Cello Sonatas Op 1

On this CD:

1. Sonata for cello & continuo in B flat major, Op. 1/1
Composed by Carlotta Ferrari

2. Sonata for cello & continuo in F major, Op. 1/2
Composed by Carlotta Ferrari

3. Sonata for cello & continuo in A minor, Op. 1/3
Composed by Carlotta Ferrari

4. Sonata for cello & continuo in F major, Op. 1/4
Composed by Carlotta Ferrari

5. Sonata for cello & continuo in B flat major, Op. 1/5
Composed by Carlotta Ferrari

6. Sonata for cello & continuo in G major, Op. 1/6
Composed by Carlotta Ferrari

Tracks:

Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Andante
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Largo Andante
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Allegro
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Menuetto & Trio: Vivace
Duet For Violin & Cello In D Major: Poco Adagio
Duet For Violin & Cello In D Major: Tempo di Menuetto
Duet For Violin & Cello In D Major: Allegro (non troppo)
Eight Pieces For Violin And Cello: Tuning & Gavotte
Eight Pieces For Violin And Cello: Two Menuets
Eight Pieces For Violin And Cello: Air
Eight Pieces For Violin And Cello: Menuet With 2 Variations
Eight Pieces For Violin And Cello: Impertinence
Eight Pieces For Violin And Cello: Sarabande
Eight Pieces For Violin And Cello: Menuet With 2 Variations
Eight Pieces For Violin And Cello: Air
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Andante
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Allegro
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Aria with 3 Variations
Sonata For Violin & Cello In D Major: Allegretto Spiritoso
Sonata For Violin & Cello In D Major: Vivace
Sonata For Violin & Cello In D Major: Grave
Sonata For Violin & Cello In D Major: Allegro Assai
Sonata In D Minor For 2 Violins & Basso Continuo: Andante Molto Cantabile
Sonata In D Minor For 2 Violins & Basso Continuo: Allegro
Sonata In D Minor For 2 Violins & Basso Continuo: Andante Pastorale
Sonata In D Minor For 2 Violins & Basso Continuo: Allegro

Customer Reviews:

Wonderful and delightful evenings.......2007-06-27

If you are a really follower of Jack Aubrey adventures you must have the 2 Volumes. The best companion for you reading every evenings. A must have.
Enjoy it.

Great Music.......2007-04-05

I bought this as an accompaniment while I read Patrick O'Brian's Aubrey-Maturin series of books, and it goes very well. I've enjoyed every piece on this album, and recommend it for music lovers and readers alike.

excellent compile.......2007-01-16

It is dead-on excellent. Perfectly in tune with the entire series and spirit of Patrick's work. A simply joy to listen to time after time. You grasp the character of the age in crisply performed versions of various collection.

Pleasant backdrop .......2006-01-10

As a child growing up in the city of Salem, known for it's working class backbone, I was the only kid I knew who had been to Symphony Hall more than Fenway Park. Going in to Boston for the symphony's open practices was what I lived for. It gave me a true appreciative, although untrained ear. The one lasting lesson is that while you may not notice good classical music, EVERYONE notices bad classical music. And this is NOT bad classical.

I have been a reader of the Aubrey Maturin Novels for 8 years (only two a year for dramatic suspense) and while I am a huge fan of Patrick O'Brian's writing, I find that with the addition of the music he scored his work to, I stand in awe. The music is well grounded to the situations and feelings in the book. Either Mr. O'Brian was a very well rounded, or he did his homework.

The CD is a wonderful insight to the author, and the characters he created. Pour a glass of claret, listen to the cd, read the books...

but pay no heed to Killick's "scrape, scrape , scrape..never a song you could dance to.."

Musical soothing of the soul.......2002-06-11

I have been a fan of Baroque music since childhood (and I'm not all that old either). But I've only started reading the Patrick O'Brian books in the last few months, since it was announced that my favorite actor, Russell Crowe, was about to star as Captain Jack Aubrey in the Peter Weir movie. I am reading the books in order, and am currently on "HMS Surprise," so what else could be a more perfect accompaniment than this CD? Aubrey is such a multi-layered character, filled with imperfections and bad puns, however he has a great love for music and he plays the violin quite well. Often paired with ship's surgeon Dr. Stephen Maturin on the cello, music is a great release for this sea captain, and the pieces on this CD are fine representations of what Aubrey might have played while on assignment or heard when on land. The selections by Hadyn, Locatelli, Handel, Boccherini and Leclair are pleasant, soothing compositions that are complex and varied enough that they are not redundant, and range from peaceful to nimble. While listening to the CD, I could vividly imagine Jack Aubrey below decks in his cabin and asking Maturin to strike up a tune with him. And then they begin an Andante or an Allegro, allowing Aubrey to set aside his absolutely awful puns and jokes so he can clear his mind and relax. Considering some of the battles he's involved himself in so far in the series, he definitely needs it. Reading his adventures while listening to these charming pieces will relax you as well, and definitely take your imagination to some wondrous places in an era of great change.

