Allegretto
Symphony No. 7 In A Major Op. 92: Presto-Assai meno presto
Symphony No. 7 In A Major Op. 92: Allegro con brio
Symphony No. 2 In D Major Op. 36: Adagio molto-Allegro con brio
Symphony No. 2 In D Major Op. 36: Larghetto
Symphony No. 2 In D Major Op. 36: Scherzo (Allergro)
Symphony No. 2 In D Major Op. 36: Allegro molto

Tracks:

Symphony No. 5 In C Minor, Op. 67: Allegro con brio
Symphony No. 5 In C Minor, Op. 67: Andante con moto
Symphony No. 5 In C Minor, Op. 67: Allegro
Symphony No. 5 In C Minor, Op. 67: Allegro
Symphony No. 4 In B Flat Major, Op. 60: Adagio, Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: Adagio
Symphony No. 4 In B Flat Major, Op. 60: Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: Allegro ma non troppo

Tracks:

Symphony No. 6 In F Major, Op. 68 'Pastorale': Awakening Of Happy Feelings On Arriving In The Country - Allegro ma non troppo
Symphony No. 6 In F Major, Op. 68 'Pastorale': By The Brook - Andante molto mosso
Symphony No. 6 In F Major, Op. 68 'Pastorale': Peasant's Merrymaking - Allegro
Symphony No. 6 In F Major, Op. 68 'Pastorale': The Storm - Allegro
Symphony No. 6 In F Major, Op. 68 'Pastorale': Shephard's Song. Happy And Thankful Feelings After The Storm - Allegretto
Symphony No. 8 In F Major Op. 93: Allegro vivace e con brio
Symphony No. 8 In F Major Op. 93: Allegretto scherzando
Symphony No. 8 In F Major Op. 93: Tempo di menuetto
Symphony No. 8 In F Major Op. 93: Allegro vivace

Tracks:

Symphony No. 9 In D Minor, Op. 125 'Choral': Allegro ma non troppo un poco maestoso
Symphony No. 9 In D Minor, Op. 125 'Choral': Molto vivace
Symphony No. 9 In D Minor, Op. 125 'Choral': Adagio molto e cantabile
Symphony No. 9 In D Minor, Op. 125 'Choral': Presto-Allegro assai

Amazon.com

This is a surprisingly fine Beethoven cycle. Herbert Kegel had a reputation as a modern music specialist, and with good reason: He was a certified East German communist intellectual who killed himself shortly after the Berlin Wall came down--perfect for the wilder excesses of the modern German school. But he also had a very idiomatic feel for Beethoven as these objective, tautly rhythmic, and excitingly played performances prove. At super budget price, this set is worth considering. --David Hurwitz

Customer Reviews:

Great Beethoven Cycle.......2007-06-20

Most of my music is on LP or I have access thru Rhapsody. I picked these cds up as part of the 10 CD Beethoven Platinum Collection. Kegel does the first 5 discs, the same discs as in the boxed set here.

I am a niggardly (it means frugal on steroids) Scandinavian who is always trying to stretch a nickel into a dollar. Yet, every time I pursue this course, a little voice whispers in my ear, "You get what you pay for." The thrill of bargain hunting is finding a great value at a mere pittance. This results in left brain/right brain nirvana. I picked up the 10 CDs for about $10 and they sound great, especially the Beethoven Symphonies and especially the 9th. They are also very well recorded including excellent db master line levels.

The other great thing about bargain hunting is that if the purchase is a dud, you are only out a pittance! Just about the worst feeling is paying a premium and buying crapola. So, if you do buy these discs and you do not like them as I did, hopefully your wallet will not be emptied.

a fine combination of quality and value.......2005-12-29

This is a fine set of Beethoven symphonies, well played and recorded, except I think the recording level of the ninth is a bit lower than the rest of the symphonies (might just be my ears). You don't get fancy liner notes or fabulous photographs of the orchestral forces, but the performances are quite solid; the best being the opening of the fifth and the chorale finale of the ninth.

THIS SET IS AN ABSOLUTE STEAL.......2005-12-20

The performance of Symphony No. 5 in this set absolutely kicks serious butt- it's the most powerful, driven Fifth I've ever heard- worth the price of the whole set alone!!!! The rest of the CD's are excellent as well, but the Fifth in this set reigns supreme!

Excellent.......2005-09-26

This is an excellent series of recordings. The peak of which, of course, comes in the final CD with the 9th Symphony. The instruments are perfectly mixed so that one section doesn't outweigh another. The solosists are superior. The orchestra is crisp and precise. This is one of the best recordings of the nine symphonies out there. And it's a great value.

Pleasing overall..........2004-07-14

Beethoven's Symphonies are very popular among the classical community, and hence there are many versions and sets to choose from. This box set is wonderful for a classical lover who desires to obtain the complete symphonies, but can't afford to spend a hundred dollars in the process. This is by far not the best performance ever recorded by any means, but overall, it stays close to the music and is very traditional. So if you desire to gain a better appreciation for Beethoven's symphonies, but aren't willing or are unable to spend alot of money doing it, this is the perfect box set for you.

