21 Romantic Classics

On this CD:

1. Violin Concerto ("L'autunno", The Four Seasons), for violin, strings & continuo in F major ("Il cimento" No. 3), Op.8/3, RV 293
Composed by Antonio Vivaldi

2. Bagatelle for piano in A minor ("Für Elise"), WoO 59
Composed by Ludwig van Beethoven

3. Nocturne for piano in F sharp major, Op. 15/2, CT 112
Composed by Fryderyk Chopin

4. Symphony No. 41 in C major ("Jupiter"), K. 551 3rd Movement
Composed by Wolfgang Amadeus Mozart

5. Liebesträume, notturno for piano in A-flat major No. 3 (O Lieb, so lang du lieben kannst), S. 541/3 (LW A103/3)
Composed by Franz Liszt

6. Brandenburg Concerto No. 4 in G major, BWV 1049 2nd Movement
Composed by Johann Sebastian Bach

7. Waltzes (16) for piano, 4 hands (or piano), Op. 39 Waltz in A flat
Composed by Johannes Brahms

8. Work(s) Concerto Grosso No.1 3rd Movement
Composed by George Frideric Handel

9. Suite bergamasque, for piano, L. 75 Clair De Lune
Composed by Claude Debussy

10. Waltz for piano in F minor, Op. 70/2, CT 218
Composed by Fryderyk Chopin

11. Symphony No. 8 in F major, Op. 93 2nd Movement
Composed by Ludwig van Beethoven

12. Serenade No. 13 for strings in G major ("Eine kleine Nachtmusik"), K. 525 3rd Movement
Composed by Wolfgang Amadeus Mozart

13. Symphony No. 3 in D major, D. 200 2nd Movement
Composed by Franz Schubert

14. Nutcracker, ballet, Op.71 Dance Of The Sugar Plum Fairy
Composed by Pyotr Il'yich Tchaikovsky

15. Symphony No. 33 in B flat major, K. 319 3rd Movement
Composed by Wolfgang Amadeus Mozart

16. La Traviata, opera Overture
Composed by Giuseppe Verdi

17. Symphony No. 5 in D major/D minor ("Reformation"), Op. 107 3rd Movement
Composed by Felix Mendelssohn

18. Symphony No. 28 in C major, K. 200 (K. 189k) 3rd Movement
Composed by Wolfgang Amadeus Mozart

19. The Swan Lake, ballet, Op. 20 Dance Of The Swans
Composed by Pyotr Il'yich Tchaikovsky

20. Horn Concerto No. 3 in E flat major, K. 447 2nd Movement
Composed by Wolfgang Amadeus Mozart

21. La bohème, opera Che Gelida Manina"
Composed by Giacomo Puccini

Tracks:

Ave Maria (new recording)
La Wally (from Time To Say Goodbye)
Winter Light (new recording)
Anytime, Anywhere (from Eden)
Alhambra (new recording)
Lascia Ch'io Pianga (from Eden)
Dans La Nuit (new recording)
Serenade/How Fair This Place (from La Luna)
O Mio Babbino Caro (new recording)
La Luna (from La Luna)
Pie Jesu (new recording)
Figlio Perduto (from La Luna)
Nessun Dorma (new recording)
Bailero (from Eden)
Time To Say Goodbye (New solo version--previously unavailable)

Amazon.com

Have some friends who still haven't discovered what the Sarah Brightman fuss is all about? You'll find the perfect introduction to make converts of them all in Classics, so they'll have no more excuses to remain clueless. Sporting a Botticelli-inspired image of the platinum-selling soprano on the cover, Classics is a classy anthology including highlights from three of Brightman's chart-topping releases along with seven new tracks. Songs personally selected by the diva as her favorite classical interpretations are culled from her previous blockbusters: Time To Say Goodbye, Eden, and La Luna. And whether you're a fan already in the fold or one in the making, the new material here shows the diva at the top of her form, in new renderings of "O Mio Babbino Caro" and "Nessun Dorma" (accompanied by the Royal Philharmonic)--fascinating displays of the operatic confidence she's developed over her career. Other new offerings include a touching version of Schubert's "Ave Maria,' "Winter Light," a fresh take on her signature song "Pie Jesu" (from Andrew Lloyd Webber's Requiem). "Alhambra" and "Dans La Nuit"--a real treat, bathing the listener in Brightman's silky, sensuous vocalism--add two original titles to her famous adaptations of classical melodies to new lyrics (using Chopin's haunting E major Etude in the latter case). All told, a lovely affirmation of the directions Brightman has boldly taken in her career to date. -Sarah Chin

Amazon.com

Sarah Brightman Photos

More from Sarah Brightman

Time to Say Goodbye
Diva: The Singles Collection
Eden

Diva: The Video Collection
Live from Las Vegas
La Luna (Live in Concert)

Customer Reviews:

Sarah's Best Easy Listening CD.......2007-03-15

Sarah Brightman's talent is limitless. Her soprano and/or alto voice is among the best and she lets it show in 'CLASSICS'. CLASSICS is a beautiful, easy listening, and peaceful CD. CLASSICS is one to listen to in tranquil or relaxing moments. "CLASICS" is a collection of great pieces of music written by great composers (Shuburt, Handel, Chopin, Puccini, and the like). I have listened to CLASSICS about 15 times now and it always puts me in a quiet and peaceful mood (I am ~50 years old).

Best Brightman CD.......2007-02-07

A classical composition which showcases the beautiful voice of Sarah Brightman. A timeless CD which will continue to be a favourite over the years.

Sarah Brightman is a Classic.......2007-01-02

Sarah Brightman is at her best in "Classics." From Dvorak's "Rusalka" (Opera B.203) to Beethoven's haunting Op 52, slow movement (Symphony #7), Brightman's voice and lyrical style are a joy. I particularly enjoy her performances of Schubert's Ave Maria and Andrew Lloyd Weber's Pie Jesu. This is a great add to my collection of serious music.

Not The Best - Not the Worst - From Sarah Brightman.......2006-12-30

After purchasing this CD for my iPod for iTunes, I must say that I'm a little bit dissapointed. 7 new recordings and 8 old ones, ones that I already happen to have. I do like the fact that they're all on one CD! Some of her new recordings, including, "Ave Maria", "Winter Light", "Alhambra", "Dans La Nuit", and the new recording of "Pie Jesu" are just too breathy for my taste. It seems as with every changing CD, Sarah's voice changes. I'm not saying that the result is bad; it actually gives the songs more of a dream like quality, but I'm used to the younger, more Andrew Lloyd-Webber integrated Sarah. Scooping continually occurs in new recordings of "O Mio Babbino Caro", and "Nessun Dorma". In some tracks from La Luna, like "Figlio Perduto", Sarah's voice is TOTALLY dominated by harmonizing recordings that sound almost mechanical.

OVERALLY - The new songs sound O.K. and the old recordings are just as good as they were back then. This album is still a great buy!

Nice Cover.......2006-12-27

I'm a heterosexual guy who's not an opera aficionado - I only mention these facts because I seem to be right in the bull's-eye of the target market for this product. Sarah B. has a nice voice and she's pretty. Both of these are featured prominently on this CD. The cover and several pages in the insert are devoted to what must have been a very long and expensive photo shoot (and Photoshop) of a semi-clad Sarah looking marvelous. (The CD also comes with a flyer so you can buy various Brightman "Classics" apparel - perhaps not for the heterosexual male).

