Antal Dorati & Les Ballets Russes

On this CD:

1. Le Beau Danube (The Blue/Beautiful Danube), ballet (Strauss works arr. by Desormière)
Composed by Johann II Strauss
Performed by London Philharmonic Orchestra
Conducted by Antal Dorati

2. Les Cent Baisers, ballet suite
Composed by Baron Frederic Erlanger
Performed by London Philharmonic Orchestra
Conducted by Antal Dorati

3. Cotillon, ballet based on music by Chabrier
Composed by Emmanuel Chabrier
Performed by London Philharmonic Orchestra
Conducted by Antal Dorati

4. Work(s) Scuola di Ballo
Composed by Luigi Boccherini
Performed by London Philharmonic Orchestra
Conducted by Antal Dorati

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:

Best of the the popular Copland...
A Great American Album
Must have this one...

Ultimate Copland Album

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Copland: Music for Films
Bernstein Century - Copland: Appalachian Spring, Rodeo, etc / Bernstein, New York PO
Copland: Appalachian Spring; Rodeo; Fanfare for the Common Man
Bernstein Century - Gershwin: Rhapsody in Blue, etc
Gershwin: Rhapsody in Blue - Piano Concerto in F - An American in Paris

ASIN: B00002S5EW
Release Date: 1999-11-09

Tracks:

Fanfare For The Common Man
From Four Dance Episodes From 'Rodeo': Saturday Night Waltz
From Four Dance Episodes From 'Rodeo': Hoe-Down
From Old American Songs: Simple Gifts
Appalachian Spring: Variations On A Shaker Hymn
From Music For Movies: Grovers Corners (From Our Town)
From Billy The Kid: Introduction - The Open Prairie
From Billy The Kid: Street In A Frontier Town
From Billy The Kid: Mexican Dance
From Billy The Kid: Gun Battle
From Billy The Kid: Celebration (After Billy's Capture)
From Billy The Kid: The Open Prairie Again
From Billy The Kid: El Salon Mexico
Appalachian Spring: Very Slowly
Appalachian Spring: Allegro
Appalachian Spring: Moderato: The Bride And Her Intended
Appalachian Spring: Fast: The Revivalist And His Flock
Appalachian Spring: Allegro: Solo Dance Of The Bride
Appalachian Spring: Meno Mosso
Appalachian Spring: Doppio Movimento: Variations On A Shaker Hymn
Appalachian Spring: Moderato: Coda

Customer Reviews:

Best of the the popular Copland..........2004-12-26

Here's a great introduction to the popular music of Aaron Copland. When "Fanfare for the Common Man" begins, sparks of recognition will fly for most listeners. This song has been everywhere: presidential inaugurations, the olympics, commercials, movies, etc. Some flatten it as hopelessly clichéd, while others find it moving and inspiring. Copland also reprised it in the finale of his Third Symphony. Arguably Copland's most famous piece, "Appalachian Spring" closes the CD. In between, more great Copland: excerpts from 'Rodeo' (apparently the beef lobby has appropriated "Hoe-Down" as one of their themes); a great vocal rendition of "Simple Gifts" and a large chunk of another of Copland's best known works: "Billy the Kid". The only confusing piece is the "Variations on a Shaker Hymn" from Appalachian Spring when the entire Appalachian Spring is already included. Seems slightly redundant.

Though most of the pieces on this CD were written in the 1930s and 1940s, they tend to evoke the old west. With titles such as "Rodeo" and "Billy the Kid" this shouldn't surprise too many people.

Copland went on to compose more dissonant and twelve tone compositions later on in his career. These obviously weren't as popular with the public in general as the pieces on this CD. Nonetheless, if this disc whets the appetite, a foray into Copland's less popular works will yield much. It will help to expose the totality of Copland's output. This disc only represents a small portion of his work. Regardless, this disc is a great starting point for getting to know one of the United States' best known composers of the twentieth century.

A Great American Album.......2004-02-13

This is a great album representing true patriotic American music. Songs like "Hoe-Down" are lively and energetic and give rememberance to what one can imagine as the true American spirit.

Must have this one..........2002-09-17

I like all types of music, I wanted this album because I liked the song "RODEO" that is used on the beef commercials. This CD has made me into a Copland fan. It has many great songs. If you want a CD that says "I am an American." This is it. I am sending copies to a friend in Bombay and Tel Aviv. This is who I am put to music.

Rachmaninoff: Piano Concertos Nos. 2 & 3

Average customer rating:

my ears don't lie do they?
Classic!
A very special gifted pianist!
Beautiful recording
A terrific trip back into the Mercury Living Presence vaults

Rachmaninoff: Piano Concertos Nos. 2 & 3

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Liszt: The Two Piano Concertos; The Piano Sonata
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

ASIN: B0000057LA
Release Date: 1991-11-08

Tracks:

Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non troppo
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio
Piano Concerto No. 3 In D Minor, Op. 30: Finale: Alla breve
Piano Concerto No. 2 In C Minor, Op. 18: Moderato
Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
Prelude In E-Flat Major, Op.23, No.6
Prelude In C-Sharp Minor, Op.3, No.2

Amazon.com essential recording

Byron Janis' celebrated recordings of these two concertos have never sounded better than in this new remastering by Mercury's Wilma Cozart Fine. Talk about recordings usually focuses on the artists and composers, and rightly so, but there are some people in the industry whose names you should know, producers and engineers whose work is as artistically excellent as the performers they record. During the late 50s and early 60s the Fines, husband and wife, created a catalog of recordings, which, when all is said and done, is probably title for title the finest in existence. There isn't a single one that isn't worth hearing, and some, like this one, belong in every collection. --David Hurwitz

Customer Reviews:

my ears don't lie do they?.......2006-05-29

I have no reference to compare this recording with, I only have Rachmaninov's 2nd piano concerto played by Richter which I like very much, but I cannot describe what's so good about it.
I don't have enough interest for piano solo or recitals to be able to tell what exactly makes a good pianist (in general and for me personal)
I'm not even sure what I like or not.

Well maybe I like uncomplicated, straightforward piano playing, with a somewhat light, clear touche the best, I'm not that fond of heavy pedal use.
(I like Kempff's Beethoven Concertos with Ferdinand Leitner very much)

But my taste and understanding for piano solo (violin solo as well) has to be developed yet.
For now I'm choosing "uncomplicated playing" as my personal preference...but with not much confidence about it.

These performances by Janis and Dorati are pretty straightforward and I'm pleased that I made a good choice out of many recordings.