Average customer rating:

Mostly good
Look at the List of Performers First
this "masterworks" series is available much more cheaply from Amazon France
You heard guy below: Beethoven needs the royality checks!
Buy my box Set!

Beethoven: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

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

Blowout Box Sets | Classical Music Blowout | Stores | Music

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

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

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)
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Vivaldi: The Masterworks (Box Set)
Mendelssohn: The Masterworks [Box Set]
Brahms: The Masterworks (Box Set)

ASIN: B00062FLHE
Release Date: 2004-11-30

Customer Reviews:

Mostly good.......2007-05-26

A bit of a mixed bag. The symphonies are superb. This is one of the great symphony cycles. The piano sonatas are good, very good (analog) sound. The quartets are well recorded indeed, but there are better cycles out there. The rest is OK, and the sound is genrally good.

Look at the List of Performers First.......2006-11-17

If you want most of Beethoven sitting on one bookshelf, this is a great bargain (especially if you shop for it on amazon.de). But few if any of the performances represent the pinnacles of interpretation that most listeners demand when Beethoven is the composer. The symphonies for instance: can Blomstedt be compared to Furtwangler or (if you lean toward historically informed instrumentation) Gardiner? Most amazingly, the artists who perform the quartets -- the heart of Beethoven's music -- are not even named in the listing.
On the other hand: Vivaldi: The Masterworks is a collection including the very best interpreters, such as Fabio Biondi! Bach Edition (complete Bach) is a fabulous selection of recordings made over 20 years, and almost the same praise can be given the Complete Mozart.

this "masterworks" series is available much more cheaply from Amazon France.......2006-05-28

there are several sets in this series and it's much cheaper to buy these from Amazon France.

included are bach, beethoven, vivaldi, brahms, dvorak, schubert, handel, hayden, and mendelssohn.

they're even cheaper than the list price once u go through the checkout (VAT is removed for overseas (out-of-france) purchases).

**also, the 'complete works of mozart' set is much cheaper there (or at Amazon Germany), too. the 'complete works of bach' is due out later this year.

You heard guy below: Beethoven needs the royality checks! .......2006-04-07

There is quality beyond the Austrian green cardboard (which is lovely to look at, to say the least). In fact, the performance of the symphonies (Dresden Staatskapelle and Herbert Blomstedt) is alone worth the price. The Staatskapelle is a solid group, and Blomstedt, although less wellknown, holds his own. It should be mentioned that Blomstedt recorded many of the most celebrated 20th composition CDs on the market, and definitely knows his stuff. Peter Wohlert recorded mostly for compiliation lables, but to be selected by the Berlin Phil shows that he is a formdiable conductor in rank as well.

Should you buy this collection then? Given the fact that each CD cost $1.75, there is definitely the bargin factor. However, Beethoven's music desveres the top interpreters and musicians of our time - and this applies for all of his music, not just the symphonic. If you are into bargins, then proceed to buy this collection. However, if you save up a bit more, you can buy Karajan's 1963 Beethovens symphonies along with Kempff's 1956 sonata cycles for just a bit more than 70 bucks. Shop around for the string quartets, and the complete overtures should range anywhere from 15 to 30 bucks depending on the conductor/ensemble.

Overall, this is certainly an exceptional bargin. However, quality matter more than money. Besides, chicks dig people with sophisticated tastes.

Buy my box Set!.......2006-03-21

Awesome deal, 40 CD box set of me, Beethoven! There are 3 principle reasons you should buy this box set:

This box is QUALITY my friend, made of the finest, Austrian cardboard with a lovely green finish, it is made to last! You can just set it on your dresser and whenever you need a Beethoven fix you can just pull a CD out. But don't you hate getting your CDs out of order so you can't find what the hell you're looking for?! Not with this set! They are well organized into symphonies, concerti, sonatas and such, so you can find EXACTLY what your looking for, and they have big numbers on them so you can put them right back where they belong.

And the music! Need we go into this, composed through the inspiration of God himself and penned by the greatest composer who ever walked the streets of Vienna, me, Beethoven! Top notch, all done by top performers and recorded at high, clear, digital quality, stick one in your stereo and rock out man! All of my great and mighty works are here, absolutely sublime!

Lastly, you'll be supporting me, I need those royalty checks to keep rolling in!

Buy it if you love me or just buy it if you want people to think that you're sophisticated (the chicks also dig it, I should know: Antonie Brentano, giggity!), you can't go wrong!

Weber: Clarinet Concertos Nos. 1 & 2; Concertino; Clarinet Quintet

Average customer rating:

Polished playing, but somewhat aloof
Sabine Meyer - Best clarinetist alive
Just okay
Meyer's Recordings are the Best!