As far as the music goes: not bad, not great. I don't claim to have the most discerning ears for this sort of music, but everything was OK by me. However, the pieces on the CD with which I'm somewhat familiar, such as "O Mio Babbino Caro," didn't sound quite as good as other versions I've heard (and that includes by Charlotte Church, not just opera stars). Also, the solo version of "Time to Say Goodbye" didn't sound nearly as good to me as the duet with Bocelli.

In sum, there were 3-4 songs I liked enough to rip to MP3s - which is enough so that I didn't feel ripped myself...

Beethoven: The Complete Symphonies and Piano Concertos

Average customer rating:

Great Performance
Great Analog Beethoven Cycle
An essential collection
The best value in classical music on CD at the moment...
Wonderful Performances

Beethoven: The Complete Symphonies and Piano Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart:The Complete Piano Sonatas and Variations
Beethoven: Complete Piano Sonatas / Daniel Barenboim
Dvorák: The Symphonies
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

ASIN: B00004YA0S
Release Date: 2000-11-07

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto & Trio: Allegro Molto E Vivace
IV: Adagio - Allegro Molto E Vivace
I: Allegro Ma Non Troppo
II: Andante Molto Mosso
III: Allegro - In Tempo D'allegro - Tempo I
IV: Allegro
V: Allegretto

Tracks:

I: Allegro Con Brio
II: Marcia Funebre: Adagio Assai
III: Scherzo & Trio: Allegro Vivace
IV: Finale: Allegro Molto - Poco Andante - Presto
Gross Fuge

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Larghetto
III: Scherzo & Trio: Allegro
IV: Allegro Molto
I: Allegro Con Brio
II: Andante Con Moto - Piu Mosso - Tempo I
III: Allegro -
IV: Allegro - Presto

Tracks:

I: Adagio - Allegro Vivace
II: Adagio
III: Menuetto: Allegro Vivace - Trio: Un Poco Meno Allegro
IV: Allegro Ma Non Troppo
I: Poco Sostenuto - Vivace
II: Allegretto
III: Presto - Assai Meno Presto
IV: Allegro Con Brio

Tracks:

I: Allegro Vivace Con Brio
II: Allegretto Scherzando
III: Tempo Di Menuetto
IV: Allegro Vivace
Overture
Overture
Overture
Overture

Tracks:

I: Allegro Non Troppo, Un Poco Maestoso - Christa Ludwig
II: Molto Vivace - Presto - Christa Ludwig
III: Adagio Molto E Cantabile - Andante Moderato - Christa Ludwig
IV: Presto - Recitativo - Allegro Assai - Alla Marcia - Christa Ludwig
Overture - Christa Ludwig

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro Scherzando
I: Allegro Con Brio
II: Adagio
III: Rondo: Molto Allegro

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro
I: Allegro Moderato
II: Andante Con Moto
III: Rondo: Vivace

Tracks:

Fantasia For Piano, Chorus And Orchestra
I: Allegro
II: Adagio Un Poco Mosso -
III: Rondo: Allegro

Amazon.com essential recording

Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permit more detail to be heard than in most original-instrument performances. At budget price and with the entire piano concerto cycle thrown in for good measure, this is greatness incarnate. --David Hurwitz

Customer Reviews:

Great Performance.......2007-07-07

There are many different ways to perform Beethoven and each one is valid.
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!

Great Analog Beethoven Cycle.......2007-05-07

This Klemperer cycle is just one of a dozen or so GREAT analog Beethoven symphony cycles that were recorded during Analog's golden age starting about 1958. These cycles are easily a match for digital and they should still be around for another 1,000 years, if the Lord tarries. These sets include: Karajan (twice, early 60s and late 70s) Bohm, Krips, Jochum, Bruno Walter, Leinsdorf, Rene Leibowitz, Szell, Ormandy, Bernstein, Steinberg, and Solti. This morning I listened to the Klemperer recordings of Beethoven's symphonies 5, 6, & 7. Very enjoyable, I got my Beethoven RDA fix.

Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.

You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).

Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!

An essential collection.......2007-04-25

How best to describe Otto Klemperer's perspective on Beethoven's symphonies: grand, heroic, intense, insightful, stubborn, obstinate, detailed, dramatic, monumental, granitic, deeply emotional, never sentimental. This boxed set of the complete symphonies and concerti embodies all of these elements as stands as one of the great achievements of recorded music.

These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).

By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.

Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.

You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.

That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.

Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.

As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.

Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.

The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.

The best value in classical music on CD at the moment..........2007-01-02

What is the best value in classical discs available today ? Who knows, but I defy anyone to beat the EMI compilation of Klemperer' recordings of the complete Beethoven Symphonies, Piano Concertos (with Barenboim), several overtures the Choral Fantasia etc etc. 9 discs for only $44 ( well that was the price I paid). You have got to be kidding... I only had two concerns with buying this. First on the age of the recordings, all more than 40 years old. No worry at all. This is a masterpiece of reconstruction. The sound quality indistinguishable from any modern recording. Secondly , the performances themselves. I had been warned that Klemperer notoriously chose rather slow tempi. Again I needn't have worried. I immediately went to the slow movements of the 2nd piano concerto and the fourth symphony, where many slow tempists have in the past come unstuck. The piano concerto was an absolute revelation. The combination of the youthful Barenboim and the Philharmonia's masterful playing time and gain had me on the edge of my seat. " Yes,go on, well...." Slow it may have been. Boring, never. The same applies in spades to the slow movement of the fourth. Right from the eerie opening, which is yes, very slow indeed, I knew this movement would be a revelation and I can honestly say I have never hear it better played. Follow this with a scherzo bounding in energy and thumping finale and you will never get a better performance of this, one of Beethoven's "lesser" symphonies. And I haven't even got round to the "biggies" yet! The box set looks unattractive and the portrait of Klemperer makes him appear a first class nerd. Pay absolutely no attention to this....

Wonderful Performances.......2006-04-07

I have admittedly not made it through the entire set as of yet, but feel sufficiently blown away by the First Symphony and the Eroica - particularly the second movement of the latter - to weigh in here. With respect to the tempo issue, I must - at least so far - argue in favor of Klemperer's decision to slow things down a bit. I think the effect is, as someone else has observed, a clearer and more visceral experience of Beethoven's composition. It brings out the feeling. The sound comes up a little short on the low end, but it isn't a major distraction. My only problem lies in EMI's inexplicable lack of any discussion of the performances. The notes are bland, dry descriptions of the pieces themselves, with some basic history thrown in. Given the fact that there are probably hundreds of different CDs of Beethoven's symphonies out there, all with similar explanatory notes, it is infuriating that nothing is said about these particular performances. This is in contrast with the EMI Bach set (with Yehudi Menuhin) in which there is a wonderful essay that discusses Menuhin's work in historical context.