Average customer rating:

a beautiful expression of a musical dialogue in the great Romantic fashion...
Good, but not great.
Beautiful, just beautiful!
THIS ONE WILL GROW ON YOU
When the Rich Russian Sound Meets the Soulful German....

Brahms: The Cello Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Rostropovich, Master Cellist
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Schubert, Debussy / Rostropovich, Britten
Bach: Cello Suites Nos. 1-6

ASIN: B000001G4M
Release Date: 1990-10-25

Tracks:

Sonate fur Klavier und Violoncello e-moll Op. 38: 1. Allegro non troppo
Sonate fur Klavier und Violoncello e-moll Op. 38: 2. Allegretto quasi Menuetto
Sonate fur Klavier und Violoncello e-moll Op. 38: 3. Allegro
Sonate fur Klavier und Violoncello F-dur Op. 99: 1. Allegro vivace
Sonate fur Klavier und Violoncello F-dur Op. 99: 2. Adagio affettuoso
Sonate fur Klavier und Violoncello F-dur Op. 99: 3. Allegro passionato
Sonate fur Klavier und Violoncello F-dur Op. 99: 4. Allegro molto

Customer Reviews:

a beautiful expression of a musical dialogue in the great Romantic fashion..........2007-05-20

Two of classical musics most remarkable artists meet at the full blossoming of thier careers: Mstislav Rostropovich who plays out the sadness of these pieces in his natural Russian style, and Rudolf Serkin who plays flawlessly.

These sonatas for cello and piano make for a beautiful expression of a musical dialogue in the great Romantic fashion, and I am not even a very big fan of Brahms.

Good, but not great........2005-01-22

While this recording is performed well, after listening to Jacqueline Dupré's rendition of this piece it is hard to rate this performance with the full five stars. Dupré takes the music to another level with even richer tones and smoother legatos. Another difference when comparing these two recordings is the coordination between the cellist and the accompanist. Dupré played with her husband, the pianist and conductor Daniel Barenboim. Those two connect at a much deeper level than the pair in Rostropovich's recording, who at times are clearly not together. However, this review is by no means intended as an affront on Rostropovich's clearly masterful abilities as a cellist. It is just that in the comparison of the two recordings, I feel that Ms. Dupré's passionate and more liberal style of play better suits this particular piece.

Beautiful, just beautiful!.......2004-01-16

I have never cared much for Brahm's music. Yet, I play this cd over and over again. The music is glorious and because of this recording, I have started to sample more of his works. This is a cd truly worth owning.

THIS ONE WILL GROW ON YOU.......2003-08-15

The balance is not quite right, with the cello too prominent, but once I got used to that the performances started to take me over. Here we have two of the greatest classical interpreters of their time taking us into the special world of Brahms, and they had me thinking about the composer in a way I have not done in years. Most books and articles I have read about him have a lot to say about Beethoven, but I really doubt whether Brahms's music would have been much different if Beethoven had never lived. Both consciously and by instinct, Brahms was the guardian of the great German musical tradition embodied above all in Bach -- a tradition where pure 'absolute' music expressed itself through an intellectual apparatus of polyphonic and structural devices. Since Bach's time Haydn and Mozart had perfected for instrumental music a compositional system usually called the 'sonata' style. Beethoven had naturally picked this up, but what he forced on to it was a special dimension of highly personalised expression, and it is precisely this way of treating it that Brahms turned his back on. With him we are back, in his own deeply original way, to music using the composer to express ITself.

I seem to find that Brahms gets more instinctive understanding from performers than Beethoven does, and I believe quite simply that that is because he understands himself better than Beethoven does himself. Teetering on the verge of incoherence at times was all part of Beethoven's unique greatness, and it is not disrespectful -- quite the reverse -- to say so. I have heard far more good performances than bad ones of these two wonderful sonatas, and the special meaning these particular accounts have for me is not something that I felt at first hearing. When a pianist of very special and unusual gifts is aged 80 or so and has retained his technique and evenness of touch, when he has spent a lifetime developing an austere and uncompromising vision of the instrumental music that we normally think of as being the 'greatest', when he studies completely afresh the works he is to perform with the greatest cellist of the next generation, there is a good chance we are going to get something very special, and I do not believe I am imagining it. This is a totally unique artistic combination offering a very special -- not eccentric in any way but still very special -- insight into a composer that many of us know by heart without really getting our minds round the phenomenon he represents. This record is a milestone in my musical pilgrimage and maybe it will be in yours.

When the Rich Russian Sound Meets the Soulful German...........2001-04-11

From the very first note of the e minor sonata, one can notice how perfectly the warmth and control in Rostropovich's sound match the cogitating works of Brahms. In such maturiy and wisdom gained over many a decade, there are things to learn from this recording. The full and rich, yet sensitive tone draws the listener through every movement with assuarance and thrill, and the complete control -- especially apparent in the unhurried tempi -- of both of these maestros should be especially admired. Of course, control and maturity do not mean lack of passion and vigour by any means; the series of robust broken chords of the first movement of the E minor sonata, and the passionate third movement of the F major sonata are no less powerful than any younger perfomers' recordings, if not greater. This is a recording to be enjoyed and studied by all.