Weber: Clarinet Concertos Nos. 1 & 2; Concertino; Clarinet Quintet

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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Sabine Meyer - A Night at the Opera
Weber: Clarinet Concertos Nos. 1 & 2; Grand Duo Concertante; Concertino

ASIN: B00008QSCT
Release Date: 2003-04-08

Tracks:

I. Allegro (Cadenza - Heinrich Joseph Barmann)
II. Adagio Ma Non Troppo
III. Rondo (Allegretto)
I. Adagio Ma Non Troppo
II. Andante
III. Allegro
I.Allegro
II. Romanza (Andante)
III. Alla Polacca
I. Allegro - Wurttembergisches Kammerorchester Heilbronn
II. Fantasia (Adagio Ma Non Troppo) - Wurttembergisches Kammerorchester
III. Menuetto (Capriccio Presto) & Trio - Wurttembergisches Kammerorchester Heilbronn
IV. Rondo (Allegro Giocoso) - Wurttembergisches Kammerorchester Heilbronn

Customer Reviews:

Polished playing, but somewhat aloof.......2006-11-06

For masterful clarinetistry and good taste, Ms. Meyer's Weber is first rate. My only issue is that she is often somewhat businesslike in her approach to the music. Weber was an early Romanticist, and much of his musical impetus comes from opera. Therefore, I would have liked to hear more Romantic expressiveness in these performances. Having said that, I still believe this recording is worth having, especially for clarinetists.

Sabine Meyer - Best clarinetist alive.......2006-06-18

She has evrything, extrordinary technique, fabulous intonation, inovative musical ideas that are all her own, and a beautiful, clear, clean, german tone that we all seem to strive for. What more could you ask for?

I saw her perform Mozart's clarinet quintet with the tokyo string quartet last Januery. The performance was unparalled. There was not one squeake, crack, or flaw in the technique, the interpratation was very fresh and new, and the exitment and spontaneity was never lost, even in the most carefully planed out passages.

This CD of Weber's clarinet works is absolutly definitive. These peices are performed so often nowadays that it is hard to give an original interpretation. Most recent recordings sound dry, over practiced, and cautious to the point where one recording sounds hardly different from the next.

The case is quite the contrary with this recording. Ms. Meyer makes each one of these warhorses sound so fresh and vital. The fast movements are played with much flare, drama, and enthusiasm. She tends to rush the ends passages before an orchestral tutti, but the effect just adds to the exicitment, you get the feeling of listening in a live performance. After all, there is nothing in the music that says not to rush, and each one is entitled to his own interpretation. In the slower movments she takes time to showcase her silvery tone and lyrical playing. The second movment of the the second concerto is *sung* as if it were from one of Weber's operas.

This recording belongs in every music lover's library. Very rarely do you hear a soloist play on the level of Ms. Meyer.

Just okay.......2006-05-28

While her technical proficiency is obvious, I don't enjoy the rampant rushing involved on almost every track of this cd. Overall, I will allow my students to listen to this cd once for an idea of the piece, but I would never allow them to study this recording in depth.

Meyer's Recordings are the Best!.......2006-03-13

I am a clarinet student at the CSULB College of the Arts and was referred to this recording by my private clarinet instructor. Meyer's interpretation and execution of the Weber Clarinet Concertos, Concertinos and Quintet are, by far, the most musical and advanced performances I have ever heard. Meyer's sheer technique is something to marvel at. Although she plays in the German school and performs on a German set-up, it gives those who plan to perform this piece a fabulous rendition to emulate. I couldn't be happier with this purchase, and though it is one of the more expensive recordings of the Weber Concertos, it is worth EVERY PENNY. An invaluable addition to any musical recording library.

The Instruments of Classical Music, Vol. 1: The Flute

Average customer rating:

Absolutely Beautiful Music
best, best, best.

The Instruments of Classical Music, Vol. 1: The Flute

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

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The Instruments of Classical Music, Vol. 2: The Oboe
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ASIN: B000001VMI
Release Date: 1990-06-04

Tracks:

Badinerie (Orchestral Suite No. 2)
Dance Of The Blessed Spirits (Orpheus And Eurydice)
Polonaise (Orchestral Suite No. 2)
Menuet (Orchestral Suite No. 2)
Allegro Aperto (Flute Concerto No. 2 In D, K314)
Andante (Flute Concerto In E Minor)
Allegro (Flute Sonata In D, Wq 129)
Allegro (Flute Concerto In B Flat)
Rondeau Allegretto (Flute Concerto No. 2 In D, K314)
Largo (Flute Concerto In E Minor)
Concerto For Two Recorders In D Minor, RV 566
Adagio Non Troppo (Flute Concerto No. 2 In D, K314)
Rondo (Flute Concerto In E Minor)

Customer Reviews:

Absolutely Beautiful Music.......2007-03-08

This is an excellent CD of music by some of the greatest composers of all time. It shows just how beautiful the flute is. The only criticism I have is that I thought the three parts of Bach's Orchestral Suite should have been grouped together on the CD. But this is only personal opinion and by no means takes away from the gorgeous flute music.

best, best, best........1999-07-14

This Cd will take you to the higher realm with Dance of the blessed spirit then suddenly awaken you with it's vigorous polonaise by Bach. TUNE in with this CD and it will take you to a different level of reality

Music Review:

Music Review

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