Beethoven: Complete Piano Sonatas / Daniel Barenboim

Average customer rating:

Barenboim's Beethvoen
One of the very best ever
dead in the water
Sublime expression nourished by a colossal vision!
Performed with great enthusiasm

Beethoven: Complete Piano Sonatas / Daniel Barenboim

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mozart:The Complete Piano Sonatas and Variations
Beethoven - The Complete String Quartets / Alban Berg Quartet
Beethoven: The Complete Symphonies and Piano Concertos
Schubert: The Piano Sonatas
Chopin: The Piano Works

ASIN: B00000C2KP
Release Date: 1998-10-20

Tracks:

Sonata No.1 In F Minor, Op.2 No.1: Allegro
Sonata No.1 In F Minor, Op.2 No.1: Adagio
Sonata No.1 In F Minor, Op.2 No.1: Menuetto: Allegretto
Sonata No.1 In F Minor, Op.2 No.1: Prestissimo
Sonata No.2 In A Major, Op.2 No.2: Allegro vivace
Sonata No.2 In A Major, Op.2 No.2: Largo appassionato
Sonata No.2 In A Major, Op.2 No.2: Scherzo: Allegretto
Sonata No.2 In A Major, Op.2 No.2: Rondo: Grazioso
Sonata No.3 In C Major, Op.2 No.3: Allegro con brio
Sonata No.3 In C Major, Op.2 No.3: Adagio
Sonata No.3 In C Major, Op.2 No.3: Scherzo: Allegro
Sonata No.3 In C Major, Op.2 No.3: Allegro assai

Tracks:

Sonata No.5 In C Minor, Op.10 No.1: Allegro molto e con brio
Sonata No.5 In C Minor, Op.10 No.1: Adagio molto
Sonata No.5 In C Minor, Op.10 No.1: Finale: Prestissimo
Sonata No.6 In F Major, Op.10 No.2: Allegro
Sonata No.6 In F Major, Op.10 No.2: Allegretto
Sonata No.6 In F Major, Op.10 No.2: Presto
Sonata No.7 In D Major, Op.10 No.3: Presto
Sonata No.7 In D Major, Op.10 No.3: Largo e mesto
Sonata No.7 In D Major, Op.10 No.3: Menuetto: Allegro
Sonata No.7 In D Major, Op.10 No.3: Rondo: Allegro
Sonata No.22 In F Major, Op.54: In tempo di Menuetto
Sonata No.22 In F Major, Op.54: Allegretto - Piu allegro

Tracks:

Sonata No.4 In E Flat Major, Op7: Allegro molto e con brio
Sonata No.4 In E Flat Major, Op7: Largo con gran espressione
Sonata No.4 In E Flat Major, Op7: Allegro
Sonata No.4 In E Flat Major, Op7: Rondo: Poco allegretto e grazioso
Sonata No.9 In E Major, Op.14 No.1: Allegro
Sonata No.9 In E Major, Op.14 No.1: Allegretto
Sonata No.9 In E Major, Op.14 No.1: Rondo: Allegro comodo
Sonata No.10 In G Major, Op.14 No.2: Allegro
Sonata No.10 In G Major, Op.14 No.2: Andante
Sonata No.10 In G Major, Op.14 No.2: Scherzo: Allegro assai

Tracks:

Sonata No.11 In B Flat Major, Op.22: Allegro con brio
Sonata No.11 In B Flat Major, Op.22: Adagio con molta espressione
Sonata No.11 In B Flat Major, Op.22: Menuetto
Sonata No.11 In B Flat Major, Op.22: Rondo: Allegretto
Sonata No.12 In A Flat Major, Op.26: Andante von variazioni
Sonata No.12 In A Flat Major, Op.26: Scherzo: Allegro molto
Sonata No.12 In A Flat Major, Op.26: Marcia funebre sulla morte d'un Eroe: Maestoso andante
Sonata No.12 In A Flat Major, Op.26: Allegro
Sonata No.13 In E Flat Major, Op.27 No.1: Andante - Allegro
Sonata No.13 In E Flat Major, Op.27 No.1: Allegro molto e vivace
Sonata No.13 In E Flat Major, Op.27 No.1: Adagio con espressione - Allegro vivace

Tracks:

SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Grave - Allegro molto e con brio
SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Adagio cantabile
SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Rondo: Allegro
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Adagio sostenuto
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Presto agitato - Adagio - Presto agitato
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro assai - Piu allegro
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Andante con moto
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro ma non troppo - Presto

Tracks:

Sonata No.15 In D Major, Op.28 'Pastoral': Allegro
Sonata No.15 In D Major, Op.28 'Pastoral': Andante
Sonata No.15 In D Major, Op.28 'Pastoral': Scherzo: Allegro vivace
Sonata No.15 In D Major, Op.28 'Pastoral': Rondo: Allegro ma non troppo
Sonata No.21 In C Major, Op.53 'Waldstein': Allegro con brio
Sonata No.21 In C Major, Op.53 'Waldstein': Introduzione (Adagio molto) - Rondo (Allegretto moderato - Prestissimo)
Sonata No.19 In G Minor, Op.49 No.1: Andante
Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
Sonata No.20 In G Major, Op.49 No.2: Allegro ma non troppo
Sonata No.20 In G Major, Op.49 No.2: Tempo di menuetto

Tracks:

Sonata No. 16 In G Major, Op. 31 No. 1: Allegro vivace
Sonata No. 16 In G Major, Op. 31 No. 1: Adagio grazioso
Sonata No. 16 In G Major, Op. 31 No. 1: Rondo: Allegretto - Adagio - Presto
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Largo - Allegro
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Adagio
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Allegretto
Sonata No.18 In E Flat Major, Op.31 No.3: Allegro
Sonata No.18 In E Flat Major, Op.31 No.3: Scherzo: Allegretto vivace
Sonata No.18 In E Flat Major, Op.31 No.3: Menuetto: Moderato grazioso
Sonata No.18 In E Flat Major, Op.31 No.3: Presto con fuoco

Tracks:

Sonata No.24 In F Sharp Major, Op.78: Adagio cantabile - Allegro ma non troppo
Sonata No.24 In F Sharp Major, Op.78: Allegro vivace
Sonata No.25 in G major, Op.79: Presto alla tedesca
Sonata No.25 in G major, Op.79: Andante
Sonata No.25 in G major, Op.79: Vivace
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Das Lebewohl (Les Adieux): Adagio - Allegro
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Abwesenheit (L'Absence): Andante espressivo
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Wiedersehn (Le Retour): Vivacissimamente - Poco andante - Tempo 1
Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No.27 In E Minor, Op.90: Nicht zu geschwind und sehr singbar vorzutragen

Tracks:

Sonata No.28 In A Major, Op.101: Allegretto ma non troppo
Sonata No.28 In A Major, Op.101: Vivace alla Marcia
Sonata No.28 In A Major, Op.101: Adagio, ma non troppo, con affetto - Tempo del primo pezzo - Allegro
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Allegro
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Scherzo: Assai vivace - Presto - Tempo 1
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Adagio sostenuto
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Largo - Allegro - Prestissimo - Allegro risoluto (Fuga a tre voci, con alcune licenze)

Tracks:

Sonata No.30 In E Major, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo 1
Sonata No.30 In E Major, Op.109: Prestissimo
Sonata No.30 In E Major, Op.109: Tema: Andante molto cantabile e espressivo - Variazioni 1-6
Sonata No.31 In A Flat Major, Op.110: Moderato cantabile, molto espressivo
Sonata No.31 In A Flat Major, Op.110: Allegro molto
Sonata No.31 In A Flat Major, Op.110: Adagio ma non troppo
Sonata No.31 In A Flat Major, Op.110: Fuga: Allegro ma non troppo - L'istesso tempo di arioso - L'istesso tempo della Fuga - Meno allegro
Sonata No.32 in C minor, op.111: Maestoso - Allegro con brio ed appassionato
Sonata No.32 in C minor, op.111: Arietta: Adagio molto semplice e cantabile - Variazioni

Customer Reviews:

Barenboim's Beethvoen.......2007-06-27

I heard Bachaus play all Beethoven recitals at Carnegie Hall, in NYC. At that time he was the acknowledged master of the Beethvoen Sonata. With Barenboim, the old order changeth, yielding place to new. These recordings have fire, tempestuousness and passion, all emotions that belong in Beethoven.