Average customer rating:

really like it

Cello Adagios

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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Violin Adagios
Guitar Adagios
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Romantic Adagios

ASIN: B0001WU1QK
Release Date: 2004-05-11

Tracks:

Carnival Of The Animals - Bruno Canino
Vocalise, Op.34 No.14 - Lynn Harrell
Thais - Julian Lloyd Webber
Adagio - Janos Starker
Apres Un Reve - Bruno Canino
Adagio - Julian Lloyd Webber
Ave Maria - Julian Lloyd Webber
Adagio - Julian Lloyd Webber
Traumerei (Dreaming) - Bruno Canino
Notturno: Andante - Julian Lloyd Webber
Sicilienne - Bruno Canino
An Die Musik, D547 - Bruno Canino
Reverie - Julian Lloyd Webber
Prayer - Bruno Canino
Ebben? Ne Andro Lontana - Bruno Canino
Salut D'amour, Op.12 - Bruno Canino
Valse Sentimentale, Op.15 No.6 - Samuel Sanders
Kol Nidrei, Op.47 - Julian Lloyd Webber

Tracks:

Air (Air On A G String) - Julian Lloyd Webber
Clair De Lune - Julian Lloyd Webber
Elegie, Op.24 - Jullian Lloyd Webber
Andante - Heinrich Schiff
Romance In D Minor, Op.62 - Julian Lloyd Webber
Beau Soir - Bruno Canino
Sicilienne, Op.78 - Bruno Canino
Panis Angelicus - Julian Lloyd Webber
Nocturne In E Flat Major, Op.9 No.2 - Julian Lloyd Webber
Cantabile - Samuel Sanders
Liebesleid - Samuel Sanders
Adagio Ma Non Troppo - Janos Starker
Bereuse - Julian Lloyd Webber
Cantilena - Julian Lloyd Webber
Melodie, Op.20 No.1 - Julian Lloyd Webber

Customer Reviews:

really like it.......2007-03-05

This is the first classical cd I have ever bought. The two-disc album was a great price. I really love the performance of Lynn Harrell. I like the collection of Adagios because they are perfect to fall asleep to or study to.

Average customer rating:

This is a fantastic deal!
Excellent, Broad Selection
$70....when was this???
$70/40... you do the math.

Vivaldi: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLHY
Release Date: 2004-11-30

Customer Reviews:

This is a fantastic deal!.......2007-02-25

If you are a fan at all of the Four Seasons you should love this music. I will admit right now that I am a classical music fan. I don't write or perform it. I am a novice listener. I have never taken any music lessons(though I am leaning in that direction) and certainly have not gone through any university music training. I started out in rock and roll but found classical as I got older and fell in love with it a few years ago.

With that context in mind I do hope I am able to recognize quality and this work is of the highest. It helps when you are starting with good ingredients in the first place. You can't bake great bread without great ingredients and Vivaldi's music library has some of the greatest musical ingredients of the last 300 years. They are very much the foundation for modern western culture and music. His talent is woven through what we are

The first 26 CDs are instrumental starting with the four seasons and working through many of the Master's many popular works. I will admit the four seasons are not the best interpretation I have heard but it is definitely acceptable. The rest of the music shows us many facets of the Baroque style and you can see themes emerging through some of the pieces that give us a 'fingerprint' of Vivaldi's style and the parameters of the stylistic leanings of the genre at the time. If you want to immerse yourself in 18th century music this is your chance

This music would be ideal for someone who owns a store and is looking for background music. With over 26 CDs of instrumental music alone you could have those constantly looping and you'd probably never get bored of them(OK I may be stretching it a little there). The reason is that the music does not leave a bad 'aftertaste' in your mind. It fits into the background as easily and naturally as it is to listen to it consciously in the foreground. If you are a fan of classical Baroque you don't usually need to be in the mood for this, it will adjust your mood to itself and Vivaldi's music is almost always of an uplifting sort if this collection is any indication. If you want something to listen to at your job 8 hours per day this is good for the mind and it would take you over a week to get through it if you listened to it every minute of every work day. You will also work without the worry of the music distracting your concentration. I find it enhances it when I'm working. I don't know how well this would work on school kids but teachers might want to try playing this during school time. You may create a few geniuses, we certainly could use more!

If you are looking for something to ease your sleep and oil your dreams I have put these CD's on in the background. Not only can I easily fall asleep when they are playing quietly in the background but it helps you sleep and you wake up in a very pleasant atmosphere if the music is still playing quietly when you wake(you probably would need to rip them to your MP3 player to do that). It's like napping at a classical music concert without the worry of being nudged by your spouse or offending the other concert goers with your snoring. That will be quite a unique experience for you and possibly give you some real sweet dreams. It has for me

So to wrap it up this is very intelligent, uplifting music that is great for your mind and your soul. It is definitely worth the purchase if you are a fan of the Four Seasons and the Baroque genre in my novice classical music fan's opinion

Excellent, Broad Selection.......2007-01-25

This 40-cd collection affords me a rare pleasure almost daily: the thrill of hearing something new by Vivaldi. Despite my best efforts over the years, I've managed to miss hearing a lot of great works by the master. Listening to a single CD now and then, catching tunes on the radio... you can't possibly get a comprehensive understanding of Vivaldi's output that way.

But when you work your way systematically from CD 1 through 40, you're sure to find many pleasant surprises. I've been skipping through everything I already know -- in some cases, it has only taken me about a minute to get through a whole CD (first 3 seconds of each track is usually enough). But then I stop and listen carefully three or four times to anything that's new.

Ah, what a pleasure. I've already acquired some new favorites. And some old standbys have proved even more rewarding, e.g. at first I thought RV 127 (CD 7, tracks 10-12) was performed too slowly (Naxos No: 8.553742 is much faster), but now I'm not sure; maybe it's BETTER that way! I can't recommend this set highly enough.

$70....when was this???.......2006-11-25

Wish the cost was $70 now. Guess the record producer (or Amazon) got tired of making less than $2 per CD.

$70/40... you do the math........2006-04-07

No, I don't own this collection...yet. However, the price of the collection compels me to review it beforehand. Never have I seen such a complete collection of Vivaldi compositions at such an incredibly low price. At $1.75 dollars a CD, the record producer (Brilliant Classics) isn't making much of a profit. The compilation pulls some of its works from DG Achiv Produktion's vault (see Standage), such as the violin concertos, as well as from unknown producers (the Poland Philharmonic Chamber Orchestra is heavily featured). The collection is so complete that it is academic, and I would not be surprised if music libraries quickly emptied it from Amazon's shelves. The collection is simply worth it for the incredible price (English Concert's recording of the violin concertos cost nearly 30 bucks, and is exactly featured here). Overall, the price alone makes this collection exceptionally attractive, and the ensembles featured aren't bad either.

Average customer rating:

Consistently and superbly musical
Lovely Cello Sonatas with a Wonderful Surprise at the end..
Absolutely superb!!!

Beethoven: The Cello Sonatas

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Beethoven: Piano Trios, Vol. 1; Itzhak Perlman; Vladimir Ashkenazy; Lynn Harrell
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Bach J.S: 6 Suites for Cello
Mozart: Complete String Trios & Duos

ASIN: B00004WGEX
Release Date: 2001-03-13

Tracks:

Cello Sonata No. 1 In F Major, Op. 5 No. 1: I. Adagio sostenuto-
Cello Sonata No. 1 In F Major, Op. 5 No. 1: Allegro
Cello Sonata No. 1 In F Major, Op. 5 No. 1: II. Rondo: Allegro vivace
Cello Sonata No. 2 In G Minor, Op. 5 No. 2: I. Adagio sostenuto ed espressivo-
Cello Sonata No. 2 In G Minor, Op. 5 No. 2: Allegro molto, piu tosto presto
Cello Sonata No. 2 In G Minor, Op. 5 No. 2: II. Rondo: Allegro

Tracks:

Cello Sonata No. 3 In A Major, Op. 69: I. Allegro ma non tanto
Cello Sonata No. 3 In A Major, Op. 69: II. Scherzo: Allegro molto
Cello Sonata No. 3 In A Major, Op. 69: III. Adagio cantabile-
Cello Sonata No. 3 In A Major, Op. 69: Allegro vivace
Cello Sonata No. 4 In C Major, Op. 102 No. 1: I. Andante-
Cello Sonata No. 4 In C Major, Op. 102 No. 1: Allegro vivace
Cello Sonata No. 4 In C Major, Op. 102 No. 1: II. Adagio-
Cello Sonata No. 4 In C Major, Op. 102 No. 1: Tempo d'andante-
Cello Sonata No. 4 In C Major, Op. 102 No. 1: Allegro vivace
Cello Sonata No. 5 In D Major, Op. 102 No. 2: I. Allegro con brio
Cello Sonata No. 5 In D Major, Op. 102 No. 2: II. Adagio con molto sentimento d'affetto
Cello Sonata No. 5 In D Major, Op. 102 No. 2: III. Allegro - Allegro fugato
Horn Sonata In F Major, Op. 17: I. Allegro moderato - Barry Tuckwell
II. Poco adagio, quasi andante- - Barry Tuckwell
Rondo: Allegro moderato - Barry Tuckwell

Customer Reviews:

Consistently and superbly musical.......2004-05-17

There is little more one could ask for in these buoyant, dramatic, glowing and felicitous performances by cellist Lynn Harrell and pianist Vladimir Ashkenazy. They simply take off because of their marvelously unforced style of play, which at various moments can be commanding, poetic and even aristocratic. Both soloists also manifest an extremely satisfying instrumental tone, especially Harrell, whose cello sounds absolutely golden, and who frequently demonstrates the ability to truly sing and soar. And with Ashkenazy's wonderfully fluid approach, the two offer readings that, for me, outdo Rostropovich/Richter and Tortelier/Heidsieck, who both present fine offerings. Though Rostropovich possesses that wonderful, big sounding tone, in these sonatas he tends to pass over phrases too quickly for me. I prefer a bit of lingering here. At times, Richter also plays too fast. With regard to the Tortelier/Heidsieck duo, they tend to render marginally more extended pauses, deliberate accents and a slower, more deliberate pace. Also, while an excellent cellist, Tortelier lacks Harrell's opulent tone that I so revel in. There are so many satisfying moments in this Harrell/Ashkenazy set that it would take me longer than I would like to point them out, but listen, in particular, to the splendid opus 69 Third Sonata. Perhaps, this represents the two players at their finest in terms of both quality of expressiveness and instrumental interplay. Some real magic unfolds here. Overall, you will find it difficult to do better than these uplifting and extremely pleasurable accounts of these musical gems from Beethoven. Incidentally, the recorded sound on these discs is very fine, and exceeds that which is afforded the others in their presentations.

Lovely Cello Sonatas with a Wonderful Surprise at the end.........2004-02-19

This was the first time I met these Sonatas.
Actually, when I bought this disc, Because of the Title:
Cello Sonatas
I thought I was going to hear Sonatas for Cello Solo,
Like the Suites By Bach...
I Quickly fell in love with the Cello Sonatas, esspecially
the last three...
And what a Beautiful surprise it was to hear the Magnificent
and Charming Horn Sonata Op. 17 !
The Three Musicians Play extremly well!
esspecially Ashkenazy with his light touch
and Tuckwell with his inthusiastic (I hope I spelled it right)
Playing!

Absolutely superb!!!.......2003-12-19

A truly wonderful recording,with the right combination of technical perfection coupled with emotion. And the addition of the Opus 17 Horn sonata was a good choice. Ashkenazy and Harrell are in top form (as is Tuckwell). This collection is an absolute must.

Average customer rating:

indulgent but intimate..............

Brahms: Cello Sonatas

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001O3Y8K
Release Date: 2004-04-06

Tracks:

I: Allegro Non Troppo
II: Allegretto Quasi Menuetto & Trio
III: Allegro - Piu Presto
I: Allegro Vivace
II: Adagio Affettuoso
III: Allegro Passionato
IV: Allegro Molto - Piu Presto

Customer Reviews:

indulgent but intimate.....................2006-12-03

But for the artists allowing themselves changes in tempo from one movement to the next, I tend to believe this recording would rate as the definitive interpretation. It depends on what one tolerates as artistic licence. I have the original LP, and the microphone placement and simple mixing of the day has resulted in warm and detailed Cello reproduction. The playing is accurate and engaging, and it is evident the two artists are very much in accord as regards their preferred rendition.The alternative, earlier 1955 Fournier recording apparently suffers from restricted frequency response. I have not heard the Rostropovich recording.

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

The one collection I cannot imagine being without
MASTERY
Magisterial... mystical
Beethoven + Arrau = Divinity
Beethoven himself would be proud.

Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro

Tracks:

Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo

Tracks:

Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace

Tracks:

Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto

Tracks:

Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 2. Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: 1. Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco

Tracks:

Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2

Tracks:

Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto

Tracks:

Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto

Tracks:

Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile

Tracks:

33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro

Tracks:

Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace

Tracks:

Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca

Amazon.com

Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find.

Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler

Customer Reviews:

The one collection I cannot imagine being without.......2007-01-30

It would be absurd to recommend recommending one Beethoven cycle to the exclusion of all others, yet it is Arrau's cycle to which I repeatedly return, despite some flaws mentioned by other reviewers.

They are flaws which can be forgiven. Scherzi which would be brimming with mirth & vitality in the hands of others may come up short, but it is more than compensated for by the revelations to be found as Arrau explores every aspect of Beethoven at his most profound. There always seems to be something new to be discovered. Flabby? It is hard to imagine how someone could come to this conclusion.

Even the sound quality for recordings dating back into the 1960's has been remastered so as to be acceptable to all but the most spoiled of listeners, who apparently are satisfied only with the most seamless homogenized studio sound. Those who can't get past the slightly imperfect sound quality are focusing on the wrong details.

If the greatness of the performance were not enough, the price should be enough to convince any serious music lover to add these to a CD collection. One cannot overstate how rewarding this collection will be to anyone who does not yet know the artistry of Arrau.