Dorati's orchestral accompaniment is forceful, sometimes pretty manic, he constantly breaths in Janis' neck, which is breathtaking.
The sound of the orchestra/recording is close and direct with lots of presence what helpes to get even more involved in the performance.
The performances I heard never gave that sense of commitment in the music Dorati and Janis give.
True, the recording helps a lot and obviously the "old sonics" too...I mean the sound is absolutely fabulous, but you're aware it is an old recording and it does add that bit of authenticity to it.

In Rachmaninov's 2nd concerto I like Richter/Wislocki better, but probably only because of the 1st movement, which is slower - slower than everyone else, for me Richter/Wislocki's tempo feels more natural than Rachmaninov's own and everyone else's faster readings.
Janis/Dorati's Minneapolis Symphony Orchestra however is better than Wislocki's Warsaw Orchestra.

As you noticed I haven't mentioned Byron Janis' playing at all...that's because I simply cannot say anything relevant about it, I have to learn a lot and listen to many pianists to make a valid comment.

The performance itself, as a whole, by Janis and Dorati is excellent, no doubt about it, there must be something seriously wrong with my ears if I am wrong about this.

Classic!.......2006-02-19

Definitely a "must-have" performance in piano concerto category. One of a great recordings sonically. Mostly clean throughout the disc, I heard just a few cracking noises during high energy sections.

A very special gifted pianist!.......2005-07-06

Byron Janis was one of the most prominent American pianists of his generation, headed by William Kapell, Rosalyn Tureck, Leon Fleisher, John Browning and Lorin Hollander.He possessed tune, technique and temperament, the famous three T required to shine in this difficult activity.
Maybe the favorite repertoire did not fill the future expectations of new audiences after the sixties. The new tendencies of the Sixties shaped new searches: the Russian repertoire had been reassigned to three magnificent pianists from the USSR: Emil Gilels, Sviatoslav Richter and Vladimir Ashkenazy. The impressive number of Piano Festivals all around the world turned out the attention of new audiences, avid to meet the new talents: precisely The Busoni competition allowed to young promises as Marta Argerich to get a place, but also worked out positively for many European artists as Alfred Brendel, Walter Klien, John Lill, John Ogdon, who triumphed in Tchaikovsky Competition.
The special interest for the Russian music, decayed in that decade. Mahler, Shostakovich, Nielsen, ascended in the musical taste and the piano music of Mozart, Beethoven, Brahms and Schubert remained for small audiences in Europe, but not in USA . There was a huge interest for the new compositions, so Bartok, Schoenberg, Messiaen, Copland and even Brahms held the attention, but the orchestral sound prevailed over the Hall Concerts. The European invasion and the new names from the other side of the Atlantic Ocean, shadowed many emerging figures.
That's why the new generation of pianists (with the exception of two true icons in the American pianism as Rosalyn Tureck and Earl Wild) as David Dubal, Gerard Robbins, Paul Jacobs, Raymond Lewenthal, Jerome Rose, Adrian Ruiz and Ursula Oppenheimer decided to play Reinecke, Copland, Busoni, Alkan and Liszt.
In other words the lack of perception of the new musical tendencies, plus the sudden decay of new directors established the difference and the artistic surviving for many gifted pianists, far beyond the personal disgrace of Fleisher.
However this recording will become a true historical reference for the future generations.

Beautiful recording.......2005-04-19

What can I say about this CD that's not already said? I totally agree with all the comments expressed here by all the reviewers.

In all my 50 years, I never knew piano music could be so rich, evocative and inspiring. This is one discovery that came so late but nevertheless so wonderfully fulfilling and satisfying in my enjoyment of music over a lifetime. I can truly say that this music has enriched my life and came at a time when life seems to be coming to a close, at least as I perceived it for myself. Imagine, such music created nearly fifty years ago still sound so fresh and beautiful that it can touch, move and inspire us even now, after all the years! I encourage music lovers everywhere, especially of classical music, to get hold of this CD and listen to it at least once in their lifetime. You may experience the same sense of joy and wonder as I have. Also, as far as possible, try to listen to it on a high-end high-fidelity audio system. This will definitely give a clearer and more detailed insight, `revelation' into the music, making it that so much more enjoyable.

If Byron Janis was a student of Vladmir Horowitz, then I must say that in this instance, the disciple has truly excelled above and beyond that of the master (as chinese sayings go). In comparison to the Horowitz/Reiner/RCA/1951 recording which some described as the definitive and ultimate interpretation of the Rachmaninoff Third, I find that the latter much less emotionally involving and satisfying. In my opinion, many things in the latter - the seemingly `missing' orchestration (overwhelmed by the forceful pianist maybe), the `plonky' and `banging' piano tone in many instances, the relatively `cold' technical rendition, poor mono recording with thin and reedy sounds overall etc - make it inferior by far. The only other worthy contender, which even comes close to this by Byron Janis, is the Martha Argerich/ Kondrasin/Bavarian RSO/Philips/1980 recording.

So don't hesitate, go get the SACD version of this CD now and enjoy....

A terrific trip back into the Mercury Living Presence vaults.......2004-12-31

For those already having SACD playback capabilities, or contemplating purchase of a SACD deck, this Byron Janis/Antal Dorati recording of Rachmaninoff's 2nd and 3rd Piano Concertos (and two Preludes for piano) has been newly released in hybrid SACD form. Below are my comments on the SACD release, covering both the SACD layer and the "redbook" CD layer. Those with (or contemplating) SACD capabilites will want to check this new release (ASIN B0000DC15K) out; the sound quality is simply stunning; a knock-out!

--------------------------------------------------------------

Some good things - REALLY good things - are happening with the advent of the hybrid SACD (which I believe to be the long-term medium of choice for classical music lovers). BMG has gone back into its early-stereo-days vaults for some treasures (initially, 10 releases) from the beginnings of the Living Stereo days. And now Decca/Philips has done likewise with the Mercury Living Presence vaults. This Byron Janis/Antal Dorati Rachmaninoff collection (one of approximately six such Mercury Living Presence hybrid SACDs released so far) is as good as it gets for fans of Sergei Rachmaninoff's piano concerti.

Rachmaninoff wrote four concerti for the instrument, but the middle two, as on this release, are by far the best known (and best loved) of the four. For many years, the 2nd Piano Concerto, largely thanks to its "Full Moon and Open Arms" theme in the final movement, was more popular with audiences and listeners than the 3rd. But, thanks largely to the dramatized travails of the Australian pianist David Helfgott in the movie "Shine," the race, as it were, is much closer. The 3rd definitely places much higher technical demands on the soloist, and in any event has always been my preference of the two.