One of the very best ever.......2007-02-15

This set has to be experienced. The clarity of these performances is beyond belief. If it's not the best set of Beethoven Sonatas, it is certainly among the very best. Take for example the first movement of Sonata number 21. It is so easy to have a performer play all the notes just as Beethoven wrote them and yet leave the listener in a morass of confusion without the slightest idea of what he had in mind. Not here. The ideas pour forth in a white light that has to be experienced. It really has to be experienced!! I love these performances. I will play them until I die. Oh...and the recordings are technically excellent. At least when played through Levinson electronics and Maggies....superb!

dead in the water.......2007-01-12

Sorry, I just don't like Barenboim's renditions. Beethoven is my favourite composer, depending on my mood that is, and nothing moves me as his music can. But I just don't get Barenboim's renditions... doesn't do a thing for me. Something of Beethoven's depth and richness gets totally "lost in translation".

Better off finding a better performance of these if you really want to be "blown away". My favorite "Beethoven" conductor would have to be Herbert von Karajan; and as for individual pianists my all time favorite is Maurizio Pollini, whose performances are exquisite, in both technique and expression! If you are a music lover you should really check his work out if you haven't already. My favorite Beethoven CD by him is "Die Spaten Klaviersonaten" (Beethoven) by Deutsche Grammophon in their "legendary recordings" series. It is a real gem! (the sound quality is excellent also)

Sublime expression nourished by a colossal vision!.......2006-03-23

Thanks to this immense and untiring activity in the field of the orchestral direction, his vision as pianist has enriched himself quite a lot: Barenboim performs these well known Sonatas with a splendid architectural construction; according Schnabel `s tradition.

And that is a very remarkable good point in this musical moment where the pianist technique is eclipsing and even annulling the personal approach in the most of pianists all over the world. Honesty, conviction, vision and commitment dress those interpretations loaded of expression and personality.

In the great tradition of the great Beethovenian keyboard giants of the past, Daniel explores and plays every little bar with that well felt intensity of someone who in Beethoven `s there is much more than simple music. In Beethoven the music is not a goal by itself; but a revelation superior to any philosophy; all his musical legacy possess values that are placed of the standards. There is not art without second intention and that is precisely what Barenboim has made with this fabulous cycle of Beethoven Sonatas.

If you really want to listen remarkable performances far beyond of the trivial conventionalisms, go for this record.

Performed with great enthusiasm.......2004-05-16

This is classic early Barenboim (he was just 24 when he started recording this set in 1966). He is very enthusiastic and expressive (if you don't like him, he "takes liberties" and "shows off"). The slow movements are veerrry slow, and the fast ones really rip. Pianissimo is extremely soft, and fortissimo rattles the windows! [My wife insists that I wear headphones for late-night listening.]

Tracks:

Jesu, Joy Of Man's Desiring
Sheep May Safely Graze
Sonata In E Major K.380
Mazurka In C Sharp Minor, Op.50, #3
Nocturne In D Flat Major
Claire De Lune
Molto Moderato
Andante Sostenuto
Allegro Vivace Con Delicatezza
Allegro Ma Non Troppo

Amazon.com

In pianist Leon Fleisher's return to playing with both hands, an indomitable spirit has triumphed over physical adversity. Not that he has been absent from music since losing the use of his right hand to focal dystonia in 1965: in addition to forging a successful career as teacher and conductor, he performed the left-hand literature with peerless mastery, enlarging it with new commissions. However, he persisted in searching for a cure, and his determination has now borne fruit: this is his first record of the two-hand repertoire in 40 years. It is altogether extraordinary. Always a great pianist and musician, Fleisher has lost none of his powerful, consummate technique (not surprisingly, his left hand is enormously strong), his rhythmic and tonal control, his expressive projection. His sound is ravishingly beautiful, rich, full, singing, delicate, capable of infinite variations of dynamics, color and nuance; his intellectual and emotional concentration are riveting. The program features familiar short pieces and Schubert's great last sonata. Two Bach transcriptions, one by Myra Hess, one by Egon Petri, are overloaded and artificial, but played with reverential simplicity; a Scarlatti Sonata is scintillating without being fast; a Chopin Mazurka and Nocturne and Debussy's "Clair de lune" are frankly sentimental, very poetic, free, slow and dreamy. They invite the listener to focus on the playing rather than the music. The Schubert is monumental. Fleisher's vitality and exuberance belie his 75 years, though his impetuosity sometimes leads to jerkiness (in the Scherzo), and rushed tempi (in the Finale). His dynamics can be wayward, but the texture, even at its richest, is always crystal clear; every line stands out, indeed some seem newly discovered. There is plenty of time for reposeful rests, poised transitions, changes of harmony, color and mood; the sense of depth, breadth, coherence and continuity never falters. --Edith Eisler

Customer Reviews:

Classical piano doesn't get any better than this.......2007-04-15

This is a beautifully produced album by a master of the piano. Listening to the piano transcription of Sheep May Safely Graze is worth the price of admission alone. The Schubert D flat major sonata is moving and powerful. The Chopin delightful and full of feeling. You waited your whole life to hear the piano played this well with such a delightful choice of pieces.

Highly recommended.

F leisher's triumphant return........2007-01-11

It is thrilling and soul-satisfying to hear Leon Fleisher's superb and sensitive playing of Bach, Scarlatti, Chopin, Debussy and Schubert after dystonia had prevented two-handed performances for more than 35 years.

The Fleisher tapes of Beethoven's piano concertos with George Szell and the Cleveland Orchestra, before his disability, are treasures, and "Two Hands" shows that maturity has made his touch even more magical. His playing of Schubert's great Sonata in B flat Major rivals that of Leif Ove Andsnes, whom I have heard in person. For me, that is the ultimate accolade. Art Wild, Long Beach CA, 1/10/07

Superb... a real blockbuster!.......2006-12-08

This is a great album in every respect. The choice of music is excellent and execution is suberb. As one reviewer points out below, the interpretations are reminiscent of Rubenstein. However, these are digital recordings and with respect to technique, I would say that Fleisher has an edge.

There is something ineffable and sublime present here that makes this a rare and valuable recording. I was very moved the first time I heard this album, particularly the Chopin Nocturne. I also particularly liked the Bach interpretations and Debussy.

Everything on this album is tastefully done and Fleisher can certainly do a great job of interpreting each of the composers on this album. There is not a bad track on the whole album and being a piano player myself I hold artist's to a tough standard.

Without Equal.......2006-11-28

I am currently learning to play Chopin's Nocturne 27.2 so I decided to buy this CD. I have many different recordings of Chopin's nocturnes--Maria Pires, Maria Tipo, Ivan Moravic, Vladimir Ashkenazy, Arthur Rubenstein, and now Leon Fleisher.