MASTERY.......2007-01-26

One man's viewpoint: Arrau amazes me as he sets the notes down with such clean deliberation! Total command. No matter how fast Beethoven is charging along. And as Arrau gets every note, we find the real Beethoven genius shining through - after all, as raw material, this is some of the finest piano music anywhere. Of course, this playing delivers passion and heart-and-soul communication too. And a sense of commitment and strength.
I suggest this set - with about nine stars! Mastery in art. *** For a lighter, more joyful touch - and great tone - ALSO get hold of O'Conor's set of the 32. I suggest this set - with about nine stars!

Magisterial... mystical.......2006-11-03

I've been listening to Beethoven's sonatas for fifty years and have heard all of them by some, and some of them by all the available recorded performers. Overall, Claudio Arrau is my favorite interpreter of the sonatas. To me he has an inner affinity with Beethoven that is uncanny. Beethoven was a man of great character. And that greatness, detached from his person in the form of musical ideas, enters the listener through intermediaries such as Arrau. When it is done right, it works a sort of righteous therapy, and makes the listener a better person for the hearing.

Arrau describes Beethoven's greatness in his essay "Thoughts on Beethoven" in the 33 1/3 Philips LP edition. "Beethoven has always stood for the spirit of man victorious. His message of endless stuggle concluding in the victory of renewal and spiritual rebirth...his life was an existential fight for survival...In the sense that he mastered both his life and his art to reach the ultimate heights of creation and transfiguration, he will last as long as man's spirit to prevail lasts on this earth." Part of the greatness of Beethoven's character came from his ability to be intimately close and at the same time at an infinite distance above his listener. Arrau possesses this same character, and his qualities as a man and artist are why he is able to so aptly render the greatness of Beethoven.

A book titled "Conversations with Arrau" was written by Joseph Horowitz to celebrate the artists's 80th birthday in 1982. I've only read the extracts published with the Philips edition, but there is enough information to get a feel for Arrau's character. He guarded the purity of his environment. He shunned parties and avoided small talk. He never drank or smoked, never learned to drive a car, boil an egg, or even operate a phonograph. His only hobby was gardening. Horowitz describes him as the embodiment of the nineteenth-century model of the artist as solitary, suffering hero. He was small (5'6") and frail, but in 1982 at age 80 he was still playing more that 70 concerts a season.

Rather than launch a discussion of his individual works (this has been done admirably by many of the reviewers) I will remark on just a few. I never properly appreciated the Fourth and the Seventh Sonatas until I heard Arrau's reading of these works. His Fourth takes 31 minutes, 30 seconds. Annie Fischer, another great interpreter of Beethoven, plays it in 27 minutes, 30 seconds. And Ms. Fischer does not play at a hurried tempo.

Yes, Arrau plays the sonatas at a slower tempo than any other interpreter. He also achieves a mystical quality in his interpretations that is unmatched. The second movement of the Seventh comes in at 10 min, 30 seconds. It is the greatest 10 1/2 minutes of piano music ever conceived. When interpreted by Arrau it becomes a microcosm of Beethoven's life and work. The second movement of the Appassionata is a sacred hymn.

Arrau's five piano concertos are splendid. I've heard no other renditions of the concertos with slow movements that equal Arrau's. No one plays the middle movements with his expressiveness and sense of the numinous. And his rendition of the "Eroica Variations" is on a par with the top few recordings of this piece.

If you have any interest in Beethoven, at whatever level, this bargain is outstanding.

Beethoven + Arrau = Divinity.......2006-10-29

If you love Beethoven, Arrau's interpretation will certainly be a joyful addition to your classical music collection. For me, his is the definitive Beethoven.

Though some will likely disagree, I have listened to many other great pianists' recordings of Beethoven sonatas, and they are great (don't get me wrong). Yet Arrau is unique in his ability to bring to light subtleties in the melodies that no one else can, and these often turn out to be the most enlightening and resonant of passages. His Op. 111 is indeed unparalleled, and his recording of the 2nd movement is one of my favorite pieces in the world. On top of that, his rendition of the Moonlight Sonata, his Waldstein, his Concertos, every recording on this boxed set is a testament to the depth Arrau worked diligently and consciously to achieve; depth that transcends technical showmanship and for the intuitive listener can certainly elicit fleeting glimpses of divine ecstasy.

At any price, it's a steal - beauty of this magnitude is all too rare.

Beethoven himself would be proud........2006-06-19

This is a masterpiece. Don't listen to the one negative review, as this guy is tone deaf. This compilation of Beethoven's music is a treasure to behold. A bargain at twice the price, this is well worth the money. Excellent! Excellent! Excellent!

Average customer rating:

Jaroussky has a gifted voice
a voice teacher and early music fan
Jaroussky is exceptional
A pleasant surprise
Another Fine Countertenor Lights Up The World!

Vivaldi: Virtuoso Cantatas
Philippe Jaroussky , Unspecified , Antonio Vivaldi , Ensemble Artaserse , and Claire Antonini
Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
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ASIN: B0006IQM4O
Release Date: 2005-04-12

Tracks:

Aria: Alla Caccia Dell'alme E De' Cori
Recitativo: Ma Sia Crudele O Infida
Aria: Preso Sei Mio Cor Piagato
Recitativo: Qual Per Ignoto Calle
Aria: Quel Passagier Son Io
Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
Aria: Qual Dopo Lampi E Turbini
Piangero Sinche L'onda - Ruggiero
Prelude After Vivaldi (Theorbo Solo)
Aria: Care Selve, Amici Prati
Recitativo: Ben Mal'accorto E Folle All'or Io Fui
Aria: Placido In Letto Ombroso
Largo
Allegro
Largo
Allegro
Recitativo: Perfidissimo Cor! Iniquo Fato!
Aria: Nel Torbido Mio Petto
Recitativo: Cosi Dunque Tradisci Chi Contenta
Aria: Piu Amar Non Spero, No
Di Verde Ulivo - Vitellia
Recitativo: Pianti, Sospiri E Dimandar Mercede
Aria: Lusinga E Del Nocchier
Recitativo: O Ingannato Nocchiero
Aria: Cor Ingrato Dispietato

Customer Reviews:

Jaroussky has a gifted voice.......2006-06-21

In early polyphony, the contratenor was a voice part in melodic counterpoint against the tenor. It was written roughly in the same range as the tenor. In the 15th century, contratenor split into contratenor altus and contratenor bassus, which were respectively above and below the tenor. By the 16th century, however, the term became obsolete as Latin lost popularity. In Italy, the contratenor altus became simply alto; in France, haute-contre; in England, countertenor.

Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.

The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.

Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.

a voice teacher and early music fan.......2006-05-20

The vocal selections on this disc include 2 arias from Vivaldi operas. However, at that time the cantatas and the operas were very closely aligned using the same instrumentation and truthfully it would be difficult to tell the difference between them had I not been previously informed. Jaroussky has excellent vocal technique;in fact in some passages he astounds the listener. His aria :Cor ingrato dispietato (from an opera) displays amazing breath control and clean clear notes. If there is something lacking it is in slow passages that demand more intensity and emotion; age and experience will certainly help!!!And his voice sounds better when the music has a high tessitura. He's a fresh new voice in the world of countertenors. My appreciation knows no bounds for the "Ensemble Artaserse";they are truly excellent and skilled on their instruments; wonderful to hear. This is really a great disc!!!!

Jaroussky is exceptional.......2005-09-07

Jaroussky's singing adds to the growing interest in Vivaldian opera. His performance of "Qual Dopo ..." is both a demonstration of the great technique and artistry of his beautiful voice. For those curious to explore his singing range, try his masterful deliverance of arias such as "Tu m'offendi",from La Verita en Cimento, and "Sol da te", from "Orlando Furioso" where he honors the composer with the nuances, adornments, and melodic draws of his voice. This CD would have showcased the cantata genre much better had the musical selection been more diverse in note and tempo. Nonetheless, Jaroussky is at his best!

A pleasant surprise.......2005-05-20

Countertenor is not this reviewer's favorite range of male singer. That's probably so because it is both unfamiliar and underperformed and, when it is sung, never comes off as quite natural to the singer himself. In many respects, it really is an outdated male vocal range that should have gone the way of castrati. Interestingly, it seems to going in just the opposite direction. At least Virgin Classics must think so because last month it released a new CD by countertenor Philippe Jaroussky singing Vivaldi Cantatas, with the Ensemble Artaserse -- and it is surprisingly good. The CD consists of a couple quite beautiful period solo ensemble selections, theorbo etc. (See cut #9 "Prelude to Vivaldi") and vocals that demonstrate the best of what a countertenor sounds like, most notably Piangero Sinche L'onda, Ruggiero. Mr. Jaroussky's voice is both agile and open and his diction is punctuated and enhanced by a smooth delivery that is passionate enough, such that each piece comes off as a personal story that truly captivates the listener. An added plus is the fact that the thematic organization of this CD is even. In other words, you won't be reaching for the "skip" button here. The quality of the recording, too, is excellent. Although many listeners prefer the live aspect of concert performances, the very thing that attracts, can also produce a hollow, almost metallic sound in a live hall. In Cantatas, you won't find any unevenness or harsh selections. You might even find that you are pleasantly surprised by how intriguing it is.

Another Fine Countertenor Lights Up The World!.......2005-04-13

This exciting recording of Vivaldi cantatas for solo voice and instrumental ensemble is one of the more compelling releases of the year to date! While the music of the glorious Venetian Antonio Vivaldi is well known, especially the standard repertoire `The Four Seasons' and the choral works and chamber works - even some operas - the cantatas are rarely performed and this CD of his best ones should change that.

Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.

Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.

This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05

Average customer rating:

Amazing

Brahms: Cello Sonatas
Brahms , Yo-Yo Ma , and Emanuel Ax
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Simply Baroque
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Beethoven: Sonatas for Cello & Piano Nos. 1 & 2
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Bach: The 6 Unaccompanied Cello Suites

ASIN: B0001TSWLE
Release Date: 2004-04-20

Tracks:

Allegro Non Troppo
Allegretto Quasi Menuetto
Allegro
Allegro Vivace
Adagio Affettuoso
Allegro Passionato
Allegro Molto

Customer Reviews:

Amazing.......2005-03-24

Some people may say Yo-Yo Ma is overrated, unprofessional, and most of his fame is due to his name. I, sadly, used to be a believer in this notion, but I realized that I was terribly wrong. Yo-Yo Ma played a concert on TV along with Itzhak Perlman, and it was one of the most professional displays of musicianship I have ever seen. Every note and every gesture seemed deeply inspired, and he seemed to have a very firm grasp on what the music was about. This CD is no exception. Every song is wonderfully performed, and the sound quality is great.

Average customer rating:

Absolutely Exquisite!
Technique isn't everything
Superb Starker

Italian Cello Sonatas

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Janos Starker
Brahms, Mendelssohn: Cello Sonatas
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The Road To Cello Playing

ASIN: B0000057MG
Release Date: 1994-09-20

Tracks:

Sonata In A Major: 1. Adagio
Sonata In A Major: 2. Allegro
Sonata In E Minor: 1. Largo
Sonata In E Minor: 2. Allegro
Sonata In E Minor: 3. Largo
Sonata In E Minor: 4. Allegro
Sonata In D minor: 1. Preludio
Sonata In D minor: 2. Allemanda
Sonata In D minor: 3. Sarabanda
Sonata In D minor: 4. Giga
Sonata In D Major: 1. Allegro - Locatelli Sonata in D Major
Sonata In D Major: 2. Adagio - Locatelli Sonata in D Major
Sonata In D Major: 3. Minuetto
Sonata In E Major: 1. Grave
Sonata In E Major: 2. Allegro
Sonata In E Major: 3. Allegro (tempo di gavotta)
Sonata In E Major: 4. Largo
Sonata In E Major: 5. Allegro
Sonata In G Minor, BWV 1029: 1. Vivace
Sonata In G Minor, BWV 1029: 2. Adagio
Sonata In G Minor, BWV 1029: 3. Allegro

Customer Reviews:

Absolutely Exquisite!.......2006-10-06

This is a fabulous recording! The music and musicianship are superb. The Vivaldi is soulful and the Locatelli and Valentini sonatas are virtuoso pieces wonderfully played. The third Bach sonata was placed on this CD because it did not fit on the Mercury set with the Bach suites. It is a bit of a change of pace (certainly not an Italian cello sonata!). But Sebok is perhaps the best of Starker's collaborators. Their lifelong friendship and shared musical tastes make this one of the best recordings of this Bach sonata. You have to own this CD if you already own the Mercury edition of the Bach solo suites with the other two Bach sonatas.

I am not sure what the "one star" reviewer was thinking. Perhaps he was expecting Baroque a la Jacqueline DuPre...

Technique isn't everything.......2005-11-27

In this recording, Janos Starker proves what true musicians around the globe already know: technique is definitely not everything. These performances are so bland and dry, but you'll never hear him make a mistake. I'd really rather listen to someone who plays with expression but who makes little errors anyday over Janos. I know he's really highly esteemed in the cello world, but he really oughtta stay away from Baroque. These performances are about as gripping as a Slip-`N-Slide. Add to it that he plays all the music like it's Ravel or Brahms (i like both of them, but way different style); the vibrato machine is constantly on - TURN IT OFF! ARE YOU TRYING TO SOUND LIKE A BEL CANTO OPERA SINGER?, tuning is A440, clanky bright PIANO for accompaniment, no one playing continuo - the guy OBVIOUSLY doesn't give a flying fig about authenticity, or the composer's intentions. To sum it up, if you want a recording that sounds like the Suzuki Cello School tapes with way less expression and an even hokier sounding piano, buy this recording. Everyone else, beware.

Superb Starker.......2001-04-28

This collection of Italian Cello Sonatas by the great Janos Starker is one of the most delightful chamber albums I own. The world renowned cellist was joined on this 1966 recording by pianist Stephen Swedish on five of the selections, and by his frequent collaborator Gyorgy Sebok on the Bach Sonata in G minor, which was recorded in 1963 and added to this collection to increase its length (it is a welcome addition musically too). The selections here range from famous composers like Bach, Boccherini and Vivaldi, to the lesser known Corelli, Locatelli and Valentini. For me, the common thread of this recording is the passionate performances of Starker. Whether it is the happy bounce of the Vivaldi Allegro, the sublime rendering of the Boccherini Adagio, or the precise interplay with Sebok on the Bach Sonata, Starker plays masterfully and his cello is captured in rich, full sound by the Mercury Living Presence recording technique. This is an excellent purchase for all cello enthusiasts.

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