Byron Janis, at his prime (as he is in these performances), was one of the finest pianists of his generation. (If the latest generation of classical music listeners is unfamiliar with his abilities, it certainly isn't due to the magnificent support that the Mercury label provided for him through most of those years. More likely, the unfamiliarity is due to a very steep decline in his concertizing activities once he was stricken with psoriatic arthritis in the early '70s.) A prodigious technician, Janis was also able to infuse his playing with finely-honed lyricism when called for; he was definitely not a subscriber to today's "Bang Bang" (or "Clang Clang" if you will) school of pianism. (Interestingly, he was the first private student that Vladimir Horowitz took on [and Horowitz only had a few such students]. While he undoubtedly learned well from Horowitz, I believe that his ability to combine technical prowess with lyricism was innate.)

I don't know that there are any better performances of these two popular works. I've heard many (and own a bunch of those I've heard), but when I noticed that Decca/Philips included these performances in their initial hybrid SACD release package, I scarfed up this disc in a heartbeat. The sound, even in just the "redbook" CD layer, is literally like "being there," thanks to the magnificent job that Wilma Cozart Fine had done in transferring the master tapes to the CD medium in the last decade. But it is the SACD layer that is truly stunning, with woodwinds having a nice sense of "air" around them, silky strings (even when played fortissimo) and cymbal transients (at the end of the Rachmaninoff 3rd) that do not go into "overload" distortion. To my ears, it is as if the sessions had been taped last week. To your ears, perhaps, you'll be satisfied that the recording quality lacks nothing as compared with current releases.

Dorati gives Janis warmly detailed and wonderfully played support, from both the Minneapolis Symphony Orchestra (now the Minnesota Orchestra) in the 2nd concerto and the London Symphony Orchestra in the 3rd concerto. Remarkably, there is no discernible difference in either the orchestras' abilities (a tribute to Dorati) or the ambient sound (a tribute to the skilled Mercury team, led by Bob Fine and Wilma Cozart Fine). I could only detect that the LSO had its violas in front of the cellos on the right, and in their more usual seating for the Minneapolis sessions. Beyond that, I doubt anyone could tell the difference.

The album is nicely rounded out with two Rachmaninoff preludes, including the famous Prelude in C-sharp Minor.

The booklet, save for technical updates describing the transfer-to-SACD process and an update on Janis's activities to the present, faithfully duplicates the original text and artwork. The text includes a perceptive essay on the concerti by Arthur Loesser, who had been, as a youth, at the world premiere performance of the 3rd Piano Concerto when Rachmaninoff performed it in New York in 1909, with Walter Damrosch conducting the New York Symphony Orchestra. Within a week, give or take, Rachmaninoff again performed it in New York, this time with the New York Philharmonic led by Gustav Mahler (an event well-documented in Mahler anecdote history by virtue of the pains that Mahler took in preparing the orchestra while Rachmaninoff waited patiently). Loesser's notes suggest that he only attended the Damrosch-led performance, and not the Mahler-led one. I dare say, had it been my allowance, I know which one I'd pick.

I also dare say that, if you pick these Janis/Dorati performances, you won't be disappointed.

Bob Zeidler

Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory

Average customer rating:

high praise?
Wonderful
Nicely Done Recording
The 1812 in excellent (3 mic) stereo
Heavy canon and great bells!

Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tchaikovsky: 1812 Overture/ Marche Slave
Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Tchaikovsky: 1812 Overture
Rachmaninoff: Piano Concertos Nos. 2 & 3
Beethoven: Symphonies Nos. 4 & 6 "Pastorale"

ASIN: B0000057MW
Release Date: 1995-11-14

Tracks:

1812 Festival Overture, Op.49 (Original Scoring)
1812 Festival Overture, Op.49: Commentary By Deems Taylor
Capriccio Italien, Op.45
Wellington's Victory ('The Battle Of Vitoria'), Op. 91: First Part: Battle
Wellington's Victory ('The Battle Of Vitoria'), Op. 91: Second Part: Victory Symphony
Wellington's Victory ('The Battle Of Vitoria'), Op. 91: Commentary by Deems Taylor

Amazon.com essential recording

It's hard to believe that this, the BEST EVER 1812 Overture was not only recorded in the 1950s, but it still sounds better than any other version. This last fact is a tribute to the remastering expertise of producer Wilma Cozart Fine, and a still greater tribute to her late husband, a recording genius, for leaving her with such fantastic quality original tapes to work with. If you want real cannon, the sound of a zillion bells, and a really sensational brass band, all perfectly blended together to produce the ultimate in audio spectacle, then baby this one's for you. Wellington is, if anything, even noisier--though a lot less valuable musically. Still, it's the only logical coupling, and every single cannon blast and musket shot comes over with thrilling immediacy. What a disc! --David Hurwitz

Customer Reviews:

high praise?.......2007-02-17

i am completely at a loss for words as to why so many people say this is the best 1812 ever. my band director in high school played this for us as a demonstration on how brass players should not play. at no point does the brass sound good. they are constantly out of tune, out of balance, and out of character. the strings sound like they are using a branch instead of a bow.
the canon and bells are extraordinary though. if all you are buying 1812 for is the canon shot, then by all means purchase this disc as it will not disapoint. the commentary is great too, discussing the selection of canon and bells.
this CD is in extraordinary contrast to Dorati conducting Stravinsky. those recordings are fantastic and highly recommended. i would suggest purchasing any other version of 1812.
0 stars for the performance. 2 stars for the commentary, canon, and bell work.

Wonderful.......2007-02-12

The CD came quickly just in time for a last minute gift idea. Was exactly what I was looking for.

Nicely Done Recording.......2006-03-24

The original recording was a product of the 60's. It is well done musically and the cannons heard in the pieces are synchronized to the musical score, as the composers indicated.
The cannons are authentic of the time of the battles and the sound of the firings good. The explanation of how they engineered the microphone setup and fired the cannons is given in commentary as an extra. This is interesting as well.

The music itself is well known in the case of Tchailovsky's 1812 Overture. Beethoven's Wellington's Victory is not as well known. It's a lesser Beethoven but still interesting. It's written for popular consumption so lively. In the Beethoven, the different armies, French and English, are separated in the right and left speakers. Their approach, the battle, and the conclusion is indicated in the separate speakers. The battle is between the forces of Wellington and those of Bonaparte in Vittoria, Spain June 21rst, 1813.

The 1812 in excellent (3 mic) stereo.......2005-11-28

I own the Telarc LP version of the 1812 and recently transferred that to CD - with a lot of surface noises to fix due to the bulk of that recording being so very low in volume (except of course for the cannons). Early this week I purchased an iTunes download of this Dorati version, along with the commentary and I was so impressed that I immediately ordered the whole CD through Amazon.