I have listened to Rubenstein for a long time (who hasn't). He plays with such control, such technical virtuosity, such subtle movement and gentle shadings it is quite impossible to describe. Rubenstein is so perfectly graceful, when the music stops, you are left to ponder how anything--or anyone (Rubenstein or Chopin)--could be so ethereal.

Maria Tipo's rubato is too eccentric for me.

Maria Pires is beautiful, but something is missing--although I still listen to her quite regularly.

Vladimir leaves me the most disappointed of all the artists. His Nocturnes are flat, completely devoid of emotion. I listened to them two or three times and put them away.

Ivan Moravic plays beautifully as well--but I don't like his left hand rubato. His bass, however, is unbelievably deep and emotional.

Finally, Leon Fleisher

I have listened to the piano all my life. I even play the piano every day for about an hour. All of the above recordings (even Rubenstein's) left me wanting something, but I never knew what it was--until I heard Leon play...

No one I have ever heard--in ANY piece of music--compares to Leon's interpretation of Chopin's 27.2. He says it was his mother's favorite piece, and it shows. He must have loved her greatly.

Others, who possibly do not actually play the piano may have their quibbles, but as pianist, his recording is sublime; his emotion is full; his control is without equal.

Listen carefully to his left hand; it is simply astonishing. The graceful shadings of his left hand are impossible to describe adequately. For the first time in my life, I "heard" the LH melody that only Leon and Chopin knew was there. Finally, I am convinced, THAT is how Chopin played. I imagine few have ever mastered the piano as Leon has. This CD is a MUST have for the serious pianist, or anyone else, who wants to have their eyes (and ears) opened to as to how exquisitely beautiful the piano can, and should, be.

Five Stars and a Laurel Wreath.......2005-11-16

Whether you elect to acquire this recording as a treasure of a modern day hero who overcame enormous obstacles that would have destroyed a lesser human being, or whether you simply want some definitive performances of some of the most beloved works in the piano literature, this recording by Leon Fleisher is one of the most rewarding CDs to be released in a long time.

Everyone knows the sad tragedy of Fleisher's disappearance from the concert stage due to the challenge of the loss of his right hand. That he persisted in becoming a phenomenal success in the left hand alone repertoire instead of accepting defeat is truly amazing. Now that he is able to return to the keyboard with both hands as facile and full of passion and intelligence as before he plays with more than artistry: he plays with alchemy. From the Bach transcriptions that call for extreme sensitivity from every digit, to the romance and vivre of Chopin, the elegance of Scarlatti E major Sonata to the wonder of the closing Schubert sonata which challenges every pianist, Fleisher performs with authority and beauty of tone and spirit.

This is a recording that belongs in every music lover's library and is the perfect gift for those special friends who understand what this special CD is all about. Highly recommended. Grady Harp, November 05

The Power & The Majesty: Essential Choral Classics

Average customer rating:

Best of American Choral Singing!
A good album, but--
Awesome

The Power & The Majesty: Essential Choral Classics
Robert Shaw Festival Singers , and Atlanta Symphony Orchestra & Choruses
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

Choral Masterpieces
Gloria: Music of Praise & Inspiration
The #1 Choral Album
Sea Shanties
O Magnum Mysterium

ASIN: B000003D10
Release Date: 1995-01-24

Tracks:

Dies Irae
Tuba Mirum
Pie Jesu
O Fortuna
Dies Irae
Rex Tremendae
Confutatis
Lacrimosa
Polovtsian Dances
Missa: Kyrie Eleison
Hallelujah Chorus
The Shepherd's Farewell
Sanctus
The Heavens Are Telling
'Va, pensiero' (Chorus Of The Hebrew Slaves)
Nyne Otpushchayeshi (Now Let Thy Servant Depart)
Dies Irae

Customer Reviews:

Best of American Choral Singing!.......2003-02-08

This CD could be the cornerstone of your choral music library! Wonderful performances of all of the essential choral pieces give a wonderful introduction to choral music for someone new to it, and also give a nice sampler of the best pieces for someone already familiar with the music. Listening to each excerpt may inspire you to purchase the entire work!

As you would expect of performances by Robert Shaw's groups, these performances are really extraordinary and show the best of American choral singing.

A good album, but--.......2001-12-28

The three stars I have given this album are not for the performances, which are all tremendous and deserve five stars or more, but for the idea of releasing this sort of compilation. Every single one of these selections is part of a larger Shaw-recorded work already released by Telarc, and you are far better off seeking the complete recordings that all these pieces are from, than just buying a mere "sampler". (Shaw, however, never did get around to recording the complete " L' Enfance du Christ".) Of course, that can be very expensive for some people, and if one cannot afford all those recordings, I suppose this is the next best thing. One can't shake off the feeling, however, that because Shaw is no longer with us, Telarc is desperately trying to give the impression that "new" Shaw recordings are constantly being released by them, when the truth is that nearly all the new ones are mere recyclings. (The last complete Robert Shaw album released by Telarc was Dvorak's "Stabat Mater", a CD well worth buying.)

Awesome.......2000-04-04

This album is so up-lifting. As the music soars, so do your spirits.

DEBUT - Alisa Weilerstein & Vivian Hornik Weilerstein ~ Works for Cello and Piano

Average customer rating:

Hear Her Live
Weilerstein Debut
powefull
Florida Music Lover
Love it or hate it!

DEBUT - Alisa Weilerstein & Vivian Hornik Weilerstein ~ Works for Cello and Piano
Niccolo Paganini , Antonin Dvorak , Alberto Ginastera , Felix Mendelssohn , Pyotr Il'yich Tchaikovsky , Gabriel Faure , Leos Janacek , Camille Saint-Saens , Manuel de Falla , Alisa Weilerstein , and Vivian Hornik Weilerstein
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Dvorak Trios; Weilerstein Trio
Folklore
Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments
Starker Encore Album
The Road To Cello Playing

ASIN: B00003ZKRO
Release Date: 2000-08-01

Tracks:

Variations On One String On A Theme By Rossini
Forest Quietude, Op.68 No.5
Pampeana No.2, Op.21
Lied Ohne Worte, Op.109 (Posth.)
Pezzo Capriccioso, Op.62
Apres Un Reve, Op.7, No.1: After A Dream
Pohadka - Fairy Tale: I
Pohadka - Fairy Tale: II
Pohadka - Fairy Tale: III
The Carnival Of The Animals: The Swan
Popular Spanish Suite: I. El Pano Moruno (The Moorish Cloth)
Popular Spanish Suite: II. Asturiana
Popular Spanish Suite: III. Jota
Popular Spanish Suite: IV. Nana (Lullaby)
Popular Spanish Suite: V. Cancion (Song)
Popular Spanish Suite: VI. Polo

Customer Reviews:

Hear Her Live.......2006-12-19

You must witness Alisa Weilerstein live. I fell in love with her playing at the Spoleto festival where she played the basso continuo part of a Bach Brandenberg Concerto as if it was the Dvorak Cello Concerto. She has a passion for music that i have not heard or seen. And in her early 20s. Oh my gosh what a performer she will eventually be!

