Bruno Walter & The NBC Symphony

On this CD:

1. Symphonie fantastique for orchestra ("Episode de la vie d'un Artiste...en cinq parties"), H.48 (Op. 14)
Composed by Hector Berlioz

Conducted by Bruno Walter

2. Rhapsodie espagnole for orchestra (or 2 pianos)
Composed by Maurice Ravel

Conducted by Bruno Walter

Tracks:

Symphony No. 4 In B Flat Major, Op. 60: I. Adagio - Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: II. Adagio
Symphony No. 4 In B Flat Major, Op. 60: III. Allegro vivace
Symphony No. 4 In B Flat Major, Op. 60: IV. Allegro ma non troppo
Symphony No. 6 In F Major, Op. 68 'Pastoral': I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
Symphony No. 6 In F Major, Op. 68 'Pastoral': II. Szene am Bach. Andante molto moto
Symphony No. 6 In F Major, Op. 68 'Pastoral': III. Lustiges Zusammensein der Landleute. Allegro
Symphony No. 6 In F Major, Op. 68 'Pastoral': IV. Gewitter, Sturm. Allegro
Symphony No. 6 In F Major, Op. 68 'Pastoral': V. Hirtengesang. Frohe und dankbare Gefuhle nach dem Sturm. Allegretto

Amazon.com

Bruno Walter was always a most persuasive advocate of the gentler Beethoven--at least, that's what everyone thought until his stereo Beethoven cycle was remastered onto CD, revealing a much stronger musical profile than had been suspected. But that just made the cycle's best performances sound better still--and here they are, together on one midpriced CD! It's amazing that a man in his 80s, as Walter was when these performances were recorded, could take what was essentially a pickup orchestra and turn in performances of such power and authority. Walter and the Columbia Symphony had a genuine chemistry between them--they play these two symphonies as if they had been making music together for years. --David Hurwitz

Amazon.com

Bruno Walter recorded the Beethoven symphonies in stereo for Columbia in 1958-59, taping No. 9 in New York and Nos. 1-8 in Los Angeles with orchestras of freelance and studio musicians who rose magnificently to the occasion. Walter was in his eighties, but that didn't stop him from grabbing these works by the throat; there is no mincing around, no effusive lingering over phrases, and no ponderous trudging either. The even-numbered symphonies are sunny and outgoing, full of the warmth the conductor exuded during his Indian-summer years in the studio. Yet the drama of the odd-numbered works is not slighted. Walter's account of the Fifth, for example, is an intensely expressive one in which lyricism and thrust are in perfect balance--an evocation of stormy Romanticism at its best. The recordings have held up extremely well; the sound on these 20-bit CDs is spacious yet detailed, with amazing presence and solidity. --Ted Libbey

Customer Reviews:

best Beethoven 4th I know of.......2007-05-13

This used to be paired with the 5th on Record.. probably the best of both. I love this 4th.

Beethoven 4th symphony.......2006-03-19

I was looking for the 4th specifically and happy with this recording. Entries are clear and tempos steady. Recommended

A charmed moment in Walter's late Beethoven.......2005-12-07

Both these recordings of the Beethoven Fourth and Sixth were made in Hollywood in 1958, the same time that Walter was turning in rather slack and unfocused readings of the other symphonies. Here he recovers some of the dash and intensity that marked his 1930s Pastorle with the Vienna Phil. The Columbia Sym. plays with energy and inflection, even though Walter's tempos are on the leisurely side.

As is generally acknowledged, he found magic in every movement of the Pastorale, which will surely stand as the best of the romantic versions of this symphony (far more charming than Bohm's often recommended but unsmiling recording on DG). The Fourth is in the same mode, with more incisiveness than his Eroica, Fifth, or Seventh. But Walter is somewhat less alert here; the result is another mellow performance of good if not superb quality.

Newcomers might suppose, hearing these performances, that the rest of Walter's Beethoven must be of equal stature. It's not, but we can be grateful for this charmed moment in his old age. Look to his Bruckner, Mozart, and Mahler for similar inspiration.

Bruno Walter's kindness shines through here........2005-08-16

Among the finest recordings of these famous symphonies, even after 45+ years since they were committed to tape. Bruno Walter did a terrific job of getting the Columbia Symphony Orchestra - many of them free lance musicians, studio musicians, and members of the Los Angeles Philharmonic who were doing some work on the side - the play like a Viennese orchestra - very gemuchtlichkeit where it's called for. Bruno Walter's kindness shines through here; this is the loving, kind Beethoven, a reflection of the conductor and worlds apart from Reiner or Toscanini.

Tempos in both Symphonies 4 and 6 are slower in Allegro movements (I, III and IV for Symphony 4; I, III, IV and V for Symphony 6) than in Szell's recordings, for example, but slower tempos allow for better phrasing and articulation.

I am thankful Walter recorded these works in stereo when in his 80s. Sony Classical has done great service to music lovers everywhere by making this available.

excellent sixth!.......2004-02-13

You must have it. I mean, you cannot fulfill the world of the Beethoven's sixth without trying to listen to this performance. Here are gentle voices of birds. Also you can see water, trees with green leaves, and whatever you wish to see or hear when you think of nature.

Brono Walter recorded three versions of the symphony; with VPO in 1930s', the other orchestra in 1940s' and the performance in 1958 on this CD. In addition, this version alone is in stereo, the other two are in mono. Some say, however, the first one (with VPO) is the best, though it doesn't have good quality. I personally think you should have both; 1936 version and 1958 version.

As for the sixth, I also recommend Bohm with VPO. But in comparison in the last movement, Walter's is better, that's to say, Walter's performance on this CD is the best of all !

Tracks:

Concert For Violin And Orchestra In D Major, Op.61: I. Allegro Ma Non Troppo (Cadenza: Fritz Kreisler) - Bruno Walter
Concert For Violin And Orchestra In D Major, Op.61: II. Larghetto - Bruno Walter
Concert For Violin And Orchestra In D Major, Op.61: III. Rondo: Allegro - Bruno Walter
Concerto For Violin And Orchestra In D Minor, Op.47: I. Allegro Moderato - The Philadelphia Orchestra
Concerto For Violin And Orchestra In D Minor, Op.47: II. Adagio Di Molto - The Philadelphia Orchestra
Concerto For Violin And Orchestra In D Minor, Op.47: III. Allegro, Ma Non Tanto - The Philadelphia Orchestra

Amazon.com

The Sibelius Violin Concerto was a David Oistrakh specialty. He brought to it a personal warmth and poetry, and he made the most of what critics call Sibelius's "Russian melancholy," which is the term applied to Russian music when it sounds most Finnish. But seriously, the great Finnish composer was a strong admirer of Tchaikovsky, whose Violin Concerto was another Oistrakh specialty. Eugene Ormandy's Sibelius credentials were similarly well established at the time that this great recording was made. At a budget price, with a terrific Beethoven Violin Concerto tossed in, you'd have to be nuts not to want to hear it. --David Hurwitz

Customer Reviews:

Francescatti vs. Heifetz.......2007-04-21

I've owned this CD and the Heifetz/Reiner Beethoven for years, and it's hard to imagine that both violinists were playing from the same score. Francescatti makes a regular practice of holding a note just a bit, to shape a phrase or add emphasis. Heifetz makes a consistent practice of avoiding this and moving briskly on--which raises the issue of tempo: in the first movement, Heifetz takes a full 2 minutes less than Francescatti (despite Heifetz' somewhat elaborate cadenza), and the remaining movements are similarly timed. As he bustles along, Heifetz tends to vary the force of his notes more subtly than Francescatti, who deploys a wider range of volume levels.

As a result, lovers of the Francescatti approach may find Heifetz clipped, brusque and impersonal, while lovers of the Heifetz approach may find Francescatti slow, heavy and mushy. Or to put it in positive terms, Heifetz excels in maintaining and building rhythmic energy, while Francescatti is best in developing the emotional content of the work and letting it "breathe." It took me a long time to come to appreciate both approaches, and I signal this as a study in contrast. At this low price, you can buy both and decide for yourself. (My favorite? This one.)

The gentleman of the violin!.......2006-06-30

Zino Francescati was a very solvent violinist with a pleasant tune and a warmth temperament. His phrasing was kind and delicate, and this is perhaps his main virtue and his main defect, because many works don't resist such approach.

But in this case, Beethoven' s Violin Concerto works out because the sublime inspiration of this Opus, allows to be expressed under this considerations and particularly this vision is carefully performed in this case.

Elegance and refinement feature this version. So please, don't miss it.

In the case of Sibelius violin's concerto, there are better options in the market such Ginette Neveu, ivry Gitlis and Jasha Heifetz.

masters at work.......2006-01-18

Francescatti's Beethoven concerto is shapely and engaging, and the playing is warm and refined throughout. My ultimate preferences with this piece are Shumsky's 1988 recording with the Philharmonia Orchestra under Davis, and Menuhin's recording under Furtwangler, but I admire Francescatti's beautiful lines and devoted intelligence. The reason, however, for seizing this remarkable offer (who knows anymore how long any recording will remain available!) has to be Oistrakh's incomparable recording of the Sibelius under Ormandy and the Philadelphia Orch. Of the many versions of this great work, for me, there is none that matches this particular Oistrakh/Ormandy recording. Of more recent versions, Cho-Liang Lin turns in a stupendously musical performance of this piece - convincing and beautiful. I believe five or six D. Oistrakh recorded versions of this concerto remain in print; his Melodiya recording with Rozhdestvensky is a rival, but Ormandy's command of the glacial cast of Sibelius' orchestral writing is just amazing, and, underpinning Oistrakh's inimitable conception, the playing of the Philadelphia Orch is rich and perfectly attuned to Sibelius. The remastered sound is first-rate, you'd think it was a modern recording. Whether you love this concerto, or dont yet know it, you've found here a defining performance to reveal its mysteries. I've treasured this recording for thirty years, and urge you to give it a hearing.

Two Violin Concerti - Two wonderful recordings.......2005-12-25

I don't play the violin at all, but I love these two concerti (They're among my favorites for violin).

The Beethoven is pretty good, actually very good. This is one of the first pieces I heard live at a concert. The length of the whole piece doesn't matter when you're actually listening to it. I've heard more romantic versions, but I actually prefer Francescatti's interpretation. It's very fine, nothing too showy to make the music more than what it is. For a more "modern" recording, I would choose Hilary Hahn's.

I haven't listened to the Sibelius as much as the Beethoven on this CD, but I actually prefer this playing to the artists of today, such as Bell, Chang, etc. Oistrakh's tone is wonderful.

I would definitely recommending this CD to anyoone, to introduce these pieces to a new listener, or to add this to a classical music connoisseur's collection.

Excellent recording, good price.......2005-08-10

This is a really great CD, featuring two of the 20th century's best violinists - Zino Francescatti on the Beethoven and David Oistrakh on the Sibelius. While the majority of my recordings are by modern day artists (Hahn, Chang, Bell, Midori, etc), I have several recordings by older artists, and for the most part I can tell a real difference in their playing styles compare to modern day players. To me, the older artists seem to play with a much more elegant, restrained style than the newer artists (with the exception of, perhaps Heifetz). While both artists play magnificently on this CD, I would say that this more elegant playing serves the Beethoven much better than the Sibelius.

The Beethoven isn't really one of my favorite concerti, mostly because it's so long that I rarely listen to the entire thing (all movements). However, I have listened to this entire recording more than enough times to recognize the warm, personal playing that Francescatti delivers.

The Sibelius, one of my all-time favorite concertos (for any instrument), is played exceptionally well by Oistrakh, though I think his playing style is a little too reserved for my tastes. To me, it often sounds like Oistrakh is playing in a more classical style than the Sibelius warrants. Compared with a recording at the other end of the spectrum (for example, Salerno-Sonnenberg), Oistrakh's playing is just a little boring, particularly on the spectacular final movement. Don't get me wrong, he plays beautifully, but I just prefer Sibelius to be a little grittier. However, to Oistrakh's credit, his playing is always perfect and controlled, even in incredibly difficult spots where some other artists can sound border-line out of control. It seems that playing with fire and abandon often comes at the price of clarity, and playing with technical clarity and perfection often comes at the price of excitement. That being said, no recording can really be said to be better than the other... I just happen to prefer the sibelius to be played slightly closer to the "fiery abandon" side of the spectrum (however, my favorite version of this concerto, by Midori, seems to find a perfect balance between the two extremes). Enjoy

Average customer rating:

The funniest Schickele piece ever!
P D Q on form again
beware of the organ cadenza!
Another assault to your funny bone!
PDQ Bach at his best (worst)

1712 Overture & Other Musical Assaults

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Miscellaneous | Styles | Music

General | Comedy | Miscellaneous | Styles | Music

The Wurst of P.D.Q. Bach
Oedipus Tex & Other Choral Calamities
Music for an Awful Lot of Winds and Percussion
P.D.Q. Bach: The Short-Tempered Clavier
P.D.Q. Bach in Houston - We Have a Problem!

ASIN: B000003CVW
Release Date: 1989-06-13

Tracks:

Introduction
1712 Overature
Introduction
Bach Portrait
Introduction
Capriccio La Pucelle De New Orleans (The Maid Of New Orleans)
Introduction
Minuet Militaire
Introduction
Prelude To Einstein On The Fritz
Introduction
I. Prologue (Bottomless Sorrow; Topless Gaiety)
II. The Lamentations Of Jerry Maja
III. Finale: Special Deliverance

Customer Reviews:

The funniest Schickele piece ever!.......2006-05-23

My experience with the 1712 Overture is similar to Victoria's (in another review). I was listening to the car radio when I heard the dissonant pile-up halfway through, and almost drove off the Interstate.

It should be noted that the Amazon listing is incorrect. The 1712 Overture is in reality conducted by "Walter Bruno" who is actually David Zinman. It is most assuredly not conducted by Bruno Walter (can you imagine that?), who died in 1962.

Highly recommended.

P D Q on form again.......2005-07-20

P D Q has quite a cult following among the 'cognoscenti', and others may know some of his works without being aware of it or why. Much of this is fun listening if you have that kind of mind &/or background, and has the virtual ring of period authenticity.
Classical music, like any living corpus of cultural tradition (eg religion, sport & politics) should be well capable of laughing at itself. Others have done so successfully (Hoffnung, Spike Jones, the Comedy Harmonists et al.) and PDQ follows in a worthy & rollicking tradition!

beware of the organ cadenza!.......2005-05-18

This is my favourite PDQ Bach collection. The 1712 Overture alone is worth the price of admission. The use of the motif from 'I Ain't Got No Home' is inspired and the skewering of 'Day Tripper' reduces me to helpless giggles every time.

Einstein on the Fritz is a tonic to anyone sick of the pretentious meanderings of Philip Glass, Taverner et al. And Cappricio La Poucelle de New Orleans (engineered by Burt Bach, a living direct decendant of JS Bach) is frighteningly intense, as well as hysterical. These musicians are also terrific - the pieces wouldn't work at all otherwise. And who couldn't love the rapturous intro to The Preachers of Crimetheous - featuring the most incredible percussion playing since Ginger Baker's 'Toad'.

All in all, this is a completely ridiculous delight!

Another assault to your funny bone!.......2004-04-12

P Schickele does it yet again! He successfullly skewers the classics again. My personal fave is Einstein On The Fritz, where he does a wonderful job of spoofing Philip Glass.....Only the Prof. is so twisted as to be able to sneak in 'Three Blind Mice" in the middle of a Glassian composition!

PDQ Bach at his best (worst).......2001-11-13

Mr. Schickele is a genius, he's taken music history and disgraced it, apocryphally!
the 1712 overture pokes fun at just about every type of music out there, and what the 1712 doesn't defile, the rest of the tracks on this CD pick up the slack.

This incredibly irreverent album is a must for music lovers everywhere!

Get yourself a copy! You won't be disappointed!

Average customer rating:

Sublime!

The Best Studio Traviata?

Verdi - La Traviata / Cotrubas · Domingo · Milnes · Bayerisches Staatsorchester · Carlos Kleiber

Inspired performance

An opera from a play from a then celebrated real life story

Verdi - La Traviata / Cotrubas · Domingo · Milnes · Bayerisches Staatsorchester · Carlos Kleiber
Giuseppe Verdi , Carlos Kleiber , Ileana Cotrubas , Placido Domingo , Bayerisches Staatsorchester , Sherrill Milnes , Bruno Grella , Walter Gullino , Giovanni Foiani , and Alfredo Giacomotti
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan

Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano

ASIN: B000001G5W
Release Date: 1990-10-25

Tracks:

La Traviata: Preludio - Giuseppe Verdi
La Traviata: Act I: Introduzione: Coro: 'Dell'invito trascorsa e gia l'ora?' (Violetta, Alfredo) - Giuseppe Verdi
La Traviata: Act I: Toast: Alfredo: 'Libiamo ne' lieti calici' (Alfredo, Violetta) - Giuseppe Verdi
La Traviata: Act I: Valzer e Duetto: Tutti: 'Che e cio?' (Violetta, Alfredo) - Giuseppe Verdi
La Traviata: Act I: Valzer e Duetto: Alfredo: 'Un di felice, eterea' (Alfredo, Violetta) - Giuseppe Verdi
La Traviata: Act I: Valzer e Duetto: Gastone: 'Ebben? Che diavol fatte?' (Violetta, Alfredo) - Giuseppe Verdi
La Traviata: Act I: Stretta: Tutti: 'Si ridesta in ciel l'aurora' - Giuseppe Verdi
La Traviata: Act I: Scena ed Aria - Finale: Violetta: 'E strano!.....Ah, fors'e lui' (Violetta) - Giuseppe Verdi
La Traviata: Act I: Scena ed Aria - Finale: Violetta: 'Follie! Delirio vano e questo!...Sempre libera' (Violetta, Alfredo) - Giuseppe Verdi
La Traviata: Act II: Scena ed Aria Alfredo: 'Lunge da lei...De' miei bollenti spiriti' (Alfredo) - Giuseppe Verdi
La Traviata: Act II: Scena ed Aria: Alfredo: 'Annina, donde vieni?...O mio rimorso!' (Alfredo) - Giuseppe Verdi
La Traviata: Act II: Scena e Duetto: Vioetta: 'Alfredo?' - Annina: 'Per Parigi or or partive' (Violetta, Giorgio) - Giuseppe Verdi
La Traviata: Act II: Scena e Duetto: Germont: 'Pura siccome un angelo' (Violetta) - Giuseppe Verdi
La Traviata: Act II: Violetta: 'Non sapete quale affetto' (Giorgio, Violetta) - Giuseppe Verdi
La Traviata: Act II: Scena e Duetto: Germont: 'Un di, quando le veneri' (Giorgio, Violetta) - Giuseppe Verdi
La Traviata: Act II: Scena e Duetto: Violetta: 'Ah! Dite alla giovine' (Violetta, Giorgio) - Giuseppe Verdi
La Traviata: Act II: Scena e Duetto: Violetta: 'Imponete!' - Germont: 'Non amarlo ditegli' (Violetta, Giorgio) - Giuseppe Verdi
La Traviata: Act II: Scena: Violetta: 'Dammi tu forza, o cielo' (Violetta) - Giuseppe Verdi
La Traviata: Act II: Scena: Alfredo: 'Che fai?' - Violetta: 'Nulla' (Alfredo, Violetta) - Giuseppe Verdi
La Traviata: Act II: Scena ed Aria: Alfredo: 'Ah, vive sol quel core' (Alfredo, Giorgio) - Giuseppe Verdi
La Traviata: Act II: Scena ed Aria: Germont: 'Di Provenza il mar, il suol' (Giorgio) - Giuseppe Verdi
La Traviata: Act II: Scena ed Aria: Germont: 'Ne rispondi d'un padre all'affetto?...No, non udrai rimproveri' (Alfredo, Giorgio) - Giuseppe Verdi

Tracks:

La Traviata: Act II: Finale II: Flora: 'Avrem lieta di maschere la notte' - G. Verdi
La Traviata: Act II: Finale II: Gypsy Girls: 'Noi siamo zingarelle' - G. Verdi
La Traviata: Act II: Finale II: Gastone And The Bullfighters: 'Di Madride noi siam mattadori' - G. Verdi
La Traviata: Act II: Finale II: Tutti: 'Alfredo! Voi' (Alfredo, Violetta) - G. Verdi
La Traviata: Act II: Finale II: Violetta: 'Invitato a qui seguirmi' (Violetta, Alfredo) - G. Verdi
La Traviata: Act II: Finale II: Alfredo: 'Ogni suo aver tal femmina' (Alfredo) - G. Verdi
La Traviata: Act II: Finale II: Germont: 'Di sprezzo degno se stesso rende' (Giorgio, Alfredo) - G. Verdi
La Traviata: Act II: Finale II: Violetta: 'Alfredo, Alfredo, di questo core' (Violetta) - G. Verdi
La Traviata: Act III: Preludio - G. Verdi
La Traviata: Act III: Scena ed Aria: Violetta: 'Annina?' - Annina: 'Comandate?' (Violetta) - G. Verdi
La Traviata: Act III: Scena ed Aria: Violetta: 'Teneste la promessa...Attendo, ne a me giungon mai...Addio del passato' (Violetta) - G. Verdi
La Traviata: Act III: Baccanale: Masked Chorus: 'Largo al quadrupede' - G. Verdi
La Traviata: Act III: Scena e Duetto: Annina: 'Signora' - Violetta: 'Che t'accadde?' - Alfredo: 'Parigi, o cara, noi lasceremo' (Alfredo, Violetta) - G. Verdi
La Traviata: Act III: Scena e Duetto: Violetta: 'Ah, non piu...Ah! Gran Dio! Morir si giovine' (Violetta, Alfredo) - G. Verdi
La Traviata: Act III: Finale ultimo: Germont: 'Ah, Violetta?' - Violetta: 'Voi? Signor?' (Giorgio, Violetta, Alfredo) - G. Verdi
La Traviata: Act III: Finale ultimo: Violetta: 'Prendi, quest'e l'immagine' (Violetta, Alfredo, Giorgio) - G. Verdi

Amazon.com essential recording

The best Traviata on disc? If not, it's within hailing distance. No true Verdian would want to be without Callas's 1955 live recording, and it's hard not to love those starring Moffo, Caballe, Scotto, Sutherland, and de los Angeles among others. But this set offers the best all-round combination of excellent sound, fine singing, and dynamic conducting. Ileana Cotrubas is a wonderfully spontaneous Violetta, conveying the passion and vulnerability of the character. Only Callas among her starry rivals on disc can match Cotrubas's emotional and vocal mastery here. Domingo sings with ardor, and Milnes uses his beautiful voice to good effect as Germont. But it's Carlos Kleiber's show, and that enigmatic conductor leads the most energetic Traviata since Toscanini. Tempos are fast, but his sense of theatricality is unerring--this is one of those studio recordings that captures the sense of being at the opera house listening to one of those rare performances when everything clicks. --Dan Davis

Customer Reviews:

Sublime!.......2006-09-24

Easily one of the best "La Traviata" recordings EVER if not THE best. A perfect cast, and everything about this recording is simply beautiful in every way. A must-have in the collections of all opera lovers!

The Best Studio Traviata?.......2005-11-07

I have to confess that the only reason why I bought this recording was because of Kleiber. I never cared for Cotrubas's voice because I always found it nasal and not very attractive. I'm a big Callas fan and her voice is certainly not everyone's taste and is also slightly on the nasal side but she delivers so much that I can overlook the faults. I've never been a big fan of Domingo's because I strongly believe a tenor should have high notes. And I never really understood what was so great about Milnes. He certainly had a big voice and was a barihunk but those lunges at the high notes and piano singing in the back of his throat always turned me off. But, I was pleasantly surprised by the performances in this recording. Cotrubas is one of the best Violettas in a studio made recording. She certainly understands what she's singing about. Domingo is youthful and ardent, although the high notes are strained and the high C in the cabaletta to his aria is obviously spliced in. I noticed that immediately even without using headphones. Milnes is at his best here although the performance is wooden and he really does nothing in the duet with Violetta nor with his aria.

But for me the star of this recording is Klieber and since the great maestro recorded only a few operas, I couldn't resist having this one, which is also a favorite opera of mine.

Overall it doesn't compare with the live Callas La Scala and is several notches below Anna Moffo's recording which does have a tenor with ringing high notes (Richard Tucker) and a much more adept and convincing Germont (Robert Merrill). In fact if sound is a consideration, you might want to go with the Moffo recording in it's Living Stereo release. Avoid the first edition which is really lousey.

Verdi - La Traviata / Cotrubas · Domingo · Milnes · Bayerisches Staatsorchester · Carlos Kleiber.......2005-10-26

There are just no words that explain how the music over whelms the soul and has the body swaying whilst the voice attempts to reach the various notes of these accomplised artists. One can only feel an overwhelming envy of those having the capability of, dear I say, such vocal talent, that only the listener can share with many that have only an ear of appreciation.

Inspired performance.......2005-10-25

The conductor and lead singers bring out the best in their performance of this great Verdi opera. A great and inspired rendition.

An opera from a play from a then celebrated real life story.......2005-09-23

Unlike so many other operas whose titles are given in English (i.e. "The Magic Flute") or are the name of the lead character, "La Traviata" is always just that because it is not really translatable into English. Is she really a "Fallen Woman"? Anything else you say will only give a partial and distorted impression of the character. The story for the opera is after a play by Alexandre Dumas called "La Dame aux camellias" ("The Lady of the Camelias" - often translated into English as "Camille").

Dumas took his story from a real life woman who rose spectacularly from the daughter of a drunken shopkeeper to a much sought-after mistress of rich and powerful men. Marie Plessis was christened Rose-Alphonsine and was packed off to a rich land owner as a worker. She learned the ways of the world, escaped to Paris where she soon took on many admirers who bought her jewels, and clothes, and left her with money. She held salons that were attended by leading literary figures, attended the theater, ate free meals in restaurants, learned cultures, was a passable pianist, and died of consumption (tuberculosis) at 23. In Dumas' story she was given the name of Marguerite. In Verdi's opera she is Violetta.

If you search images on the web for Alphonsine Plessis you can see a photos of her tombstone in Monmarte.

As the opera opens, Violetta (Ileana Cotrubas) is holding a lively salon to celebrate her return to public life after a short bout with consumption. There is much dancing a merriment (and beautiful music). She is accompanied by Baron Douphol (Bruno Grella), one of her, well, patrons. Gastone (Walter Gullino) greets her and introducers a friend of his and an admirer of hers, Alfredo (Placido Domingo). Gastone states that Alfredo had admired her from afar and during her recent illness called every day to ask how she was. Viloletta is quite touched and notes that even the Baron had not shown such devotion.

There is much merriment and Alfredo sings his famous drinking song. He later expresses his love for Violette who says that she can never be more than a friend because she cannot love. She advises him to forget her, but finds herself affected by his attention.

The second act opens in a country house. Violette and Alfredo have been living together for a few months. Alfredo sings his joy at living with her. The maid tells Alfredo that Violette has returned from Paris and that there is to be a sale of her possessions to support their present household. Alfredo is ashamed and leaves for Paris to get money and relieve his guilt for being so blind.

Violetta meets with a man she thinks is there to help with the sale who turns out to be Alfredo's father, Germont (Sherrill Milnes). He implores Violetta to break things off with Alfredo or his family will be ruined. His daughter is set for a proper marriage that will come apart if it is known that his son is living with a woman of her reputation. Violetta agrees to separate from him for a time, but the father says that it must be permanent. (This is a long a beautiful duet). She is overcome and writes a note the Baron and has her maid deliver it. She also writes a note to Alfredo and as she finishes he enters. She is overcome and asks him to tell her that he loves her. He reassures her. She leaves and he is given the note that says she is going to Paris and her old life. Alfredo is broken. His father tries to remind him of his home, but Alfredo leaves swearing vengence.

Alfredo wins a great deal of money at gambling and shames Violetta in public. The crowd is shocked and ridicules Alfredo. His father comes in a rebukes him for such ungentlemanly behavior.

The last act find Violetta in her bedroom dying of consumption. The doctor tells her she is recovering, but later admits privately to the maid that she only has a few hours to live. Violetta hears the crowds and knows it is Carnival and sends money to be distributed to the poor. She learns that Alfredo is abroad and looks in a mirror at her changed countenance and sings a farewell to her happy dreams and asks Gods mercy on one who has erred. Alfredo comes in and embrace and he begs her forgiveness. They make plans to leave Paris, she says she feels so much better with him there that she can feel herself gaining strength. She suddenly swoons and dies.

There is a great deal of beautiful music in this opera and it is all superbly done in this fine recording. Enjoy it!

Average customer rating:

Heavenly Music
Worthy Recordings
Great performance; but want more.
MUSIC OF THE HEMISPHERES
It's on CD!

Music for Glass Harmonica

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

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Glass Harmonica
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ASIN: B000001KAZ
Release Date: 1994-08-22

Tracks:

Adagio
Rondo
Adagio In C Major, K. 617
Rondeau In B Flat Major
Quintet In C Minor
Largo In C Minor
Quartet In C Major

Customer Reviews:

Heavenly Music.......2007-05-03

Simply the best relaxing music I've ever heard. Even better than the New Age stuff that I also like.

Worthy Recordings.......2006-08-17

Bruno Hoffmann gives a great performance in this album. This is a good disk to add to your collection of Glass Harmonica records. If you have not heard Glass Harmonica before I would recommend picking up Thomas Bloch's album entitled 'Glass Harmonica' under the Naxos label.

Great performance; but want more........2006-08-15

I found the quality of performance out standing. I would have enjoyed hearing more music that Franklan might have played himself.

MUSIC OF THE HEMISPHERES.......2005-02-05

It would have helped if there had been a more fulsome explanation with this disc of the kind of instrument that Bruno Hoffmann is actually playing. All the liner-note tells us is that it is something called a `glass harp', apparently of his own devising. Presumably I can read reliably elsewhere about the kind of instrument Mozart's father was excited by. This appears to have been designed by no less than Ben Franklin and expertly played, I assume without resorting to hypnotism, by Anton Mesmer. If I have understood rightly, it was a set of glass bowls arranged on a spindle. This made it obviously more practicable than a set of separate glasses filled with water (or other liquids) to various levels, something that would call for an octopus of the requisite musical talent. But a `harp' - I really would have liked more detail.

Mesmer himself could not have achieved anything so mesmeric as Mozart's Adagio and rondo. This is a late piece, from his last months, and has the peculiar rarified feel to it that others of his works from the same time do. Over and above the special idiom, there is of course the weird other-worldly sound. Unlike the rest of the composers represented here, who tend to use the instrument antiphonally against the remainder of the group, Mozart builds its strange resonance in with the flute, oboe, viola and cello that make up the balance of his ensemble. Allegedly the original glass harmonicas had adverse effects on their hearers' nerves, and I can quite imagine. Happily I can report all the same that neither 20 minutes of Mozart nor 55 minutes in total of the ever-euphonious 18th century gave me any such reaction. The pipes of Pan in legend could create the panic that is called after them, but they could entrance their hearers also.

The other four composers sharing the disc with Mozart are all contemporaries of his, and their music strikes me as definitely good, not totally overshadowed by Amadeus. There is another short number by him for the harmonica on its own, and the item from Schulz is a similar effort, of the same length and in much the same mood. The Naumann quartet is for Mozart's forces minus the oboe. In the other two compositions the harmonica is combined with strings, a standard quartet from Roellig and that plus a double-bass from Reichardt. The sequence of the works on the disc has been sensibly arranged to minimise any possible fatigue to the ear, and I should say panic is an unlikely consequence.

The recorded quality seems to me perfectly fair and acceptable. I know what the other instruments ought to sound like, so I have to assume that Dr Hoffmann's glass harp is accorded similar fidelity. The liner-note, by R.D.Darrell, is really quite helpful and instructive too, if only it had not left me hungering for more information about the glass harp.

It's on CD!.......2003-05-28

I have loved this "album" for years on vinyl and it is wonderful to see that VOX is reissuing this on CD. It's haunting sounds are sure to please all but the most hard-headed rocker. Buy with total confidence-a marvelous addition to your music library.

Average customer rating:

Essential collection

Mahler: Symphonies Nos 1 2 4 5 & 9
Bruno Walter
Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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Brahms: Symphonies Nos. 2 & 3

ASIN: B00008PW4B
Release Date: 2003-05-12

Tracks:

Symphony No.1 "Titan" In D Major: I. Langsam Schleppend Wie Ein Naturlaut
Symphony No.1 "Titan" In D Major: Ii. Kraftig Bewegt
Symphony No.1 "Titan" In D Major: Iii. Feierlich Und Gemessen, Ohne Zu Schleppen
Symphony No.1 "Titan" In D Major: Iv. Sturmisch Bewegt
Symphony No.2 "Resurrection" In C Minor: I. Allegro Maestoso
Symphony No.2 "Resurrection" In C Minor: Ii. Andante Moderato
Symphony No.2 "Resurrection" In C Minor: Iii. In Ruhig Fliessender Bewegung
Symphony No.2 "Resurrection" In C Minor: Iv. "Urlicht" Sehr Feierlich, Aber
Symphony No.2 "Resurrection" In C Minor: Im Tempo Des Scherzos Wild Herausfahren
"Lieder Eines Fahrenden Gessellen": I. O Wenn Mein Schatz Hochzeit Macht
"Lieder Eines Fahrenden Gessellen": Ii. Ging Heut Morgen Ubers Feld
"Lieder Eines Fahrenden Gessellen": Iii. Ich Hab Ein Gluhend Messer
"Lieder Eines Fahrenden Gessellen": Iv. Die Zwei Blauen Augen
Symphony No.4 In G Major: Bedachtig Nicht Eilen
Symphony No.4 In G Major: In Gemachlicher Bewegung Ohne Hast
Symphony No.4 In G Major: Ruhevoll
Symphony No.4 In G Major: Sehr Behaglich
Symphony No.9 In D Major: I. Andante Comodo
Symphony No.9 In D Major: Ii Im Tempo Eines Gemachlichen Landlers Etwas Tappisch
Symphony No.9 In D Major: Iii. Rondo-Burleske Allegro Assai Und Sehr Trotzig
Symphony No.9 In D Major: Iv. Adagio Sehr Langsam Und Noch Zurckhaltend
Symphony No.5 In C Sharp Minor: I.Trauermarch In Gemessenem Schritt Streng Wie
Symphony No.5 In C Sharp Minor: Ii. Sturmisch Bewegt Mit Grosster Vehemenz
Symphony No.5 In C Sharp Minor: Iii. Scherzo Kraftig Nicht Zu Schnell
Symphony No.5 In C Sharp Minor: Iv. Adagietto Sehr Langsam
Symphony No.5 In C Sharp Minor: V. Rondo-Finale Allegro

Album Details

5 CD Box set. Columbia Legends Series.

Customer Reviews:

Essential collection.......2004-09-17

Bruno Walter. Mahler's disciple and protégé. His reputation as a Mahler conductor is unmatched (though Klemperer and Mengelberg come close). This set contains nothing but essential Walter CBS recordings, even if it is a pity that the set, as such, is incomplete. First, Walter's very fine CBS account of Das Lied von der Erde is excluded. Second, his outstanding mono take of the first symphony with NYPO, for CBS, is missing.

What we have here are nonetheless recordings that belong in every Mahlerite collection. It is good to have them all in a set - for saving money, for example. And it is nowadays almost impossible to find the present performance of ninth symphony as a single set (blame SONY for their policy).

Some comments:
Symphony 1 & 2: outstanding early stereo takes (no. 1, rec. 1961, no. 2, rec. 1958) with classic, warm interpretations that leave very little to wish.
Symphony 4 & 5: two mono takes (rec. 1946), but indeed essential even for hifi enthusiasts. Clearly among the very best and classic performances of these works.
Symphony 9: Walter made the first live recording of this symphony in 1938 (available on EMI or Naxos). But this is the first stereo recording of the ninth (rec. 1961). The interpretation is second to none.

Grab this set while it's available!

Beethoven Symphony No. 6 "Pastorale" / Walter, Columbia Symphony (SACD)

Average customer rating:

One of my favorite recordings of the Beethoven 6th Symphony available in SACD Format
One of the most transcendental Pastorals ever recorded!
Absolutely the BEST 6th, interpretation, performance & sonics
Bruno Walter + Beethoven 6 = Genius, heart, soul
Classic, smooth transfer

Beethoven Symphony No. 6 "Pastorale" / Walter, Columbia Symphony (SACD)
Beethoven , Bruno Walter , and Columbia Symphony Orchestra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Schubert: Unfinished Symphony; Beethoven: Symphony No. 5 [SACD]
Beethoven: Symphonies Nos. 5 & 7

ASIN: B00000K4IM
Release Date: 1999-09-07

Customer Reviews:

One of my favorite recordings of the Beethoven 6th Symphony available in SACD Format.......2007-02-01

One of my favorite recordings of the Beethvoen 6th Symphony is legendary Bruno Walter's memorable, emotionally riveting interpretation with the Columbia Symphony Orchestra recorded back in the early days of stereo recording. It remains a favorite - inspite of my recent interest in period instrument practice and the new Barenreiter Edition of the score - simply because of Walter's vibrant, fluid interpretation, taking into account both variable tempi and heightened accents, and resulting in one of the most passionate, awe-inspiring recorded versions of this symphony I have ever heard. This is an approach that's fallen into disfavor lately, but one that is noteworthy only because Walter is successful in revealing more of the symphony's sonic architecture, than some of his successors, especially those who emphasized exclusively brisk tempi without trying to demonstrate some understanding of the harmonic relationships amongst different passages in the symphony's score. Not surprisingly, critics have regarded this vintage recording as one of the most memorable recordings of the "Pastorale" Symphony in no small measure due to Walter's inspired conducting and the excellent playing by the recording studio-based Columbia Symphony Orchestra. For these reasons it alone, this recording deserves serious consideration by devout Classical music fans interested in owning one of the finest recordings of the Beethoven 6th Symphony.

One of the most transcendental Pastorals ever recorded!.......2006-12-18

It is a remarkable fact that most of new generation of directors simply seem to have lacked the sense of vision and wholeness this Op demands. Perhaps this statement may sound unpleasant for many readers but Beethoven's seminal spirit has been vanishing through the last decades. The anguish of the contemporary man would seem to prevail over the epic gestalt, noblesse, dignity and a set of ideals nestled beneath the score of Ludwig van have delivered up its place to other environment where the anguish, neurosis and alienation have invaded the stage.

My task as a simple reviewer, is to ask myself this question in loud voice but without intending to respond it due the short available space, but it is not a mere casualty how unsatisfactory has resulted the search of a convincing and remarkable reading of this Symphony: nowadays it would not seem to exist neither time nor space for the necessary mediation or contemplation of the ecstatic experience in the actual world. And if you additionally add the fact the art has become a vehicle of simple entertainment in many musical stages, the futility of the final result obeys precisely to this attitude: nothing to say because the score has become a mirror of our own lives.

Fortunately the great conductors of the past could surmount the immense wave of triviality and emptiness to present us Beethoven as he was; dissonant, epic and staunch. The Pastoral Symphony is far to be a simple allegory to nature , it's much more significant and transcendental in its conception.

And Bruno Walter understood so well the whole spirit of this work that it could be said this Op was his best approach in any other of Beethoven's Symphonies, which accords with his Viennese heritage who meant more than a simple indication, but another way to approach respect the existence.

Absolutely recommended.

Absolutely the BEST 6th, interpretation, performance & sonics.......2006-09-06

I am prejudiced, Bruno Walter is my favorite. But this recording of the "Pastorale" is divinely other wordly. It reaches so deeply into the score to reveal the hidden beauty within while maintaining it's majestic flow. Walter, an emotive leader as it is, seems to have merged with Beethoven for this one. Either this SACD version or even the redbook version are IMHO the best recordings of the 6th ever made. Even if you don't agree that Walters reading is spot on perfect you will agree that the performance given by the CSO is nuanced and glorious. Considering it's recording date of 59-60 the sonic quality is excellent. As mentioned by others it does have the analogue tape hiss, but only at louder levels is it audible and even then so not a distraction.

Bruno Walter + Beethoven 6 = Genius, heart, soul.......2004-01-10

By the time conductor Bruno Walter got around to recording this reading of the Beethoven Sixth Symphony, almost everybody who was anybody in classical music of the times agreed that he practically owned the rights to the work.

The phrasing is sung, instead of snapped in the modern Beethoven style that owes so much to three or four decades we have spent in recreations of period instrument playing. The tempos are flexible, as if breathing. The flexibility of phrasing and tempos is always rooted, as deeply as possible, in the bedrock of the symphony's harmonic argument, and the dramatic and narrative flow.

In short, people don't conduct Beethoven like this any more. But no matter.

However much our own thought and period instrument experiences may have come to inform how we now think the composer is expressing himself, to hear this recording again is to appreciate with new zest and new heart that Beethoven's importance is inseparable from the kind of humanity that Bruno Walter and the Columbia Symphony Orchestra find in him, exactly through his music.

By the way.

All the comments about tape hiss being preserved make me wonder what kinds of equipment people are using to play this SACD.

Probably if you are listening on headphones, you will be that much more aware of the background noise inherent in the master tape. But the music is so staggeringly figural that I cannot believe anybody would fail to notice it, in favor of that (minimal) background noise.

I wonder how people manage, listening past all the other everyday noise that threatens to intrude upon our home systems? The miracle of listening to recorded music is part and parcel of the brain's miraculous abilities (psycho-acoustically) to process the signals the ear is receiving, and to focus one empathic attentions on the point, which is the music.

Now, some musical training of some kind probably helps this kind of ability to focus or pay attention. But anyone who can manage to hear their friends talking to them on an outside, busy, noisy urban street, has the basic brain ability to shut out competing noise in favor of paying attention to the other person talking.

Listening past tape hiss or other (minimal) master tape residual noise ... well it is just like that.

In any case, this reading is a peak all its own in the mountain ranges of recorded Beethoven Sixth Symphonies. Anyone who can't hear the music yet should just take a break and come back later. No matter who else records this symphony,... and there have been and will be some deserving candidates;... this particular recording will continue to stand on its own, and can therefore be very highly recommended.

The rating says five stars. I say: there are too many stars to count. Get this SACD, and listen to Beethoven the humanist who plumbed and characterized all those joys and struggles we have come to call the human condition.

Classic, smooth transfer.......2003-12-01

Here's another early Columbia 3-track stereo handsomely transfered to SACD. Despite its age (it's going on 50 years old now), the recording sounds fresh, with a broad soundstage, persuasive depth (better than on the historic Brahms' 4th Walter recorded about the same time) and a remarkable sense of "air" and presence. And who can argue with the performance? Certainly not me, though, I think Szell's version with the Cleveland from the same period fine as well.

Johannes Brahms: Ein Deutsches Requiem, Op. 45/Alt-Rhapsodie, Op. 53

Average customer rating:

A German Requiem of terror and tenderness
A Last Memento of a Brilliant Conductor
Overall a very satisfying recording
One of Walter's Finest
Great singing!!!!!!

Johannes Brahms: Ein Deutsches Requiem, Op. 45/Alt-Rhapsodie, Op. 53

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Brahms: Symphony No. 1; Haydn Variations; Academic Festival Overture
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Dvorák: Symphonies Nos. 8 & 9

ASIN: B000002A7X
Release Date: 1995-05-16

Tracks:

Ein deutsche Requiem op.45: I. 'Selig sind, die da Leid tragen'
Ein deutsche Requiem op.45: II. 'Denn alles Fleisch, es ist wie Gras'
Ein deutsche Requiem op.45: III. 'Herr, lehre doch mich'
Ein deutsche Requiem op.45: IV. 'Wie lieblich sind deine Wohnungen'
Ein deutsche Requiem op.45: V. 'Ihr habt nun Traurigkeit'
Ein deutsche Requiem op.45: VI. 'Denn wir haben hie keine bleibende Statt'
Ein deutsche Requiem op.45: VII. 'Selig sind die Toten'
Alt-Rhapsodie op.53: Alto Rhapsody

Customer Reviews:

A German Requiem of terror and tenderness.......2006-03-16

Bruno Walter went for drama rather than reverence in this 1954 recording of the German Requiem with the NY Phil. As others have noted, he takes vigorous tempos--the overall timing of 62 min. compares with 69 min. for Klemperer and Shaw, 75 min. for Karajan's EMI account from the Seventies. George London is fervent and at times terrifying in his solo singing, rendering the suffering and hope of a sinner in the face of death. At the other extreme, Walter's characteristic tenderness also comes through in the hushed choral singing of the first two movements. One can't expect a dated mono recording to capture the full sound of orchestra and chorus realistically, but this is such a hair-raising experience that it hardly matters.

The filler is an Alto Rhapsody in stereo from 1961, which Walter saves from its usual lugubrious fate. In fact, this is some of his most impassioned conducting in old age, and although neither Mildred Miller nor the Occidental College choir behind her are first-rate, Miller sings with intensity, in keeping iwth Walter's conception. Five stars to both performances.

A Last Memento of a Brilliant Conductor.......2004-12-11

Bruno Walter was not only one of the very finest conductors of both symphony and opera in the 20th Century, he was an unassuming poet whose every thought and gesture was about the composers' intentions. On the podium he was revered by orchestras and singers and choruses and always demanded (and got) as close to perfection as the moment allowed.

This recording of the Brahms Ein Deutsches Requiem is holy and the contributions by the chorus and the soloists are understated in the way that Walter achieved his most profound effect.

It is in the accompanying "Alto Rhapsody" for Mezzo Soprano, men's chorus, and orchestra that the essence of this great man can be most securely felt. In the early 1960s, knowing that Bruno Walter would not live much longer, John McClure of Columbia Records assembled the 'Columbia Symphony Orchestra' - musicians drawn form the finest of the studio musicians in Los Angeles - and set up a recording site in the American Legion Hall next to the Hollywood Bowl where he facilitated such recordings as this Alto Rhapsody, Brahms 'Schicksalslied', Wagner, Mahler, and others. Bruno Walter himself auditioned choruses for these recordings and elected to engage the Occidental College Concert Choir as trained by Howard Swan to sing the choral elements. For the Mezzo he chose the underrated Mildred Miller. The result is as perfect a concept of the Alto Rhapsody ever recorded. Originally this work was released with Brahms' "Schicksalslied" and Mahler's "Lieder eines fahrenden Gesellen". Would that that old CD be available still.

The experience of making music with the mighty but gentle Bruno Walter is an unforgettable experience for performers and audiences. Warm memories of being in the chorus for the Alto Rhapsody will always be among the most treasured in my musical experiences. This is a recording for the ages. Grady Harp, December 2004

Overall a very satisfying recording.......2003-02-19

Singing in a performance of the Requiem left me irritated with the slow tempos of the Klemperer recording, which was the one I owned until I bought this one. Walter's tempos lend themselves better to Brahms' rhythmic genius. The recording is not without drawbacks, however: the tone quality of the singers is a little too dark for my taste, particularly the basses. Another gripe is that Denn Alles Fleisch is articulated almost stacatto, which detracts from the passion of the movement. Finally, the soprano solo is a little too fast, the only movement where the quicker tempo doesn't quite work.
Other than these negatives, the recording is musically satisfying, with a generally good balance between orchestra and choir. I recommend it over the Klemperer and Shaw recordings for those who are sensitive to dragging tempos.

One of Walter's Finest.......2002-03-15

I bought this disc out of a sense of frustration with modern performances that left me wondering as I listened, "Is it almost over yet?". Even John Eliot Gardiner's celebrated 'excavation' of the piece didn't remove that feeling. At least this version was short! (about 60 min.) I'm really happy I made the switch. The sound is mono, so it may be disappointing to some listeners, but the quality of the performance is so warm, passionate and well thought out and felt, so utterly cohesive, that I don't think anyone could be disappointed with the performance. The "Alto Rhapsody" was recorded later in stereo, (with a higher volume level) and is wonderful all around.

Great singing!!!!!!.......2002-01-06

No one sings like the Westminster Choir under John Finely Willamson any more. The dark, rich sound they produce is not heard any more. George London is one of the best bass-baritones ever. This recording is the best!!!!!!!!

Average customer rating:

A bargain CD that would be good at any price
Bragns Symphony No 2 & 3
On rehearing, these beloved recordings have faded
Masterful Insight to an Original
Bruno Walter was a great Brahms interpreter

Brahms: Symphonies Nos. 2 & 3

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Johannes Brahms: Symphony No. 4 in E minor, Op. 98 - Carlos Kleiber / Vienna Philharmonic Orchestra

ASIN: B000002A7Z
Release Date: 1995-10-31

Tracks:

Symphony No.2 In D Major, Op. 73: I. Allegro non troppo
Symphony No.2 In D Major, Op. 73: II. Adagio non troppo
Symphony No.2 In D Major, Op. 73: III. Allegretto grazioso (Quasi Andantino) Presto ma non assai
Symphony No.2 In D Major, Op. 73: IV. Allegro con spirito
Symphony No. 3 In F Major, Op. 90: I. Allegro con brio
Symphony No. 3 In F Major, Op. 90: II. Andante
Symphony No. 3 In F Major, Op. 90: III. Poco Allegretto
Symphony No. 3 In F Major, Op. 90: IV. Allegro

Amazon.com

The Columbia Symphony may not have been a first-class orchestra, but Bruno Walter trained them to do the right things, and they responded with first-class accounts of these symphonies. While there are instances of less than crack ensemble, there is also some very fine first-desk playing, and the performances as a whole are marked by a natural feeling of movement, phrasing, and expression. Walter's approach to the music is kindly, caring, and wonderfully whole--sunny but not overly brilliant, warm but not overly heated, sincere but not overly impassioned. Anyone who thinks that means the conductor was slow, shapeless, or indulgent should give this disc a listen. There is thrust here, and plenty of momentum. The recordings are closely miked and somewhat bass-heavy, but in Sony's new 20-bit remastering the sound is wonderfully alive and direct. --Ted Libbey

Amazon.com

The Columbia Symphony may not have been a first-class orchestra, but Bruno Walter trained to do the right things, and it responded with first-class accounts of these symphonies. While there are instances of less-than-stellar ensemble work, there is also some very fine first-desk playing, and the performances as a whole are marked by a natural feeling of movement, phrasing, and expression. Walter's approach to the music is kindly, caring, wonderfully whole--sunny but not overly brilliant, warm but not overly heated, sincere but not overly impassioned, and above all gemtlich. Anyone who thinks that means the conductor was slow, shapeless, or indulgent should listen. There is thrust here, and plenty of momentum. The recordings, made between 1959 and 1961, are closely miked and somewhat bass-heavy, but have benefitted immensely from Sony's state-of-the-art remastering. Considering the vintage, the sound is wonderfully alive and direct. --Ted Libbey

Customer Reviews:

A bargain CD that would be good at any price.......2007-05-20

Disclaimer: I'm not an expert on classical music, much less on classical music performances, so my reviews represent a newcomer's take on classical CDs. Take that for what it's worth.

While I was expecting to enjoy Brahms's symphonies, the sheer excellence of them took me by surprise. They quickly became some of my favorite symphonies. The recording is very clear and really sounds great, and the compositions themselves are phenomenal. Highly recommended.

Bragns Symphony No 2 & 3.......2007-05-14

Brahms is my favorite composer. Brahms was so concerned that he followed Beethoven that he waited until late to publish a symphony. He needed have no concern. His symphonies are masterpieces. Their performance by Bruno Walter and the Columbia Symphony is also masterful. The technology for the initial recording is dated, the remastering was done with great care. The result is a really great recording.

On rehearing, these beloved recordings have faded.......2006-03-16

Walter recorded the Brahms Second and Third in 1960, near the middle of his late studio career in Los Angeles. In terms of health, attentiveness, and physical powers, this was a variable time for him, and it shows. Walter is near his peak with the Third Sym., which has real thrust and vigor but also great musical coherence. Walter was a brash conductor of Brahms before his late old age, and here he returns to form. The Columbia Sym. sounds fairly strong and at moments inspired, but the recording is overly bright.

The same can't be said completely of the Second Sym., a much-loved recording that has thin, ragged string playing, made worse by brittle, shallow recorded sound. The scraopy ensemble is in aid of a leisurely and not very alert reading on Walter's part. True, there's a general air of geniality and warmth, but that only goes so far. I loved this recording forty years ago, and at moments in the lyrical slow movement it cast its spell again, but still I find that it's fading fast. Even so, this CD is well worth hearing for the Third Sym., which sparks recollections of Walter at his best.

Masterful Insight to an Original.......2005-10-06

Symphony No. 3:
"Original" is always a moniker used to described Brahms' Third, and it's surprising how the description still holds up today. Whereas most composers use the symphonic form to express highly epic themes (a la Beethoven, Mahler, Strauss, Tchaikovsky, Shostakovich et al.), the Hungarian composer among German and Slavic titans presents a surprisingly intimate and peaceful vision with his Third, surely one of the greatest of symphonies. Bruno Walter, after decades of working closely with Mahler's music, brings a level of concentration unmatched by any other conductor to bring together the disparate four movements of a work that threatens to become unglued at any moment's notice. Walter's vision is understated and unforced, and perhaps a little too detached to some ears (like mine), but its gentle power takes over the most casual listener. This is a piece that struggles throughout to resolve the turbulence and tension within to find that ultimate state of peace - Brahms, meanwhile, gives us plenty of gorgeous melody and orchestration along the way - and Walter succeeds masterfully to capture the drama. Furtwangler and The Berlin will always be my favorite for this, but all in all, a classic performance. ****1/2

Other References: Top Recommendation from Gramophone, Rough Guide, Jim Svejda's Classical Guide, Penguin Guide; High Recommendation from Classical Music: Third Ear

Symphony No. 2:
Brahms' Second is a great work in itself, though not as landmark as the Third, but many a connoisseur's favorite among Brahms' symphonies. Walter's work here may be even greater than on No. 3. Finely detailed, full of color and with perfect weight - it is a very mature interpretation. His understanding is deep and he is in complete control, seamless from one movement to the next. The Columbia Symphony, no great orchestra, responds with some of their best playing. Walter could even make you believe you're listening to The Vienna Phil - and that's saying a lot. Much is made of comparing this to Beethoven's Sixth, and if we're talking about richness in melody, genius in orchestration, having a rustic feel, surprising us with its occasional minuet-dance rhythms and finishing off with a grand final movement that thrills and leaves you breathless - sure, the comparisons ring true. But make no mistake, Brahms is a true original. *****

Other References: Top Recommendation from Gramophone, Rough Guide, Penguin Guide

*In both accounts, Sony has done a superb job in the sound remastering to bring more body and clarity to the orchestra as compared to the original CBS releases.*

Bruno Walter was a great Brahms interpreter.......2005-08-16

I remember seeing Bruno Walter's Columbia Symphony recordings of Brahms Symphonies on LPs in the 1970s, and became more familiar with them when a college student, 1977-81. Walter was born in 1876, so was 21 in 1897 when Brahms died: their lives overlapped, and Walter, a product of the late Romantic age and student of Gustav Mahler(1860-1911), applies the needed affection and emotion to his interpretations of Brahms Symphonies.

There was a New York Philharmonic Brahms cycle conducted by Walter in the 1950s, and he conducted all 4 Brahms Symphonies with the Vienna Philharmonic and other orchestras in the earlier years of his career. Walter's name then, is authoritative in these works.

I especially like his affectionate treatment of Symphony 2: every phrase is caressed with just the right amount of needed expression and affection, yet he never overdoes it. IV moves along, but not as quickly as some other conductors, such as Steinberg with the Pittsburgh Symphony (Command LPs or MCA CD, from about 1988). Symphony 3, while revealing a few slight flaws, is done "con amore" (with love) and IV really blazes in the development section: the trombone chords will lift you out of your chair. The sound in both symphonies is very good late 1950s stereo, with rich mid range, clear highs, and strong bass.

I also like Walter's recordings of Brahms 1 and 4 (some feel 4 is over rated, but I find it charming). I believe these, along with Karl Bohm's 1975 Vienna Philharmonic cycle (Deutsche Grammophon 3 CD set), to be the best recordings of the Brahms Symphonies available in the US today.

Average customer rating:

At Long Last the ReMastered Historic Mahler 9th of Bruno Walter
Between Lives Before Death.

Mahler: Symphony No. 9
Gustav Mahler , Wiener Philharmoniker , and Bruno Walter
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: Symphony No.5
Mahler: Symphony No. 8
Mahler: Das Lied von der Erde
Mahler: Symphonies No. 1 & No. 2; Lieder eines fahrenden Gesellen
Mahler: Symphony No. 10 [Performing Version by Deryck Cooke]

ASIN: B00076ONU0
Release Date: 2005-01-25

Tracks:

I. Andante Comodo
II. Im Tempo Eines Gemachlichen Landlers
III. Rondo-Burleske
IV. Adagio

Amazon.com

Death-obsessed and superstitious, Mahler tried to outwit Fate by composing an unnumbered "song symphony" after the Eighth, but when he wrote the Ninth in 1907, he had been crushed by several devastating blows and knew he was fatally ill. It remained his last completed symphony, and was not premiered during his lifetime. The symphony is a heart-breaking mixture of holding on and letting go, of joy and beauty remembered and distorted by the anguish of loss, of doomed hope, protest, defiance, and resignation. Its extreme changes of mood and emotion are indicated by Mahler's instructions, such as: "with inmost feeling," "very tender and expressive," "like a heavy funeral march," "with fury," "with utmost force," "without expression." The third movement, called "Burleske," is marked "very stubborn"; the second, a three-part dance called "A comfortable Ländler," is subtitled "somewhat clumsy and very uncouth." Changes of tempo and dynamics are often sudden and violent; climaxes build up, collapse, rise again, scale the heights. The orchestral colors are exploited to their maximum. The last movement is a leave-taking reminiscent of the "Farewell" from the "Song of the Earth," and, like it, dies away into nothingness.

Recorded live in Vienna in January 1938, the playing is deeply committed if not entirely perfect, and if all the lines of Mahler's complex, multi-thematic counterpoint are not always clear, one must remember that if he had heard or conducted the work, he might, as always, have made emendations. The performance is historically significant: two months later, Hitler invaded Austria and Walter, Mahler's foremost champion, as well as concertmaster Arnold Rosé, who plays the violin solos, and many other orchestra members, had to flee for their lives. --Edith Eisler

Customer Reviews:

At Long Last the ReMastered Historic Mahler 9th of Bruno Walter.......2006-03-03

For all the resplendent recordings of Mahler's wondrous Ninth Symphony it is with great gratitude and respect for EMI and their Legends series that we now have access to this 1938 live recording of Mahler's farewell work as performed by his principal proponent, student and conductor Bruno Walter on the podium with the Vienna Philharmonic. So many aspects of this performance are poignant, not only the Walter/Mahler tradition, but also the Mahler/Vienna Philharmonic tradition, and also the fact that this performance was recorded just a short two months before Hitler invaded Austria and the conductor and orchestra were forced to escape Hitler's mania.

But even without the foregoing information, this performance has a deeply felt sense of Mahler's preoccupation with death and with his legacy that only Walter was able to capture at that time. Yes, the Sonics of the recording are not up to contemporary standards, nor is the now required 'perfection of execution' in performance that our audio educated ears have demanded. This is a true 'live performance', not a pasted together bit of fragments from several performances and so there are moments of orchestral insecurity that show through. For this listener these do not detract form the richly glowing result Walter obtained from his inspired baton. This is a Mahler Ninth that belongs in the libraries of everyone who loves Mahler. It is a brilliant if technically flawed performance that will forever alter the way you will hear the Mahler Ninth. Highly recommended. Grady Harp, March 06

Between Lives Before Death........2005-01-31

Will we ever hear music performed this way again?

Sadly, sadly...I do not think so...

Something special occured on the evening of January 16th 1936. The ancient Vienna Philharmonic and the great humanist Bruno Walter were both endowed by the forces of love and magic, and through their bows and fingertips flowed the transcendent music of Gustav Mahler's 9th symphony. The listener who partakes in their almost holy, unified voice will weep with sweet agony for the intimate teachings emanating from this music.

The sensitive Gustav Mahler understood the tremendous beauty of God's works (this physical world). His music is a testament to the enormous struggle between the flesh and the fire, the earthly and the Spiritual. This ninth symphony, this magical recording is the summum of that battle, is the sweet decay of flesh, the perfumed entrance of death, and the horrible realization that a life lived without Spirit is a life miserably lost.

We bless and thank the Souls of Gustav Mahler, Bruno Walter, and all the members of the ancient Philharmonic...may this recording stand for their so-human legacy!

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