Contrary to Sarah Bryan Miller's comment about Mercury's famed "one microphone technique", which had been applied in their 1954 version, this is the 1958 re-recording which has been downmixed to stereo (on DAT) direct from the restored 3 channel mastertape. It has been trasferred manually by the original engineer using restored original equipment - no noise reduction, filters, limiters etc which might colour the recording.

It's an amazingly dynamic analogue recording, and in every aspect it stomps all over the Telarc - which sounds wimpy and hollow by comparison.

Heavy canon and great bells!.......2005-06-11

This is the largest selling version of the 1812 overture ever recorded. All because of the tremendous canon fire. After all, it is the 1812, so the larger the cannons, the more impact it makes. But there is music too. So how does Dorati fare against his fellow competitors? Farely well, but it doesn't fare as well as his remake for Decca. Dorati was never a Tchaikovsky specialist. Fortunately, the 1812, more than any other piece of music Tchaikovsky wrote, can take all the jerky, precisionless playing. The Mercury sound is acoustically VERY dry. Lacking in any sense of natural studio sound or reverbaration. The string sound in the introduction is not the greatetst. Compare this to Reiner or Stokowski. Both have lush string sound that will have you captivated from the beginning. But a lush string tone is not essentially required for the 1812. After all, it is a war piece. Herman Scherchen's version is a good example. Mediocre strings, but thoroughly fresh and insightful reading. It's incredibly exciting. Dorati has great bells and that adds to the effect of the finale, along with the powerful canons. Great percussion and a forward drive make Dorati's a good performance. Most people. Sure it may not be as smooth as Stokowski, but the artillary makes it exciting. Capriccio Italien does not fare as well. The opening trumpet fanfare sounds great, but the performance is rather jerky, and lacking in finesse. Compare this to old,long out of print Phase 4 recording by Stanley Black. Black's finale gets that spirit moving. Kondrashin is another good choice. What's nice is that there is recording analysis by Deems Taylor that explains how the canons were recorded. Interesting, but once you hear it, you don't need to listen to it again. Wellington's Victory has always been grouped with the 1812. Lightweight Beethoven with plenty of musket shots. Dorati's version is fine, nothing spectacular other than the musekt fire. Buy this for the 1812, but if you're anything like most classical collectors, you already own this recording.

Bartok: Violin Concertos, Viola Concerto, 6 Duo for 2 Violins, Violin Rhapsodies; Yehudi Menuhin

Average customer rating:

As good as it gets

Bartok: Violin Concertos, Viola Concerto, 6 Duo for 2 Violins, Violin Rhapsodies; Yehudi Menuhin
Yehudi Menuhin , Bela Bartok , Pierre Boulez , Antal Dorati , New Philharmonia Orchestra , and BBC Symphony Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Bartok: Viola Concertos
Beethoven: Piano Trios, Vol. 2; Itzhak Perlman; Vladimir Ashkenazy; Lynn Harrell
Beethoven: Piano Trios, Vol. 1; Itzhak Perlman; Vladimir Ashkenazy; Lynn Harrell
Bartok: Complete Solo Piano Music
Berg: Violin Concerto; Schoenberg: Piano Concerto; Violin Concerto

ASIN: B0000CE7FG
Release Date: 2004-06-01

Tracks:

I: Andante Sostenuto
II: Allegro Giocoso
I: Moderato
II: Adagio Religioso
III: Allegro Vivace
I: Lassu: Moderato/II: Friss: Allegretto Moderato
I: Lassu: Moderato/II: Friss: Allegretto Moderato

Tracks:

I: Allegro Non Troppo
II: Andante Tranquillo
III: Allegro Molto
28. Sorrow
31. New Year's Greeting 4
33. Harvest Song
36. Bagpipes
41. Scherzo
42. Arabian Song
I: Tempo Di Ciaccona
II: Fuga: Risoluto, Non Troppo Vivo
III: Melodia: Adagio
IV: Presto

Customer Reviews:

As good as it gets.......2007-02-07

First you have to like Bartok. Not everyone enjoys the 20th century extention of classical music. If you do like Bartok and want to hear his violin compositions - then buy this CD and hear a true master at work.

Average customer rating:

The Story Of Haydn

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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The Story of Beethoven
The Story Of Handel
The Story of Bach
The Story of Mozart
The Story of Schubert

ASIN: B000001KD1
Release Date: 1995-04-16

Tracks:

Symphony No. 104 In D Major 'London': Menuetto - Allegro
Harpsicord Concerto In D Major: Vivace
Symphony No. 100 In G Major 'Miltary': Allegretto
Mass No. 2 In E- Flat Major: Great Organ Mass
Symphony No. 82 In C Major 'The Bear': Vivace assai
Keyboard Sonata No. 48 In C Major: Allegro con brio
Symphony No. 45 In F-Sharp Minor 'Farewell': Allegro assai
Violin Concerto No. 1 In C Major: Allegro moderato
Allegro con spirito
Symphony No. 96 In D Major 'Miracle': Allegro
Symphony No. 96 In D Major 'Miracle': Andante
Baryton Divertimento No. 107 In D Major: Minuet and Trio
Music Clock
Trumpet Concerto In E-Flat Major: Adagio
Symphony No. 45 In F-Sharp Minor 'Farewell': Adagio
Symphony No. 82 In C Major 'The Bear': Vivace
Symphony No.11 In G Major 'Miltary': Excerpts
Philemon And Baucis: Tenor Aria 'Nemo'
Symphony No. 104 In D Major 'London': Allegro spiritoso
Horn Concerto No. 2 In D Major: Allegro
Symphony No. 101 In D Major 'Clock': Presto; Menuetto (Allegretto)
Symphony No. 94 In G Major 'Surprise': Andante
Symphony No. 96 In D Major 'Miracle': Vivace assai
Symphony No. 101 In D Major 'Clock': Andante
Symphony No. 104 In D Major 'London': Andante
Mass in D-flat Major: Gloria
String Quartet in C Major, Op. 76 No. 3 Emperor
The Creation: Chrous: 'The Heavens are Telling'
Austrian National Anthem
Cello Concerto In D Major, Hob. VIIb, No. 2: Moderato
Cello Concerto In D Major, Hob. VIIb, No. 2: Adagio
Cello Concerto In D Major, Hob. VIIb, No. 2: Allegro molto

Average customer rating:

Excellent sample
Some of the Best
Storms
Wonderful selections
Great intro to Beethoven

Essential Beethoven

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Essential Mozart: 32 Of His Greatest Masterpieces
Essential Bach
Essential Tchaikovsky
Essential Vivaldi: 20 Greatest Masterpieces
Essential Rachmaninov

ASIN: B00005KBJQ
Release Date: 2001-06-12

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio - Concertgebouw Orch/Bernard Haitink
Sym No.7 in A, Op.92: II. Allegretto - LSO/Antal Dorati
Romance No.2 in F, Op.50 - Arthur Grumiaux
Pno Son No.14 'Moonlight' in c#, Op.27 No.2: I. Adagio Sostenuto - Vladimir Ashkenazy
Fur Elise (Bagatelle in a, WoO 59) - Vladimir Ashkenazy
Pno Son No,17 in d, Op.31 No.2: III. Allegretto - Stephen Kovacevich
Spt in E flat, Op.20: V. Scherzo: Allegro Molto E Vivace - Members Of The Berlin Phil Octet
Pno Con No.3 in c, Op.37: II. Largo - Alfred Brendel
Sym No.8 in F, Op.93: IV. Allegro Vivace - Chicago SO/Sir Georg Solti
Ov 'Egmont', Op.84 - VPO/George Szell
Vn Con in D, Op.61: III. Rondo: Allegro - New Philharmonia Orch/Alceo Galliera

Tracks:

Pno Con No.5 'Emperor' in E flat, Op.73: II. Adagio Un Poco Mosso - Vladimir Ashkenazy
Sym No.6 'Pastoral' in F, Op.68: V. Allegretto: Shepherd's Song. Happy And Thankful Feelings... - Staatskapelle Dresden/Colin Davis
Pno Con No.2 in B flat, Op.19: III. Rondo: Molto Allegro - Radu Lupu
Pno Son No.8 'Pathetique' in c, Op.13: II. Adagio Cantabile - Vladimir Ashkenazy
Str Qt in B flat, Op.130: V. Cavatina: Adagio Molto Espressivo - Qt Italiano
Bagatelle, Op.126 No.6 - Alfred Brendel
Vn Son No.5 in F, Op.24: IV. Rondo: Allegro Ma Non Troppo 'Spring' - Itzhak Perlman/Vladimir Ashkenazy
Minuet No.11, WoO 7 - ASMF/Neville Marriner
Pno Son No.14 'Moonlight' in c#, Op.27 No.2: III. Presto Agitato - Vladimir Ashkenazy
In Questa Tomba Oscura, WoO 133 - Luciano Pavarotti
Mir Ist So Wunderbar - Hildegard Behrens/Sona Ghazarian/David Kuebler/Hans Sotin
Oh Welche Lust (Prisoner's Chor) - Robert Johnson/Philip Kraus/Chicago Sym Chor/Margaret Hillis
Sym No.9 in d, Op.125: Chor Finale (Excerpt) - Joan Sutherlan/Marilyn Horne/James King/Martti Talvela/Wiener Staatsopernchor

Customer Reviews:

Excellent sample.......2005-10-25

This two disc set is a good sampler of Beethoven; I had forgotten how inspiring his work could be. This set has motivated me to order all three of the Deutch Grammaphone two disc which together include all 9 of Beethoven's symphonies.

Some of the Best.......2005-09-11

Some of these songs are the best that I've heard. I also enjoy the fact that this album provides the ENTIRE movement or selection, unlike some of the other albums that I've heard that only play for a little bit of the song. One example is Beethoven's Symphony No. 7 in A Major Second Movement, this movement is one of my favorites to begin with and hearing it so smoothly and masterfully recorded made my heart sing the first time I heard this all the way to end (the other recordings usually stop after the major key shift after the first theme). Also the Egmont Overture is one of the best full versions that I've had the pleasure of enjoying performed this well. The Moonlight Sonata First Movement I found to be nice, but there are better versions out there. For those people just looking for a nice collection of Beethoven songs that are well recorded and well performed, I stronly suggest that you purchase this album.

Storms.......2005-03-09

Classical music compilations are extremely difficult to review. You are always fighting with someone else's opinion of what is "Best of" material. And why should we buy selections when we could buy the entire pieces and hear them played as the composers intended?

A quick answer would be simple: we simply cannot afford to purchase every single piece by every single composer we love. And if the buyer is familiar with the music, he or she would perhaps only want the famous selections everyone knows. In my case, I am particularly picky with recordings and don't have the time to meddle with libraries or going to stores that offer listening stations. Recordings vary greatly and so does playing ability. So why did I go with Essential Beethoven?

It is released with Decca, one of the finest classical music companies out there. You are guaranteed no gimmick or inexpensively recorded tracks on this compilation. Essential B. also has a wider selection than other compilations I looked at. For once, there isn't a movement to be found from the Fifth Symphony. If that's all you want to buy, look elsewhere. Essential B. has pieces I was not familiar with, so here I am listening to it.

Regrettably, there are three distinct issues with this recording, and I want to get them out of the way. 1. Für Elise is atrociously boring to listen to. As a pianist, it is fun to play and almost required learning for the beginner. It should've been dropped. 2. Piano Concerto No. 5 is missing the third movement. It is common to drop the first movement here, but the second and third movements are programmatically tied, providing some of the most emotionally charged music ever put down on lined paper. Also, this rendition of the concerto is less than inspiring and I regret that it is the famous Ashkenazy playing this version. There is almost no life in the playing. 3. The remastering could've been better. The listener will enjoy the loud and boisterous pieces, but the quieter parts, and even the soft piano solos, will have him straining his ears to the point of exasperation. Because of this, I recommend listening on headphones or in a place where you can turn the volume up a little more than usual.

That aside, the rest of the tracks are well recorded, extremely well played, and varied enough to quench even the most learned ears. Decca has included pieces conducted by Sir Georg Solti, one of the greatest conducters in my opinion. (Another "collection" solely conducted by Solti is the "Immortal Beloved" soundtrack.) The orchestral pieces are lush and the range is dynamic. (A little too dynamic, like I stated above, in some areas.) The inclusion of movement IV from Symphony no. 8 pleases me, as I feel this is the least appreciated symphony, overshadowed by Symphony no. 9

The piano pieces are some of the best renditions I've heard. I own all of Ashkenazy's sonatas, so it was nice to hear a movement from "The Tempest" played by Stephen Kovacevich, who plays with fierce determination. Selections from B's piano concertos are fantastic and have prompted me to delve further into listening to more concertos from him. The Rondo from Piano Concerto No. 2, played by Radu Lupu, is one of the most upbeat and wonderfully played pieces here.

To round things off nicely is a movement from the Violin Sonata No. 5, played by the one and only Itzhak Perlman! The piano is caressed by Mr. Ashkenazy himself, and he does so lovingly. You will also find pieces from a string quartet, a violin Romance (and orchestra), and one overture: the "Egmont." I'm not a huge fan of this rendition either, but that's probably because I've heard the Egmont a thousand times.

A huge bonus with this collection are the three choral selections at the end, two of which are from "Fidelio," an opera I've yet to hear in its entirety. The Prisoners' Chorus is beautiful. The introduction sounds very much like a major contribution to Charles Ives's 1906 piece "The Unanswered Question." The compilation ends with Symphony No. 9's finale, but unfortunately, it is a horribly edited excerpt, and mixed extremely hot. I have to turn my volume down everytime this comes on.

I would like to make a little note about the art design, however. Credit here is given to Mark Millington, who did a fine job blending black & white photos of storm clouds, an inspiring sculpture, and blackletter-styled fonts. The CDs themselves are a contrasting bright orange. As a sucker for marketing, I would've plunked money down for this compilation just for the art!

Wonderful selections.......2003-11-08

My kids and I have really enjoyed this CD. This is a great collection of music with high quality performances.

Great intro to Beethoven.......2003-04-05

Great intro to beethoven. There are many great performances by Ashkenazy, Academy of Saint Martin in the fields, Concertgetbouw Orchestra and many other exceptional artists. I would recommend this disc as it contains the masterpieces of beethoven, even though not all of them.

Average customer rating:

not too bad
A well-produced classical variety album
Great Concertos from Baroque to Romantic Era
Great cd, especially for the cost

25 Concerto Favorites

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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Symphony (25) Favorites
25 Vivaldi Favorites
25 Mozart Favorites
25 Classical Favorites
25 Bach Favorites

ASIN: B0000058IS
Release Date: 1997-07-01

Tracks:

Concerto For Two Trumpets In C Major PV 75 (1st Mvt.) - Antonio Vivaldi
Brandenburg Concerto No. 5 (1st Mvt.) - Johann Sebastian Bach
Lute Concerto In D Major (3rd Mvt.) - Antonio Vivaldi
Trumpet Concerto In D Major, 'Etienne Roger' (1st Mvt.) - Giuseppe Torelli
Four Seasons: Winter (1st Mvt.) - Antonio Vivaldi
Concerto For 2 Harpsichords In C Minor (3rd Mvt.) - Johann Sebastian Bach
Concerto Grosso No. 12 In B Minor (2nd Mvt.) - George Frideric Handel
Four Seasons: Summer (3rd Mvt.) - Antonio Vivaldi
Trumpet Concerto In E Flat Major (2nd Mvt.) - Franz Josef Haydn
Flute Concerto No. 1 In G Major (1st Mvt.) - Wolfgang Amadeus Mozart
Piano Concerto No. 21 In C Major 'Elvira Madigan' (1st Mvt.) - Wolfgang Amadeus Mozart
Clarinet Concerto In A Major (3rd Mvt.) - Wolfgang Amadeus Mozart
Concerto In C Major For Flute & Harp (2nd Mvt.) - Wolfgang Amadeus Mozart
Piano Concerto (Divertimento) In C Major, Finale - Franz Josef Haydn
Piano Concerto No. 23 In A Major (1st Mvt.) - Wolfgang Amadeus Mozart
Concerto Rondo For Cello & Orchestra - Jacques Offenbach
Piano Concerto In A Minor (1st Mvt.) - Edvard Grieg
Violin Concerto (3rd Mvt.) - Johannes Brahms
Cello Concerto (1st Mvt.) - Antonin Dvorak
Piano Concerto No. 2 (2nd Mvt.) - Sergey Rachmaninov
Violin Concerto 'La Campanella': Rondo - Niccolo Paganini
Piano Concerto No. 3 (1st Mvt.) - Sergey Rachmaninov
Violin Concerto In E Minor (1st Mvt.) - Felix Mendelssohn
Violin Concerto In D Major (2nd Mvt.) - Pyotr Il'yich Tchiaikovsky
Piano Concerto No. 5 In E Flat Major 'Emperor' (3rd Mvt.) - Ludwig Van Beethoven

Customer Reviews:

not too bad.......2004-02-19

For the price, you can't go wrong.

*I had purchased an abundance of the "Favorites" collection some were better than others. This one was not too bad compared to the others, but not the best one.
I was kind of perturbed when some same tracks on this CD were on another CD, and visa versa.

A well-produced classical variety album.......2003-10-13

This album could have easily been filled with selections just from Bach, Mozart, Vivaldi, and Beethoven, but thankfully the record producers chose some deeper cuts. Though the above mentioned greats are prominently featured (and rightly so), Grieg and Offenbach are welcome additions.

Like all the "25 _____ Favorites" albums I've listened to, the pieces are well-chosen, expertly performed, and excellently produced with sharp, clear sound. The album's variety is welcome as well, giving the listener 70+ minutes of a changing but continuous audio landscape.

There's not much here that will knock the socks off a classical purist, but that's part of its appeal. The pieces are good enough to satisfy the more refined classical music palate but accessible enough for those less-experienced in concertos. 25 CONCERTO FAVORITES comes recommended to those seeking a well-produced and pleasant classical variety album.

Great Concertos from Baroque to Romantic Era.......2000-08-16

The excerpts from 25 concertos range from the Baroque to Romantic Periods. They are all masterfully performed by virtuoso musicians (example: Brendel is the pianist in the last track, the Beethoven Emperor piano concerto). The violinists are skillful and well-known artists. Concerto music by Baroque legends such as Torelli and Bach. Mozart and Haydn's music is marvelous to hear. We have Mozart's piano concerto movements and flute concertos. Finally, in the Romantic field, Brahms, Mendelsshon and Tchaikovsky. This an affordable price for a cd that contains such excellent music.

Great cd, especially for the cost.......1999-05-04

25 great songs, and for $3.57, its a great buy

Prokofiev: Peter and the Wolf; Lieutenant Kijé Suite; Britten: Young Person's Guide to the Orchestra

Average customer rating:

Good Recording
Found at last.
Through the eyes of a child-
Now available on CD!!!!

Prokofiev: Peter and the Wolf; Lieutenant Kijé Suite; Britten: Young Person's Guide to the Orchestra

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Peter and the Wolf
Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
Peter And The Wolf
Prokofiev - Peter and the Wolf / Narrated by Patrick Stewart · Opera de Lyon · Nagano
Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B00000426C
Release Date: 1996-05-14

Tracks:

Peter And The Wolf, Op. 67: This Is The Story Of Peter And The Wolf
Peter And The Wolf, Op. 67: It Was Early Morning
Peter And The Wolf, Op. 67: Grandfather Led Him Back To The House
Peter And The Wolf, Op. 67: Now This Is How Things Stood
Peter And The Wolf, Op. 67: And Now, The Victory Parade
Lieutenant Kije - Suite: The Birth Of Kije
Lieutenant Kije - Suite: Romance
Lieutenant Kije - Suite: Kije's Wedding
Lieutenant Kije - Suite: Troika
Lieutenant Kije - Suite: The Funeral Of Kije
The Young Person's Guide To The Orchestra: Introduction
The Young Person's Guide To The Orchestra: Let Us Hear Each Instrument Play A Variation
The Young Person's Guide To The Orchestra: The Highest Instruments In The String Family
The Young Person's Guide To The Orchestra: We Now Come To The Brass Family
The Young Person's Guide To The Orchestra: The Percussion Family
The Young Person's Guide To The Orchestra: You Have Heard The Whole Orchestra In Sections

Customer Reviews:

Good Recording.......2006-02-25

My daughter and I love the Hermione Gingold narration of Peter and the Wolf, but as we could not seem to find a CD of that one, we opted for Sean Connery's dulcet tones instead. His narration is good, although sometimes a bit quiet. The music is wonderful. We are very satisfied with this recording.

Found at last........2002-12-03

As a kindergarten teacher we enjoyed the music, but Connery's telling of Peter and the Wolf is absolutely the icing on the cake, he is able to create such suspense! I first started using this version when it was intially released as a record, perhaps thirty years ago, and other than a live performances no other telling has been able to keep the children enthralled like this one.

Through the eyes of a child-.......2002-10-30

Everything seems so much more impressive, colorful, and intricate when one is young. The two pieces here geared towards children (the Britten and Prokofiev) are pieces that simultaneously provide children a wonderful inroduction to classical music, while recreating some of that imaginative childhood experience for adults as well.

Why should you buy this recording as opposed to the others on the market though? Well, First there is Dorati- who puts all the dance, gaitey and life into these pieces that are necessary. They sing, they dance, all because of Dorati's expertise with ballet-music. He also gets top-notch playing for the Lt. Kije Suite as well. Secondly, SEAN CONNERY- I laughed out loud when I first realized this icon of dialect was coupled with my favorite conductor on this CD, and later I was even more pleased at how well it worked.

You will surely enjoy both the expert playing, and the narrating of all of these purely fun, purely child-like pieces.

Now available on CD!!!!.......2002-04-02

I grew up on the LP of this, which didn't include Lt. Kije, and I was psyched when this CD came out. A previous Peter/Young Peoples CD release has Sean Connery listed, but he only narrates the Britten, and Dorati does the Prokofiev, which was a major disappointment.

As for sound quality, don't expect too much. It's an old recording. But can anything match the joy of hearing Sean utter, "Birdie and I have caught the wolf"?

Tracks:

The Sleeping Beauty: The Sleeping Beauty: Introduction
The Sleeping Beauty: The Sleeping Beauty: Prologue - 1. Marche
The Sleeping Beauty: 2. The Sleeping Beauty: Sc ne dansante
The Sleeping Beauty: 3. The Sleeping Beauty: Pas de six
The Sleeping Beauty: The Sleeping Beauty: Variations I - VI - Coda
The Sleeping Beauty: 4. The Sleeping Beauty: Final
The Sleeping Beauty: The Sleeping Beauty: Act 1 - 5. Sc ne
The Sleeping Beauty: 6. The Sleeping Beauty: Valse
The Sleeping Beauty: 7. The Sleeping Beauty: Sc ne
The Sleeping Beauty: 8. The Sleeping Beauty: Pas d'action
The Sleeping Beauty: The Sleeping Beauty: Danse dees demoiselles d'honneur et des pages
The Sleeping Beauty: The Sleeping Beauty: Variation d'Aurore
The Sleeping Beauty: The Sleeping Beauty: Coda
The Sleeping Beauty: 9. The Sleeping Beauty: Final
The Sleeping Beauty: The Sleeping Beauty: Act 2 - 10. Entracte et sc ne
The Sleeping Beauty: 11. The Sleeping Beauty: Colin-maillard
The Sleeping Beauty: 12. The Sleeping Beauty: Sc ne
The Sleeping Beauty: 13. The Sleeping Beauty: Farandole

Tracks:

The Sleeping Beauty: The Sleeping Beauty: Act 2 (concl.) - 14. Sc ne
The Sleeping Beauty: 15. The Sleeping Beauty: Pas d'action
The Sleeping Beauty: The Sleeping Beauty: Variation d'Aurore
The Sleeping Beauty: The Sleeping Beauty: Coda
The Sleeping Beauty: 16. The Sleeping Beauty: Sc ne
The Sleeping Beauty: 17. The Sleeping Beauty: Panorama
The Sleeping Beauty: 19. The Sleeping Beauty: Entracte symphonique
The Sleeping Beauty: 20. The Sleeping Beauty: Final
The Sleeping Beauty: Act 3 - 21. The Sleeping Beauty: Marche
The Sleeping Beauty: 22. The Sleeping Beauty: Polacca
The Sleeping Beauty: 23. The Sleeping Beauty: Pas de quatre
The Sleeping Beauty: The Sleeping Beauty: Variations I - IV - Coda
The Sleeping Beauty: 24. The Sleeping Beauty: Pas de caract re
The Sleeping Beauty: 25. The Sleeping Beauty: Pas de quatre
The Sleeping Beauty: The Sleeping Beauty: Variations I - II - Coda
The Sleeping Beauty: 26. The Sleeping Beauty: Pas de caract re
The Sleeping Beauty: The Sleeping Beauty: Cendrillon et le prince Fortune
The Sleeping Beauty: 27. The Sleeping Beauty: Pas berrichon - 28. Pas de deux
The Sleeping Beauty: The Sleeping Beauty: Entr e
The Sleeping Beauty: The Sleeping Beauty: Adagio
The Sleeping Beauty: The Sleeping Beauty: Variations I - II - Coda
The Sleeping Beauty: 29. The Sleeping Beauty: Sarabande
The Sleeping Beauty: 30. The Sleeping Beauty: Final
The Sleeping Beauty: The Sleeping Beauty: Apoth ose

Amazon.com

Antal Dorati was the Tchaikovsky Ballet pioneer. For Mercury Living Presence, he made the first-ever recordings of the complete versions of the Russian composer's three great ballets. But Swan Lake and Sleeping Beauty were mono recordings; he did two versions of Nutcracker, one mono and one stereo. So this stereo remake of Tchaikovsky's greatest ballet was highly anticipated, particularly as it features the incomparable Royal Concertgebouw Orchestra. True to form, the performance is magnificently played and warmly recorded. Originally issued on three LPs (and CDs), it's now available on two well-filled discs for the price of one. A no-brainer. -- David Hurwitz

Customer Reviews:

BEAUTIFUL........2007-02-26

It's the only word.
The Sleeping Beauty is the best of Tchaikovsky's works. Antal Dorati really knew how it had to be played.
The music is royal, noble, rococo, (the introduction, the march of the prologue, the introduction and the dances of the second act for example) but also enchanting, heavenly, and even frivolous (the "Danse des Demoiselles d'Honneur et des Pages", the "Danse des Marquises", the "Variations de la Princesse Florine et de l'Oiseau Bleu" or the "Colin-Maillard").
I fell in love with the music.

Dorati at his best, which is pretty good.......2005-09-27

Dorati was a veteran ballet conductor, and it shows in the light-footed, bouncy rhythms he prefers. But Sleeping Beauty is the most searching music Tchiakovsky ever wrote for the dance, and Dorati doesn't have it in him to find that extra depth and poignant melancholy. The main reason that his set remains competitive derives from the lovely, warm recording (better than Gergiev's with the Kirov, also on Philips) and gorgeous orchestral playing (also better than Gergiev.)

Among complete recordings it comes down basically to either Dorati or Gergiev, with the classic Ansermet out of print. I own both, depending on whether I want to hear the gorgeousness of the music or a bit of interpretation. I also listen to Mogrelia on Naxos, despite his second-rate orchestra, because he is such a talented condcutor--often better than his two rivals here.

We are still waiting for the great conductor who will plumb this score to its depths.

Very good, but............2005-09-25

At a bargain price, this is a very good version of this spectacular score for beginners. Nobody mentioned this in their reviews, so I would like to pose this question: why do the cellos play IN THE WRONG CLEF during the march!? Listen to any other recording and you know something is dreadfully wrong here.
Thankfully -- or not -- the torture lasts for only 16 bars, and the rest of the recording is fine. But in the words of the late Yul Brynner: "Is a puzzlement!"

The Dorati Legend Continues Spectacularly.......2005-08-21

After purchasing Swan Lake and The Nutcracker, also conducted by Antal Dorati, I was VERY excited to buy this album. He didn't let me down. This is the most emotoinal and personal musical account of the Sleeping Beauty I have heard. Period. The Lilac fairy themes struck me as being expecially lovely and deep. If one listens to the background in the No. 9 Final the moment the Lilac fairy come it is truly awe inspiring.
One or two of the tempi could have been faster (in the No. 21 Marche, for example), but otherwise this is truly the ultimate goal for the Tchaikovsky lover (like me).
If you buy this wonderful album, I suggest going right to the No. 30 Finale, probably the most unmatched recording on either of the two disks. Listen to it, Love it, Enjoy it.

Tchaikovsky's Masterpiece On A Great Recording.......2005-07-27

While there are many fine renditions of Tchaikovsky's Sleeping Beauty on disc, this has got to be my choice for trophy winner. Antal Dorat was no stranger to ballet conducting (he conducted all three Tchaikovsky ballets - Swan Lake and Nutcracker included as well as Adolphe Adam's Giselle). Dorati's legacy lives on through many remastered LP recordings on CD- he conducted Tchaikovsky repertoire with the most passionate musicianship. Sleeping Beauty was Tchaikovsky's ballet masterpiece, a work full of noble music, enchanted melodies, timelessness, a score tinged with yearning for lost magic, for chivalry, for romance. It's a mystery sometimes the nature of this music. For one thing, it's not entirely balletic. While choreographers can work with Tchaikovsky's music, there is something transcendent about the music that doesn't seem entirely balletic. There's a concerto quality to it, as well as a symphonic quality, operatic (opera) quality to it. Dorati was masterful at capturing all these different aspects. Eventhough this recording was made in the early 80's and Dorati was approaching his death, its crisp, beautiful and dynamic. Do yourself a favor, listen to the following and you'll understand why Sleeping Beauty is the best ballet ever made:

1)The Christening: Prologue, March, Carabosses's Entrance. The mood here is one of courtly romance. Many of the dances seem stately and fairy-like (after all many of the guests at the Christening are fairies and angelic beings). The original production was modeled after the court of Louis XIV, and Tchaikovsky loved old French pageantry. It appealed to his sense of aesthetics- flowing, eleaborate Roccoco as he used in Mozartiana and Roccoco Variations. He used an aria from Richard Cour De Leon in Eugene Onegin the opera. Honoring the ancient "Ballet" of Louis XIV, where ballet really began, the music for the first part of Sleeping Beauty is full of this classical throwback. When Carabosse enters, the mood changes to one that is diabolical in a very "quiet", subtle way, it's haunting and a tad intense, but I figure the music for this evil entity is not too powerful to emphasize her femininity. Carabosse (or in the Disney film Maleficent) is the evil fairy who was not invited to Aurora's Christening. As despairing and dark as the mood is, light and hope returns when in a brilliant coda the Lilac Fairy's Theme is heard.

2:Rose Adagio, Waltz and Death Scene: This is Tchaikovsky at his best as a composer. The music is both jovial, triumphant, ecstatic, orgasmic, thunderous but melancholy and tragic. Somehow, somehow, he was able to write music that not only describes the well-known fate of Sleeping Beauty- she pricks her finger and dies- but expressed something deeper, something more philosophical. Tchaikovsky was a gay man or perhaps (and this is just my theory) he was a man who longed to be a woman. Because he could never be himself in the austere Catholic Imperial Russia, he became himself or became female in his music. And even then he wrote music which was extremely heartbreaking and tragic, and his despair and crisis is clearly evident. In the Rose Adagio, Aurora becomes a woman (she starts menstruating) and is courted by different princes who each offer her a rose. In a series of demanding turns, she accepts their roses. The music for this seemingly trivial scene is incredibly powerful and spiritually, the music escalates to heavenly heights. The Waltz is well known for its lilting familiar melody that Disney put words to - "I know you I waltzed with you once upon a dream". The Death Scene is so well-composed that one even sees Aurora dizzy, bleeding, sick and dying in a few minutes of music. Then we hear the evil laugh of Carabosse when she reveals herself and once again we despair. But then comes hope in the form of, that's right, the Lilac Fairy Theme. "Not in death but in sleep" she could well be saying as in the Disney film, "she will awake with true love's kiss. For true love conquers all."

3: Skip to the final track. That Apotheosis! It's climatic, it's melancholy, it's spiritual. It belittles the audience and seems to be about something other than a happy ending for Aurora and her Prince. This is a moment of climax, or rather anticlimax since to many people the Rose Adagio is more powerful. But the Apotheosis is equally as transcendent. One cannot help but feel something. Enjoy this recording, it was meant to be appreciated by ballet fans and Dorati fans and fans of great music.

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