Weilerstein Debut.......2006-01-21

I've been playing the cello for almost 40 years and I agree about the complaints about the vibrato and phrasing: overdone! I also agree with the question about "aristocratic" playing: why all of the exaggeration? Instrument playing should ideally be like that of a vocalist, where one is not limited by one's technical abilities. I doubt that Ms. Weilerstein would sing these phrasese the same way she plays them. There is still time for her to develop, however. If you want to hear more refined playing, listen to Gendron, Rose, Fournier or Rostropovich.

powefull.......2005-12-18

I am a cellist of 15 years on the breakthrough of becoming a renowed cellist. This cellist tone is so powerfull and clear.she tells a story this is so clear to understand because the music speaks. alisa should watch the slurs from the f to b and be more gracefull. The apres un reve was ok i guess. she really should of tooken more time. like floating on a dream cloud. when i play this piece i take the music from the begining as a fuzzy dream and play the pitch so the music tells a story and becomes more clear every measure. The elgar is somenthing she might not want to touch because no one plays it better than du pre.

Florida Music Lover.......2002-10-12

I have been fond of the cello for years. I have enjoyed Casals even though he was somewhate austere. I love Rostropovich's tone and color but have felt that no one has ever played with the passion of Du Pre until I heard Weilerstein on, I believe, NPR when they played an unreleased tape of the Elgar Concerto by Weilerstein. I missed the intro and would have bet the farm that I was listening to Du Pre until the announcement at the end. I immediately ordered this disc and it has me wondering about re-incarnation. Is Du Pre back? This disc is a wonderful sample of the immense talents of this new young artist. I can't wait for Alisa to record the my favorite Elgar for EMI.

Love it or hate it!.......2002-05-21

SUCH PRESENCE! This is cello playing without apologies. She is always secure in what she is saying whether that is what you wanted to hear or not. She is the real thing. May she go onto continue to create controvery through her playing!

Arthur Rubinstein plays Chopin [Box Set]

Average customer rating:

THE GREATEST OF CHOPIN PIANISTS
The greatest interpretation
Not such a great album
Love it.
RECORDING QUALITY IS A FACTOR

Arthur Rubinstein plays Chopin [Box Set]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

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Similar Items:

Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Great Recordings Of The Century - Dinu Lipatti
Schubert: The Piano Sonatas
Beethoven: The Complete Symphonies and Piano Concertos

ASIN: B000002S59
Release Date: 1994-03-15

Tracks:

Piano Concerto No. 1 In E minor, Op. 11: Allegro maestoso risoluto
Piano Concerto No. 1 In E minor, Op. 11: Romanze (Larghetto) -
Piano Concerto No. 1 In E minor, Op. 11: Rondo vivace
Piano Concerto No. 2 In F minor, Op. 21: Maestoso
Piano Concerto No. 2 In F minor, Op. 21: Larghetto
Piano Concerto No. 2 In F minor, Op. 21: Allegro vivace
Waltz In C Sharp Minor, Op. 64, No. 2
Nocturne No. 1 In B Flat Minor, Op. 9 No. 1
Nocturne No. 2 In E Flat Major, Op. 9 No. 2
Nocturne No. 3 In B Major, Op. 9 No. 3

Tracks:

Nocturne No. 4 In F Major, Op. 15 No. 1
Nocturne No. 5 In F Sharp Major, Op. 15 No. 2
Nocturne No. 6 In G Minor, Op. 15 No. 3
Nocturne No. 7 In C Sharp Minor, Op. 27 No. 1
Nocturne No. 8 In D Flat Major, Op. 27 No. 2
Nocturne No. 9 In B Major, Op. 32 No. 1
Nocturne No. 10 In A Flat Major, Op. 32 No. 2
Nocturne No. 11 In G Minor, Op. 37 No. 1
Nocturne No. 12 In G Major, Op. 37 No. 2
Nocturne No. 13 In C Minor, Op. 48 No. 1
Nocturne No. 14 In F Sharp Minor, Op. 48 No. 2
Nocturne No. 15 In F Minor, Op. 55 No. 1
Nocturne No. 16 In E Flat Major, Op. 55 No. 2
Nocturne No. 17 In B Major, Op. 62 No. 1
Nocturne No. 18 In E Major, Op. 62 No. 2
Nocturne No. 19 In E Minor, Op. 71 No. 1 (posth.)

Tracks:

Waltz In A-Flat Major, Op. 34, No. 1
Mazurka In F-Sharp Minor, Op. 6, No.1
Mazurka In C-Sharp Minor, Op. 6, No.2
Mazurka In E-Major, Op. 6, No.3
Mazurka In E-Flat Major, Op.6, No.4
Mazurka In B-Flat Major, Op. 7, No. 1
Mazurka In A-Minor, Op. 7, No.2
Mazurka In F-Minor, Op. 7, No. 3
Mazurka In A-Flat Major, Op. 7, No.4
Mazurka In C-Major, Op. 7, No. 5
Mazurka In B-Flat Major, Op. 17, No.1
Mazurka In E-Minor, Op. 17, No. 2
Mazurka In A-Flat Major, Op. 17, No. 3
Mazurka In A-Minor, Op. 17, No. 4
Mazurka In G-Minor, Op. 24, No. 1
Mazurka In C-Major, Op. 24, No. 2
Mazurka In A-Flat Major, Op. 24, No. 3
Mazurka In B-Flat Minor, Op. 24, No. 4
Mazurka In C-Minor, Op. 30, No. 1
Mazurka In B-Minor, Op. 30, No. 2
Mazurka In D-Flat Major, Op. 30, No. 3
Mazurka In C-Sharp Minor, Op. 30, No. 4
Mazurka In G-Sharp Minor, Op. 33, No. 1
Mazurka In D-Major, Op. 33, No. 2
Mazurka In C-Minor, Op. 33, No. 3
Mazurka In B-Minor, Op. 33, No. 4
Mazurka In C-Sharp Minor, Op. 41, No. 1
Mazurka In E-Minor, Op. 41, No. 2
Mazurka In B-Major, Op. 41, No. 3
Mazurka In A-Flat Major, Op. 42, No. 4
Mazurka In G-Major, Op. 50, No. 1
Mazurka In A-Flat Major, Op. 50, No. 2
Mazurka In C-Sharp Minor, Op. 50, No. 3

Tracks:

Mazurka In B-Major, Op. 56, No. 1
Mazurka In C-Major, Op. 56, No. 2
Mazurka In C-Minor, Op. 56, No. 3
Mazurka In A-Minor, Op. 59, No. 1
Mazurka In A-Flat Major, Op. 56, No. 2
Mazurka In F-Sharp Minor, Op. 56, No. 3
Mazurka In B-Major, Op. 63, No. 1
Mazurka In F-Minor, Op. 63, No. 2
Mazurka In C-Sharp minor, Op. 63, No. 3
Mazurka In G-Major, Op. 67, No. 1
Mazurka In G-Minor, Op. 67, No. 2
Mazurka In C-Major, Op. 67, No. 3
Mazurka In A-Minor, Op. 67, No. 4
Mazurka In C-Major, Op. 68, No. 1
Mazurka In A-Minor, Op. 68, No. 2
Mazurka In F-Major, Op. 68, No. 3
Mazurka In F-Monor, Op. 68, No. 4
Mazurka In A-Minor, Op. Posth. (A son ami Emile Gaillard)
Mazurka In A-Minor, Op. posth. (Notre temps)
Scherzi In B-Minor, Op. 20
Scherzi In B-Flat Minor, Op. 31
Scherzi In C-Sharp Minor, Op. 39
Scherzi In E-Major, Op. 54

Tracks:

Barcaolle In F-Sharp Major, Op. 60
Berseuse In D-Flar Major
Polonaise In C-Sharp Major, Op. 26, No. 1
Polonaise In E-Flat Major, Op. 26, No.2
Polonaise In A-Major, Op. 40, No. 1
Polonaise In C-Minor, Op. 40, No. 2
Polonaise In F-Sharp Major, Op. 44
Polonaise In A-Flat Major, Op. 53 (Heroic)
Polonaise In A-Flat Major, Op. 61 (Polonaise-Fantaisie)
Andante splanato & polonaise brillante In E-Flat Major, Op. 22

Customer Reviews:

THE GREATEST OF CHOPIN PIANISTS.......2007-03-01

These are the earlier discs of Rubinstein's Chopin, recorded by HMV in London during the 1930's. It is less complete than his later recordings for RCA - no Sonatas, no Ballades, no Etudes. The sound is naturally of its time - but in many ways more natural than the sharply-lit, slightly edgy piano sound RCA favoured in the 50's and 60's. Nevertheless, these are the Chopin performances I return to most.

Rubinstein's natural affinity with Chopin is legendary. He seemed always able to capture precisely the right degree of rubato at exactly the right moment in these pieces. And he had a unique ability in his countryman's music to balance the lyrical with the impassioned, what seems completely spontaneous with what is clearly deeply considered. The Nocturnes here are, I think, the best you'll hear anywhere on disc. In the greatest of them - the Opp.37 & 48 sets, for example - Rubinstein gets the contrast between the dreamy nocturnal outer sections with the darker, more impassioned central sections just right. These are not salon miniatures in his hands but big works, if not in length then in content. And no-one can match Rubinstein in the elusive diversity of this complete set of Mazurkas. The two Concerti both have Barbirolli as the sympathetic conductor, following Rubinstein's lead in the ebb and flow of phrases and whole sections of these gorgeous and often maligned works. Interestingly the recording of Concerto No.2 (actually the first composed) dates from before the pianist's famous withdrawal from public performance to reconstruct his technique and his approach, that of Concerto No.1 from after. Perhaps one can detect a touch more maturity and refinement in his approach to the latter, but they are both ravishing performances.

Many of the performances on these 5 discs are the greatest Chopin you're likely to hear. And the ear soon adjusts to the somewhat old-fashioned recorded piano sound. This is a highly desirable set for any lover of Chopin and/or great piano playing.

The greatest interpretation.......2007-02-17

The interpretation is stunning. Mono - but no matter for solo piano - and a wee bit hissy but still quite superb.

Not such a great album.......2007-01-12

This album was recorded from records as you can hear the scratches and skips. Don't recommend it!

Love it........2006-06-22

This is my favorite album. I think that not even Rubinstein's later recordings attain this quality of musical involvment.

There is a fair amount of background noise, but the music helps to forget it rather quickly overall.

RECORDING QUALITY IS A FACTOR.......2005-02-10

Otherwise, I would have given 5 stars. The fact that these have a hiss (and you can practically hear him close the piano on several numbers) should be mentioned. I guess we are spoiled to audio quality, but this is an expensive collection and this fact was glaringly omitted. That said, I have enjoyed the recordings, in spite of the very audible hiss.

Average customer rating:

The Whole Thing
Hauntingly Beautiful
Good-enough readings but outstanding sound
Passionate
Maybe this is THE (one disc-) Peer Gynt album to own ...

Grieg: Peer Gynt

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007Z47JI
Release Date: 2005-06-07

Tracks:

No. 1 At The Wedding (Prelude To Act I)
No. 2 Halling
No. 4 The Abduction Of The Bride
No. 6 Peer Gynt And The Woman In Green
No. 7 Peer Gynt: 'You Can Tell Great Men By The Style Of Their Mounts!'
No. 3 Springar
No. 8 In The Hall Of The Mountain King
No. 9 Dance Of The Mountain King's Daughter
No. 12 The Death Of Ase (Prelude To Act III)
No. 13 Morning Mood (Prelude To Act IV)
No. 15 Arabian Dance
No. 16 Anitra's Dance
No.17 Peer Gynt's Serenade
No. 19 Solveig's Song
No. 20 Peer Gynt At The Statue Of Memnon
No. 21 Peer Gynt's Homecoming. Stormy Evening On The Sea (Prelude To Act V)
No. 22 The Shipwreck
No. 23 Solveig Sings In The Hut
No. 25 Whitsun Hymn: 'O Blessed Morning'
No. 26 Solveig's Cradle Song

Customer Reviews:

The Whole Thing.......2007-05-10

If there's an earlier 'Peer Gynt' recording that's complete (as opposed to just the 'suite') I've never heard of it. This is the entire incidental music to the play, not just the usual 'Dawn', 'The Hall of the Mountain King' 'Solveig's Song', etc.
Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is.

My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.

Hauntingly Beautiful.......2007-03-11

Conductor Paavo Jarvi does a masterful job of leading the Estonian National Symphony Orchestra. The orchestra plays with great emotion and precision creating an exciting and almost hypnotic effect. Although Beecham's version is very good, his Peer Gynt does not come close to matching the sheer beauty of Jarvi's.
The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive.
I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.

Good-enough readings but outstanding sound.......2007-02-21

I don't find that Paavo Jarvi and his Estonian forces have much to say in the familiar numbers from Peer Gynt. You must turn to Beecham for sheer delight in famous numbers like In The Hall of the Moutain King, Morning, Anitra's Dance, and so on. Where this recording scores is in the unfamiliar numbers; Peter Matteo's excellent rendition of the little-known Peer Gynt's Serenade is one highlight, as is the convincingly crude folk fiddling that begins half a dozen numbers.

Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is ordinary and his Estonian musician ae playing at far less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged.

Passionate.......2006-08-18

The story line gives the listener a guide to follow the music, but the score leaves out the connections for the listener to only imagine the performance. The music is passionate and descriptive and introduces the listener to the singing voices of parts of the presentation that are left out in the "Suite." I appreciate hearing it over and over.

Maybe this is THE (one disc-) Peer Gynt album to own ..........2006-02-15

... to keep closely beside the gorgeous, incisively intelligent and deeply concentrated performance (also on 1 CD) with Esa-Pekka Salonen conducting the Oslo Philharmonic Orchestra and Barbara Hendricks singing the role of Solveig (Sony Classical).
Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-)
Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ...

Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen.
Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling.
All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue).
The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!

Average customer rating:

A midsummer nights dream
After thirty years, Previn's Mendelssohn is still enchanted
a clear winner
Enchanting performance of magic music
The Greatest: The Music Compliments Shakespeare's Comedy

A Midsummer Night's Dream
Felix Mendelssohn , Andre [conductor] Previn , and London Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002RNC
Release Date: 1990-10-25

Tracks:

Overture, Op.21
I: Scherzo (After Act 1)
II: 'Over Hill, Over Dale'
III: 'Ye Spotted Snakes'
IV: The Spells
V: Entr'Acte (Hermia Seeks Lysander And Entry Of The Rude Mechanicals)
VI: 'What Hempen Homespuns'
VII: Nocturne
VIII: The Removal Of The Spells
IX: Wedding March (After Act 4)
X: Fanfare And Funeral March
XI: Bergomask
XII: Wedding March Reprise
XIII: Finale: 'Through The House'

Customer Reviews:

A midsummer nights dream.......2007-01-08

I bought this for my son because he was doing a term project on shakespear's A midsummer nights dream. He took it to school and the year 6 students all enjoyed listening to the music while they worked

After thirty years, Previn's Mendelssohn is still enchanted.......2006-07-16

Andre Previn was at his freshest and most involved in 1976 when he made his acclaimed recording of Mendelssohn's complete Midsummer Night's Dream music, all 57 min. worth. It's become fashionable to include some spoken dialogue (as Abbado does on his Sony recording with the Berlin Phil.) so that we can capture the melding of Mendelssohn with Shakespeare. Previn's version is dialogue free, but he is unusually alert and sparkling here.

One secret is taking slower than normal tempos, which gives the orchestra space to phrase with more imagination. You really do participate in a wordless drama of romance and magic, and thanks to EMI's sterling engineering, which highlights all the delicious detials of the LSO's playing, thrice-familiar music sounds new and engaging. That's the secret--Previn doesn't tkae a single bar for granted, so listeners old and new can immrese themselves in Mendelsoohn's immortal fairy whimsy. Even the scaling back to a smaller orchestral sound--far removed from the symphonic breadth of, say, Klemperer--makes us feel that we have traveled to a world of delicate enchantment. Highly recommended.

a clear winner.......2003-06-05

What a CD can be?This recording tells you how excellent a work can be interpreted.Previn is one of my favorite conductor.He gave us the best present which we dared not dream of.
And the most amazing is the childrens' chorus.The girls' singing associated with the words "wind" and "wing".Best enjoyment.
RECOMMENDED!!!!

Enchanting performance of magic music.......2003-01-21

Have you had the opportunity to hear Mendelssohn's music performed with the Shakespeare play? We went to a performance where veteran Shakespearean actors, husband and wife John Bell and Anna Volska, acted every single part in the play, while the Sydney Opera and Ballet Orchestra performed the music. [It took about 2 minutes to adjust to a cast of 2!]

Some people have called it "Great Music for a Silly Play," but I think both play and music are superb. By the way, it is not true that Mendelssohn wrote the music at the age of 17: he did write the overture then (which is an amazing feat), but the rest was written in his maturity.

This recording does *not* feature the play, too, but it is one of my favourites. It is one of the earliest CDs we bought, and it is terrific that it is still available.

The music is superb, and the performances of the orchestra, soloists and children's choir are top notch.

This is one of the best pieces of Nineteenth Century Music. You may find that you play it more frequently than most CDs in your collection.

Highly recommended.

The Greatest: The Music Compliments Shakespeare's Comedy.......2003-01-12

Finally, a piece of orchestral music that compliments William Shakespeare's romantic comedy, A Midsummer Night's Dream, about scheming fairies and their manipulation of four exiled lovers. The cover alone is enough to attract the most appreciative aesthete, an English painting of the scene in which Titania, Oberon and their fairies come across a sleeping actor. Felix Mendelssohn was only 17 when he composed the "incidental" music to the Shakespearean comic play. It was his first mature work, and it was used by a fine orchestra during a performance of A Midsummer Night's Dream in London. The genius of Mendelssohn at age is very obvious. He has the abilities and talents of Mozart, himself a child prodigy, and colorizes the individual instruments, actively engages the audience with varied musical beauty. This recording is the most complete, and it is undoubtedly the best. Andre Previn and the London Symphony Orchestra masters the bright, romantic, elegant, witty score; a score that itself resembles the playful dialogue of the comedy.

The Overture introduces the themes of the four lovers, the fairies, the actors and the happy finale. The four chords struck on flute represents the four lovers, the fickle, bored lovers who have run away from home on exile for their forbidden love and through fairy pranks, fall in love with the wrong partners. The fairies music is heard in the rapid trills of the strings in the Overture, which sound staccato, dainty, and are tinged with magic mischief. The bombastic passages for trumpet and full orchestra lead to the "hee-haw" sound of the bassoon which represents the actor who is turned into a donkey by the fairy's prank. The scherzo again recalls the fairies in the woods, the same kind of fast-paced, staccato string music that is filled with mischief. Mendelssohn was keenly describing magic through music. The passage written for voices, the song taken from the incantation that the fairies in Titania's service chant, "Ye Spotted Snakes With Double Tongue" is beautifully made, using the operatic style. A mezzo soprano and lyric soprano erupt in a duet and they are accompanied by a chorus of children's voices.

The Nocturne is an effective musical portrait of the landscape, in this case, the forest in the moonlight. The fairies live in a world of dark beauty, serenity, elusive isolation. The trumpet is the perfect instrument best able to describe the majestic loneliness and peace in the forest, while the orchestra, in hushed strings, evoke the romance that was so much a part of this play. The most famous part of this music is the Wedding March. Who has not heard the Wedding March ? It is played ad nauseum in wedding ceremonies, has been used in the media of television, film and radio. It is not to be confused with Wagner's Wedding March from his opera, Lohengrin. Mendelssohn's Wedding March is a longer work, without chorus, opening with the trumpet fanfare that resounds with such majesty, followed by the equally bombastic march that the orchestra beats with romantic grandeur. This march is repeated again towards the end of the work. A direct contrast to the happy March is the Bergomask. It is a sad piece, funereal, haunting and cynical. The finale again makes use of voices, the children sing the lines at the end of the play, "Through the house" in which the fairies have made up for their mischief and the lovers are again with their rightful partners. The lyric soprano again sings with impressive charm, i.e. "Hand in hand with fairy grace, will we sing and bless this place".

Customer Reviews:

breakdown by cd........2007-01-14

CD1-7:SYMPHONIES 1-9

CD8:PIANO CONCERTO

CD9:VIOLIN CONCERTO & CELLO CONCERTO

CD10-11:REQUIEM

CD12-13:STABAT MATER

CD14:PIANO TRIOS OP.90 "DUMKY" & 21

CD15:PIANO TRIOS OP.65 & 26

CD16:PIANO QUARTETS

CD17:PIANO QUINTETS

CD18:STRING QUINTETS

CD19-20:MUSIC FOR VIOLIN AND PIANO

C21:SERENADE/HAUSMUSIK

CD22-31:THE COMPLETE STRING QUARTETS

CD32:SLAVONIC DANCES OP.46 & 72

CD33:PIANO DUET SLAVONIC DANCES

CD34:PIANO DUET LEGENDS FROM THE BOHEMIAN FOREST

CD35:PIANO WORKS

CD36-37:RUSALKA

CD38-40:SYMPHONIC POEMS

I'm not a music expert.......2005-08-25

I don't know too much about music. I own over 700 cds, but I don't play music and I don't have much experience with this music. My only point of reference was the ninth symphony, seeing as every other piece in this box set was new to me. It sounds fine, nothing wrong with it as far as I can see.

Now, here's what you'll get in this box set, seeing as Amazon does not give it a description. 40 cds! no joke, you get 40 cds in this box set. It features:
1. Complete symphonies
2. Complete symphonic poems
3. Cello concerto
4. Piano concerto
5. Violin concerto
6. Requiem
7. Stabat Mater
8. Slavonic Dances
9. Complete String quartets
10. Chamber music
11. Piano Works (solo and duet)
12. Rusalka

As far as I can tell, the only things missing are The Spectre's Bride and Jacobin. Seeing as it is 40 cds, i have not had an opportunity to listen to it, however what i have heard i have been quite satisfied with.

Music Review: