Concertgebouw Orchestra (1940-1958): Eduard van Beinum, Conductor [Box set]

Track Listings
Disc: 1

1. Debussy, Three Images for Orchestra (1905-1912): Gigues

2. Debussy, Three Images for Orchestra (1905-1912): Rondes de printemps

3. Debussy, Three Images for Orchestra (1905-1912): I Par les rues et par les chemins

4. Debussy, Three Images for Orchestra (1905-1912): II Le parfum de al nuit

5. Debussy, Three Images for Orchestra (1905-1912): III Le matin du jour de fête

See all 10 tracks on this disc
Disc: 2

1. Franck, Symphonic Excerpts from Psyché: I Sommeil de Psyché

2. Franck, Symphonic Excerpts from Psyché: II Psyché enlevée par les Zéphirs

3. Franck, Symphonic Excerpts from Psyché: III Les jardins d'Eros

4. Franck, Symphonic Excerpts from Psyché: IV Psyché et Eros

5. Ravel, Suite No. 2 from Daphnis et Chloé

See all 11 tracks on this disc
Disc: 3

1. Beethoven, Violin Concerto in D major, Op. 61: I Allegro ma non troppo

2. Beethoven, Violin Concerto in D major, Op. 61: II Larghetto

3. Beethoven, Violin Concerto in D major, Op. 61: III Rondo

4. Beethoven, Piano Concerto No. 3 in C minor, Op. 37: I Allegro con brio

5. Beethoven, Piano Concerto No. 3 in C minor, Op. 37: II Largo

See all 6 tracks on this disc
Disc: 4

1. Bach/Busoni, Concerto in D minor, BWV 1052: I Allegro

2. Bach/Busoni, Concerto in D minor, BWV 1052: II Adagio

3. Bach/Busoni, Concerto in D minor, BWV 1052: III Allegro

4. Mozart, Violin Concerto No. 4 in D major, K. 218: I Allegro

5. Mozart, Violin Concerto No. 4 in D major, K. 218: II Andante cantabile

See all 13 tracks on this disc

Editorial Reviews
Album Description
This four-CD set presents a definitive mid-century showcase for Amsterdam's renowned Concertgebouw Orchestra,

featuring beloved conductor Eduard van Beinum and a glittering array of legendary soloists. Principal conductor

of the Concertgebouw Orchestra from 1945 to 1959, Van Beinum was acclaimed as a musician's musician, an artist

of unassuming integrity who advanced the composer's vision above all. Recorded by Dutch Radio, the repertoire

shows off the full range of the Concertgebouw's fabled warmth and richness, from Debussy's "La Mer" and Ravel's

"Daphnis et Chloé" to Schubert, Schoenberg and great pieces by Dutch moderns Hendrik Andriessen and Rudolf

Escher. The set's world-class soloists include Yehudi Menuhin in Mozart's Violin Concerto No. 4, Zino

Francescatti in Beethoven's Violin Concerto, Solomon in Beethoven's Piano Concerto No. 3 and Dinu Lipatti in

Bach's D Minor Keyboard Concerto. The 136-page, three-language booklet features rarely seen photos of Van Beinum

and the soloists and composers, as well as an introduction by Pulitzer Prize-winner Tim Page, a detailed

producer's note and work-by-work annotation. Also included are detailed artist biographies from "The New Grove

Dictionary of Music and Musicians."

Tracks:

Concerto In E Minor For Violin And Orchestra, Op.64: I. Allegro molto appassionato
Concerto In E Minor For Violin And Orchestra, Op.64: II. Andante
Concerto In E Minor For Violin And Orchestra, Op.64: III. Allegro non troppo - Allegro molto vivace
Concerto No.1 In G Minor For Violin And Orchestra, Op.26: I. Allegro moderato
Concerto No.1 In G Minor For Violin And Orchestra, Op.26: II. Adagio
Concerto No.1 In G Minor For Violin And Orchestra, Op.26: III. Finale (allegro energico)

Customer Reviews:

Good show!.......2007-04-21

I play violin, and I think the Mendelssohn violin Concerto is one of the best. But the bruch concerto, well, is quite disapointment. He is such a great violinist, why wouldn't he make sure that he played the best he could? I don't know. But it seems to me at least, that in some places, he plays with quite a lot of power puts his back into it, but in other places it lacks brileance. But don't complain unless you can do better. But I highly recomend Miklos Szenthelyi's recording Max Bruch Con, IT IS AMAZING!!!

Itzak the great !.......2007-02-06

I love it!

An Impressive Pairing of Concertos.......2006-10-21

In addition to the bargain price of this 1990 recording the music lover will find two of the more solid performances of two very popular and demanding violin concertos from the vast repertoire available. Itzhak Perlman is in top form for these performances, marrying his impeccable technique with the poetry inherent in his approach to the scores. The Violin Concerto No.1 in G minor, Op. 26 by Max Bruch has become one of Perlman's signature pieces and for good reason. He tosses off this stagy work with such grace that it becomes more than most violinists are capable of finding in the score. It is a jewel of a performance.

The Violin Concerto in E minor, Op. 64 by Felix Mendelssohn has been a staple in the repertoire since its composition in 1844-45 and the hurdles of the first movement cadenza have threatened even the most daunting of violinists. The passagework is extraordinarily demanding technically, yet even more difficult is finding the poetry inherent in the lines echoed later in the orchestra. Some soloists (including Joshua Bell) may find more lightness and delicacy in the execution, but few can match Perlman's dexterity and emotional sweep.

The Concertgebouw Orchestra of Amsterdam, still one of the finest orchestras, is beautifully conducted by Bernard Haitink. The balance between orchestra and soloist is far more than just technical aplomb between the artists and engineers: these performances are examples of perfect communication between soloist and conductor and orchestra, making this recording one of the strongest available today. Grady Harp, October 06

A poetic performance of a dramatic work.......2005-06-20

The problem with Perlman's Bruch concerto version is precisely that...¡is perfect!, he makes a lyrical or poetic version in a concerto that is more a dramatic piece than a poetic work, and conductor Bernard Haitink is a correct but also a moderate or austere conductor. But in my opinion Bruch's concerto requires passion, fire, emotion, and because of that I prefer Salvatore Accardo-Kurt Masur version with the Gewandhaus Orch. in Philips, now edited in "eloquence" a bargain collection from Universal. Other excellent versions are Arthur Grumiaux-Heinz Wallberg performance with the Philharmonia Orch., and legendary Oistrach-von Matacic version. In Mendelssohn's concerto is also preferable the Christian Ferras-Constantin Silvestri version with the Philharmonia Orch., a 1958 remastered recording, reedited in ROYAL CLASSICS, with an exceptional Beethoven's violin concerto version with the Royal Philharmonic Orch. conducted by the famous conductor Malcolm Sargent, or Nathan Milstein-Abbado version conducting Vienna Philharmonic Orch. in DG. Oscar Olavarría A.

no complaints.......2005-03-17

This CD is excellent, as the other reviewers have said. Two of my favorite violin concertos, played sensitively and brilliantly by the masters. It makes for a very passionate, flooring bit of music.

Beethoven at Bedtime: A Gentle Prelude to Sleep

Average customer rating:

Great but not for massage
Works on my kids
Wakes you up instead
Music for Life
musical morphine

Beethoven at Bedtime: A Gentle Prelude to Sleep

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mozart for Meditation
Bach at Bedtime: Lullabies for the Still of the Night
Brahms at Bedtime: A Sleepytime Serenade
Mozart at Midnight
Baroque at Bathtime: A Relaxing Serenade to Wash Your Cares Away

ASIN: B0000041CN
Release Date: 1995-04-11

Tracks:

A Gentle Prelude to Sleep: Symphony No. 2 In D - Larghetto
A Gentle Prelude to Sleep: Romance No. 2 In F
A Gentle Prelude to Sleep: 'Emperor' Concerto - Adagio un poco mosso
A Gentle Prelude to Sleep: 'Pastoral' Symphony - Scene By The Brook
A Gentle Prelude to Sleep: 'Pathetique' Sonata - Adagio cantabile
A Gentle Prelude to Sleep: String Quartet No. 13 In B-Flat - Cavatina
A Gentle Prelude to Sleep: Fur Elise
A Gentle Prelude to Sleep: Violin Concerto In D - Larghetto
A Gentle Prelude to Sleep: 'Moonlight' Sonata - Adagio sostenuto

Customer Reviews:

Great but not for massage.......2007-03-10

TRY, just TRY to do a massage to Fur Elise. It just can't be done! It wasn't very relaxing. I felt like I should be doing tapotement or something. Threw my rhythm way off.

BUT as a CD, it's lovely. :)

Works on my kids.......2006-12-26

I'm purchasing my second copy of the CD. My kids listen to it every night to lull them to sleep - they usually don't make it through the first piece. It is true that some of the music doesn't seem very conducive to sleep, but by the time one hears those selections, one is fast asleep.

Wakes you up instead.......2006-03-09

This CD was supposed to be soft, easy music that would help you go to sleep. I did go to sleep almost immediately but not because of the music--I was just very tired. However, the music actually woke me up a couple of times when it got just a little louder. Maybe it's me, but I didn't find this product to do as promised.

Music for Life.......2006-03-09

Thanks to the Philips Set Your Life to Music series, we don't have to set aside a concert hour to experience great music. Beethoven at Bedtime gives us the music when we need it to enrich our quiet moments. As with the other titles in this series, the performance is pure and sensitive enough to satisfy the most intellectual listener. One has only to read the list of artists and listen to the clips. What a treasure!

musical morphine.......2005-08-18

this album will definately put you out unless youre manic or all cranked up or something.but why go to sleep? youd miss out on a bunch of beethovens most beautiful music ever written.and being as how hes only the second of 7 musical geniuses ever,no true music lover can be without this many spleandored collection.its got all the great slow songs beethoven did on it like the "moonlight sonata" used on the beatles song "because" and the video game "shadow man".im sure youve heard it somewhere."for elise" is another easily recognizable song.it was on the movie "bill and teds excellent adventure".theres some more musical bliss with his violin piece and even the all important "pathetique sonata".thats the real clencher.if youre not pretty drowsy after that beautiful but utterly sedating ditty perhaps you should seek out a drs prescription before you play it because youre an isomniac.it will put most anybody out though and is plum full of a number of the most beautiful songs ever!

Average customer rating:

Comparison - Jochum's Set vs. Colin Davis'
Haydn's London Symphonies
Excellent, but beware of Davis' groaning
GOOD, BUT!
Grand, Warm, Rich, Mature Symphony

Haydn: The London Symphonies, Vol. 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Haydn: The London Symphonies, Vol. 1
Haydn: Paris Symphonies
Haydn: Symphonies Nos. 88 - 92
Haydn: String Quartets Op. 76, Nos. 1-3
Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B0000041AR
Release Date: 1994-10-11

Tracks:

Symphony In D: Adagio - Allegro assai - Joseph Haydn
Symphony In D: Largo cantabile - Joseph Haydn
Symphony In D: Menuetto. Allegro - Joseph Haydn
Symphony In D: Finale. Presto ma non troppo - Joseph Haydn
Symphony In E Flat: Adagio -- Vivace assai - Joseph Haydn
Symphony In E Flat: Adagio - Joseph Haydn
Symphony In E Flat: Menuetto. Allegretto - Joseph Haydn
Symphony In E Flat: Finale. Vivace - Joseph Haydn
Symphony In G: Adagio - Joseph Haydn
Symphony In G: Andante - Joseph Haydn
Symphony In G: Menuetto - Joseph Haydn
Symphony In G: Finale - Joseph Haydn

Tracks:

Symphony In G: 1. Adagio - J. Haydn
Symphony In G: 2. Andante - J. Haydn
Symphony In G: 3. Menuetto - J. Haydn
Symphony In G: 4. Finale - J. Haydn
Symphony In C: 1. Adagio - Vivace - J. Haydn
Symphony In C: 2. Adagio ma non troppo - J. Haydn
Symphony In C: 3. Menuetto. Allegretto - J. Haydn
Symphony In C: 4. Finale. Presto assai - J. Haydn
Symphony In D: 1. Adagio - J. Haydn
Symphony In D: 2. Andante - J. Haydn
Symphony In D: 3. Menuetto - J. Haydn
Symphony In D: 4. Finale - J. Haydn

Amazon.com

Someone once commented on the "sulphurous devilishness" of Haydn's surprises in the London symphonies. But it should come as no surprise that one of the best recordings of these works is from Sir Colin Davis, whose accounts with the Concertgebouw Orchestra stand among the most exalted phonographic accomplishments of recent years. There is a Beechamesque quality to these readings, and when it comes to Haydn, that is praise indeed. They are exceptionally personable, characterful, likable interpretations, with wit, warmth, and life in every measure. All 12 symphonies are wonderfully played and very well recorded. At full price, these recordings would be a top choice; as midprice offerings, three symphonies to a disc (averaging more than 75 minutes of music each), they're a steal. --Ted Libbey

Customer Reviews:

Comparison - Jochum's Set vs. Colin Davis'.......2006-02-23

Jochum and London Phil deliver the highest level of Haydn playing just like Colin Davis and Concertgebow do. I own both and tried to compare between two.

Jochum adds plenty of personal touches that decidedly grab your attention. You hear poignant romanticism or Beethoven-like roar in many places. Colin Davis, by comparison, lets the music flow naturally and makes it sound more balanced. Colin Davis sure gets a lot of help from the gorgeous Concertgebow band - silky but vivacious strings, show-stopping woodwinds, bright brass section, etc. In his set, you hear more of the orchestra than Colin Davis. I think it's the other way around in Jochum set. Concergebow's sound is more transparent and charmingly light-footed while London Phil sounds fuller and creamier without losing crispness. You get more agility and refinement from Davis set. You get more expressiveness and warmth from Jochum's.
Let me emphasize that all of the good qualities I attributed to either of the sets actually exist in both (they are inherently in Haydn's writing). It's just that some qualities are more apparent in one than the other.
As to the recording, Colin Davis set has more sparkle and vividness. It sounds more modern. Jochum's has a typical old-fashioned analogue sound in a very good way. It has plenty of natural ambience but doesn't sound muddy.
I recommend you buy both of these delightful and affordable sets. I never regretted doing so :-)

Haydn's London Symphonies.......2005-12-21

I have been listening to many of Haydn's earlier symphonies on the ongoing cycle of the complete series on Naxos. But for the final set of twelve, Haydn's masterpieces in the form, I wanted Sir Colin Davis conducting the Royal Concertgebouw Orchestra. Davis has recorded the twelve London symphonies on two mid-priced Phillips "duo" CDs. The performances are outstanding and filled with ebullience. They will make a good introduction to Haydn for those new to his music and will delight long-term lovers of Haydn.

Beginning when he was about 25, Haydn composed for the wealthy and music-loving Esterhazy family. His fame gradually spread throughout Europe and, with the "Paris" symphonies, Haydn began to write works for a public broader than his aristocratic patron. With the death of Nicholas Esterhazy in 1790, Haydn received an invitation to visit London. He visited twice, in 1791-1792 and again from 1794-1795. His twelve "London" symphonies are the result. These are full-scaled symphonic creations showing the consummate mastery Haydn had acquired over the years. The works are joyous and lively and were immediately welcomed by Haydn's London audiences. They are also highly sophisticated and endlessly creative works of art which will reward careful listening and study. For those listeners wanting a more detailed, yet non-technical overview of the twelve London symphonies than that found on liner notes, I suggest consulting their treatment in Michael Steinberg's valuable work, "The Symphony: A Listener's Guide."

This two-CD set includes six of the London symphonies: nos. 93, 94, 97, 99, 100, and 101. Let me mention a few features of each.

Haydn's most famous symphony is probably the 94th in G major, the "Surprise". The theme of the second movement, with the large "bang" at the end of the repetition of the opening phrase is one of the best-known moments of music, familiar to children. This remains an excellent work to introduce young people to music. The "surprise" movement proceeds with a lovely set of variations, and there is much to get to know, including more surprises, in the remaining three movements as well.

Symphony no. 100 is also in G major and is known as the "Military" for the martial tone of the second movement, replete with drums, cymbals, and triangle. In addition to the "Military" movement, this symphony features a vicacious finale replete with timpani, a contrapuntal section, and some soft moments of reflection hidden within the lively theme.

The "Clock" symphony, no 101 in D major is named for the tick-tock accompaniment figure in the second movement which is forever endearing. This movement gradually rises to a moment of passion as it develops. The work also features a lively opening movement, a lengthy minuet, and an outstanding finale that works from an inocuous opening to complex counterpoint.

The symphonies with nicknames are the easiest way to introduce the London set, but the symphonies without these names are on the same high plane. The first of the London set is symphony no. 93, also in D major. A memorable moment of this work is the opening of the second movement, which Haydn scores for a string quartet. The movement becomes rather introspective as it proceeds, but Haydn brings it back to earth with a toot on the bassoon at the close. The symphony opens with a slow. detailed introduction followed by an opening movement that develops two lively and lyrical themes.

The 97th symphony is the last of twenty Haydn symphonies in C major, a key he used for regal, ceremonial effect. The work opens with a surprisingly quiet slow introduction followed by an opening movement that develops broadly from many repetitions of the basic chord of C major.

The 99th symphony in E-flat major is the first in which Haydn used clarinets and, from the opening chord, clarinets play a major role in the texture of this work. This is one of the more complex symphonies of the London set, with a harmonically adventurous slow introduction followed by a movement that emphasizes the second of its two major themes. The slow movement is deeply intense and also stresses the second of the two primary themes on which it is based. After a lyrical, restrained opening, the movement turns to the minor key in a dramatic section before returning to the opening material, substantially embellished. The minuet combines elements of both courtliness and earthiness while the finale is rapid and culminates in a fugal passage. The 99th is one of the finest symphonies of an outstanding series.

This set, and its companion recording of the remaining six London symphonies, make a wonderful introduction to a great composer.

Robin Friedman

Excellent, but beware of Davis' groaning.......2005-02-23

Excellent recordings in general, as pointed out by others.

But Davis' groaning is very audible and ANNOYING in places. He does the same on most of his more recent LSO recordings.

Why do conductors groan/grunt away and spoil their recordings so often?

Jochum/DG is another great set of the London symphonies, and doesn't have conductor noises!

GOOD, BUT!.......2004-07-15

This set is good of course, but if you are looking for great performances for EACH of Haydn's 12 London symphony, you may want to buy individual discs. Here is my collection of the 12 'London' Masterpieces.
Symphony 93: Goodman/Hanover Band (Hyperion 66532)
Symphony 94: Monteux/Vienna Phil (Decca 452893-2)
Symphony 95: Britten/ECO (BBC 8008)
Symphony 96: Harnoncourt/Concg. Orchestra (Teldec/Warner 21337-2)
Symphony 97: Szell/Cleveland (Sony 67175)
Symphony 98: Jochum/LPO (DG 437 201-2)
Symphony 99: Davis/Concg. Orchestra (Phillips 442 614-2)
Symphony 100: Walter/Columbia (Sony 64485)
Symphony 101: Mackerras/St. Luke's (Telarc)
Symphony 102: Dorati/Philharmonia Hungarica (Decca 452 259-2)
Symphony 103: Kuijken/La Petite Bande (DHM 77362)
Symphony 104: Hickox/Collegium Musicum 90 (Chandos 0655)

Grand, Warm, Rich, Mature Symphony.......2003-05-07

Culmination of a marvelous life in composition are these London Symphonies.

Here, in one of the highest rated collections Sir Colin Davis leads the Royalo Concertgebouw Orchestra in over 150 minutes of some of the premier symphonic sounds of all times. There is style and substance in their treatment and the crisp, clean recording is marvelous at any price, but even better at this mid-range bargain.

I especially have fond of No. 93 and of course, No. 102 with its melodic richness and inventive harmony. His element of surpirse is always robust and mysterious, as here the third note spells departure.

How good can one set at this price be? Supremely good and satisfying Hadyn!

Haydn: The London Symphonies, Vol. 1
Average customer rating:

Comparison - Jochum's Set vs. Colin Davis'

Haydn's London Symphonies

This is a good bargain but I don't recommend the performance

GOOD, BUT!

Thrill of Playing/Listening to Great Symphonic Composure

Haydn: The London Symphonies, Vol. 1

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
Classical | Symphonies | Forms & Genres | Classical | Styles | Music
General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
Similar Items:

Haydn: The London Symphonies, Vol. 2

Haydn: Paris Symphonies

Bach - Mass in B minor / Argenta, Nichols, Chance, Stafford, Milner, W. Evans, Gardiner

Mozart: Piano Concertos Nos. 24 & 25

Schubert: Piano Quintet "Trout"; Mozart: Clarinet Quintet

ASIN: B0000041AQ
Release Date: 1994-10-11

Tracks:

Symphony In C Minor, Hob. I:95: 1. Allegro moderato
Symphony In C Minor, Hob. I:95: 2. Andante
Symphony In C Minor, Hob. I:95: 3. Menuetto
Symphony In C Minor, Hob. I:95: 4. Finale. Vivace
Symphony In B Flat, Hob. I:98: 1. Adagio - Allegro
Symphony In B Flat, Hob. I:98: 2. Adagio
Symphony In B Flat, Hob. I:98: 3. Menuetto. Allegro
Symphony In B Flat, Hob. I:98: 4. Finale. Presto
Symphony In D, Hob. I:104: 1. Adagio - Allegro
Symphony In D, Hob. I:104: 2. Andante
Symphony In D, Hob. I:104: 3. Menuetto. Allegro
Symphony In D, Hob. I:104: 4. Finale. Spiritoso

Tracks:

Symphony In D, Hob. I:96: 1. Adagio - Allegro
Symphony In D, Hob. I:96: 2. Andante
Symphony In D, Hob. I:96: 3. Menuetto. Allegretto
Symphony In D, Hob. I:96: 4. Finale. Vivace assai
Symphony In B Flat, Hob. I:102: 1. Largo - Vivace
Symphony In B Flat, Hob. I:102: 2. Adagio
Symphony In B Flat, Hob. I:102: 3. Menuetto, Allegro
Symphony In B Flat, Hob. I:102: 4. Finale, Presto
Symphony In E Flat, Hob. I:103: 1. Adagio - Allegro con sirito
Symphony In E Flat, Hob. I:103: 2. Andante piu tosto allegretto
Symphony In E Flat, Hob. I:103: 3. Menuetto
Symphony In E Flat, Hob. I:103: 4. Finale, Allegro con spirito

Amazon.com

Customer Reviews:

Comparison - Jochum's Set vs. Colin Davis'.......2006-05-03

Haydn's London Symphonies.......2006-01-28

Haydn's twelve London Symphonies represent the culmination of Haydn's long and slow development as a symphonist. They remain among the greatest most varied set of symphonies ever written. Haydn composed them in two sets of six, for two lengthy trips to London in 1791 --1792 and 1794 -- 1795. The symphonies have been recorded in their entirety by many conductors, including Beecham, Scherchen,Bernstein, Jochum, and Van Karajan, but the set by Sir Colin Davis conducting the Royal Concertgebouw Orchestra is justly renowned. Davis's readings are available on two two-CD sets from Phillips, each of which sell at a modest price. There is no better way for the newcomer to get to know Haydn's masterworks. The first of the Phillips volumes, which I discuss here includes three of the earlier symphonies of the group, nos. 95,96, and 98, together with the magisterial final three symphonies, nos 102, 103, and 104.

Haydn's music speaks to the beginner in music (Remember the slow movement of the "surprise" symphony, known to every child.) as well as to the most demanding listener. The London audience for which he wrote them consisted both of people who knew little of music together with highly knowledgeable and sophisticated music lovers. Haydn had the ability to please both. The London symphonies are full of memorable and simple tunes, concertante solos for many instruments, jokes, and gimmicks. But they also include great musical variety, highly original slow introductions which become deeply integrated with the body of the work, deep slow movements, great development of material, creative orchestration, and extensive use of counterpoint. The symphonies have best been described as exemplifying a "sense of grandeur". They are large-scale, serious compositions, full of ease and mastery. They are also very much products of the Enlightenment as they move from their slow and mysterious openings through to their lively, positive, and triumphant conclusions.

The earliest of the London symphonies is the Symphony no. 96 in D major sometimes called the "Miracle". This is a simpler work than most of its companions. It opens with a fanfare slow introduction followed by a lively theme. Moments to listen for include the oboe solos at the end of the introduction and in the trio of the third movement, the counterpoint in the minor key in the slow movement, and the solos for flute and violin near the end of the slow movement.

The symphony no 95 in C minor is the only one of the London symphonies in a minor key and the only one without a slow introduction. It juxtaposes major and minor key elements coming to a major, triumphal close in the first movement. The first movement consists of an angular, angry minor key opening theme, followed by a long, lyrical theme in a major key. The second movement is a theme and variation while the minuet returns to the minor. The solo cello has large roles in the two middle movement. The finale is in the major with a great deal of fugal writing.

The symphony no 98 in B flat major is together with the following symphony no. 99, on of my favorites of the first nine of these symphonies. The slow introduction is, unusually, in the minor key and it is followed by a movement of great lightness with much counterpoint. The slow movement is one of Haydn's most sublime, probably written to commemorate the death of Mozart, with echoes of the slow movement of Mozart's "Jupiter" symphony. The minuet includes a trio for wind soloists while the swirling, humorous finale includes solo passages for the violin and, at the end, for the piano. (Haydn accompanied from the keyboard during the initial performances of these works.)

The final three symphonies of the "London" set are large-scaled masterpieces, the summit of the series. They were written for performance at the Opera Hall; and Haydn took full advantage of the orchestra and accoustics available to him to say his last word in symphonic form. There is much to hear and rehear in these symphonies.

The sympnony no. 102 in B flat major opens with a slow, largo introduction for the strings followed by a fast movement with two contrasting themes and a large-scaled development. The second movement is probably Haydn's best, as it glows with feeling and romance. The finale is a perpetuum mobile, developed canonically, with a theme that is tossed continually among the various instruments of the orchestra.

The "Drum-roll" symphony no. 103, opens with the instrument for which it is named followed by a growling introduction in the lower strings. In many ways, this symphony is similar to Haydn's Oratorio, "The Creation", composed subsequent to the London symphonies, with its movement from darkness to light. Unusually, the opening introductory material returns at the conclusion of the first movement. In the minuet of this symphony, Haydn moves from some simple, rustic writing for woodwinds to an immediately following theme for the violins of great urbanity. Haydn develops his final movement from some simple material, which he uses contrapuntally and with variety.

With its combination of depth, sophistication,wit,and highest mastery, the London symphony, in D major, No. 104, is my favorite of the set. It is a large work which begins with a minor-key and solemn introduction followed by an unusually lively and triumphant opening allegro. The slow movement is song-like with a darker middle section in the minor key. The minuet again features solos for winds in the trio, but the highlight of this symphony is its finale. Over a continuous drone, the orchestra articulates a theme, possibly derived from an English street tune, and develops it thoroughly from wit to grandeur. It is an apt conclusion to Haydn's symphonic career.

This is a set that can be heard many times, with increasing pleasure and discovery. Haydn's London Symphonies are among music's lasting joys. They are beautifully performed by Sir Colin Davis and the Amsterdam Concertgebouw.

Robin Friedman

This is a good bargain but I don't recommend the performance.......2004-11-17

One of my favorite conductors, Colin Davis, is not at his best here. The Dorati and Bruggen sets are both preferable.

GOOD, BUT!.......2004-07-15

Symphony 93: Goodman/Hanover Band (Hyperion 66532)
Symphony 94: Monteux/Vienna Phil (Decca 452893-2)
Symphony 95: Britten/ECO (BBC 8008)
Symphony 96: Harnoncourt/Concg. Orchestra (Teldec/Warner 21337-2)
Symphony 97: Szell/Cleveland (Sony 67175)
Symphony 98: Jochum/LPO (DG 437 201-2)
Symphony 99: Davis/Concg. Orchestra (Phillips 442 614-2)
Symphony 100: Walter/Columbia (Sony 64485)
Symphony 101: Mackerras/St. Luke's (Telarc)
Symphony 102: Dorati/Philharmonia Hungarica (Decca 452 259-2)
Symphony 103: Kuijken/La Petite Bande (DHM 77362)
Symphony 104: Hickox/Collegium Musicum 90 (Chandos 0655)

Thrill of Playing/Listening to Great Symphonic Composure.......2003-05-17

Imagine the thrill of Haydn finally hearing his work played the outstanding orchestra of Salomon in London, and for these musicians?

What a result for us to inherit these magnificent works performed by Sir Davis and the Royal Concertgebouw recorded at such an outstanding value by Philips.

I especially love the cello part in the Minuet of Sym.95 as well as the Adiago from the 98th. How hard is it to pick and choose though from this magnificent sounds? I find myself conducting as I listen as in Sandy Bottom Orchestra with the dairy manager.

Tracks:

Symphony No.5 In D Minor, Op.47: I. Moderato
Symphony No.5 In D Minor, Op.47: II. Allegretto
Symphony No.5 In D Minor, Op.47: III. Largo
Symphony No. 5 In D MInor, Op.47: IV. Allegro non troppo
Symphony No.9 In E-Flat Major, Op.70: Allegro
Symphony No.9 In E-Flat Major, Op.70: Moderato
Symphony No.9 In E-Flat Major, Op.70: Presto
Symphony No.9 In E-Flat Major, Op.70: Largo
Symphony No.9 In E-Flat Major, Op.70: Allegretto - Allegro

Amazon.com

Gorgeously recorded so that all of Shostakovich's eerieness of texture (and harps) can be heard, Haitink's performance of the Fifth symphony is pretty wonderful. The bare landscape of the first movement, with its lonely oboe solos, leads into the very Mahlerian, faux-fun second movement with creepy ease. The Largo is introverted but poignant, with handsome, sustained pianissimo playing, and the finale has great energy, but not quite enough of the grotesque--it's a bit too well-groomed. The Ninth, on the other hand, is ideal, with a finale to rollick over, and a refusal to turn the sometimes sappy second movement into empty emotion. It's one of those moments when Haitink's coolness pays off. A good buy. --Robert Levine

Customer Reviews:

One of my favourite symphonies.......2007-01-24

I'm not going to debate who's interpretation of Shostakovich's symphonies is best as some reviewers have. I'll simply say this: the fifth symphony is among my favourite of all symphonies by anyone. I highly reccomend it, whether it is this recording or another one. However, without going into issues of interpretation, I will say that the recording quality on this CD is very good.

Five stars for a sparkling, vivacious Ninth, but set a snooze alarm for the Fifth.......2006-07-20

Here we have one triumphant Shostakovich performance and one nearly inexcusable one. The praise that Haitink's Shostakovich Fifth has garnered here is inexplicable--this is a plodding reading that barely gets on its legs for the entire first movement. Don't the reviewers below detect the total absence of rhythmic vitality and pace? I guess not. Oh well, one person's nobility is another's long nap.

The Scherzo clumps along well enough, but without bite or satire. The centerpiece of Haitink's interpertation is a hushed, singing slow movement expressed with great refinement, if a bit blandly. The finale, needless to say, is among the slowest, but there's so much impact in the brass playing that excitement is generated without undue speed. It will appeal to the tortoise-wins-the-race crowd. The Concertgebouw plays beautifully throughout, and is strikingly captured by Decca's engineers.

Fortunately, the skies brighten with Haitink's Shostakovich Ninth from the London Phil., his second orchestra. It's so good-humored and light on its feet that you are constantly smiling. Tempos are fast, the mood sprightly--Haitink was wise, I thin, not to take the more serious approach adopted by Bernstein and Gergiev. Good as the sonics are for the Fifth, these are of demonstration quality, with loads of inner detail and perfect clarity. The orchestra seems to relish every bar. They should send condolence notes to their counterparts in Amsterdam.

How odd of Decca to pair the very worst of Haitink's cycle with the very best.

A Soviet Artist's Response to Just Criticism?!.......2006-02-25

The Symphony No. 5 is one of Shostakovich's greatest masterpieces, which can hardly be ascertained from its origins as a piece to satisfy the Soviet state's artistically stifling demands in music (for example, all other aspects of music had to be subordinate to melody). The previous year Shostakovich was savagely attacked in the Pravda for his opera `Lady Macbeth of Mtsensk District', primarily because Stalin was shocked by its graphic sex and violence, and the fifth symphony was Shostakovich's reaction to this scathing criticism. (He was undoubtedly aware that the article extended further than trying to damage his confidence, if he didn't produce music along the lines of the states prerequisites he would be imprisoned or killed.)

It received the expected reaction: Rostropovich claimed that the ovation lasted for an hour. Whatever optimism and buoyancy the Soviet authorities may have seen in it; to me it seems more like a comic satire. The opening of the quasi-triumphant finale seems like a bitter, lacerating march fit to represent snide ridicule at its own hollow pomposity. This soon gives way to angry explosions in the brass which speak more of fury and violence than joyous optimism. Shostakovich himself said, `There is a feeling of rejoicing, but it is one of forced rejoicing. It is as if someone is hitting you over the head with an iron bar telling you "Your business is rejoicing" over and over again. Eventually, you walk away muttering "My business is rejoicing".'

The first movement is sombre and claustrophobic with its incessantly repeated, probing string melodies which for me speak of desolation and broken, empty landscapes, dead trees etc. etc. ... There are searching, melancholy oboe solos, warm horn chords, urgent string crescendos, pizzicato strings, pseudo-miliatary trumpet and snare drum jollity, and massive anger expressed through explosive brass. But it is also undoubtedly beautifully melodic, as is the entire symphony, and the symphony features enough material in major keys to bespeak at least forced hopefullness.

The second movement is brisk, occasionally pungently Russian, and bursting with Shostakovich's `forced' joy: an effect which is achieved through near superimposition of the melancholy and the mirthful; the minor and the major etc. The third movement can be summarised as one of subdued melancholy.

Haitink's performance is excellent, crystal clear, never over dramatic, and expressing the music with perfect musicianship and feeling. In comparison with this performance Bernstein's is demure, seeming like a piece designed more at ostentatious display than power and dignity. All I can say is buy this disk!!! You won't regret it.

Superb interpretation and ultra superb recording.......2006-01-09

I wish that Haitink made more amazing recordings like this one of the 5th and 9th symphonies by Shostakovich. He is usually thought of as being in the top rank of conductors, but by hearing this disc, you might think that he's just about the best. Maybe the amazing sound quality kind of makes him look good, but not really, this is just a greatly played superb interpretation. The Concertgebouw (which by the way is my favorite Orchestra at the present time) are on their toes throughout this version of the 5th. They are just truly amazing here, just as they are on most occasions. Did you know that this recording won the Gramaphone top prize for it's sound engineering? That was no surprise to me! Haitink alternated between the Concertgebouw and London Philharmonic for this symphony cycle, and of course the Londoners are in really fine form also, but still not the equal (in my opinion) of this fine dutch orchestra. I've never been quite so impressed with a classical cd's sound quality, except for a few cds of the conductors Christopher Hogwood and Trevor Pinnock. I haven't heard more than 8 or 9 different versions of the 5th, but this and Semyon Bychkov's version with the BPO in 1986 are my favorites at the present time. I think the Bychkov version has almost as good sound quality, and it's severely underrated, because I've never heard the Penguin Guide or any other classical magazine rate it, which is quite crazy, because it's a bold blistering performance that does deserve very high praise. This is also one of the best 9th's out there, but that is a symphony that I have not listened to very much to this point in my life, though I plan to listen to it more very soon. Haitink pretty much can't do wrong when he's conducting Bruckner or Shostakovich, but it you haven't listened to his Bruckner or Shostakovich, do yourself a favor and buy some, because he's definitely one of the top interpreters there are. If nothing else buy this for the demonstration sound quality, and I'm sure you'll fall in love with this incredible disc. ENJOY!!!

Incredible!!!.......2004-09-16

Few superlatives can match the incredible performances which Haitink achieves in Number 5...this has long been one of my favorite recordings for various reasons. Simply put the winds and brass and strings are all on the same waveleagnth...there is not a single phrase in this performance that isn't perfect. On top of this are the incredible heights of the DECCA recording which matches perfectly the great scores.

As to Nine I also love Bernstein in NY...here it also well recorded too. The London Phil plays brilliantly here as well!!

Brahms at Bedtime: A Sleepytime Serenade

Average customer rating:

pre bedtime music
Great For Bedtime
A true disappointment
Naptime
A good choice for quiet time and nap.

Brahms at Bedtime: A Sleepytime Serenade

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Bach at Bedtime: Lullabies for the Still of the Night
Beethoven at Bedtime: A Gentle Prelude to Sleep
Mozart for Meditation
Mozart at Midnight
Debussy for Daydreaming: Music to Caress Your Innermost Thoughts

ASIN: B0000041FU
Release Date: 1996-10-15

Tracks:

Lullaby
Piano Concerto In B-Flat - Piu adagio
Violin Concerto In D - Adagio
'Double' Concerto In A Minor - Andante
Clarinet Quintet In B Minor - Adagio
Piano Quartet In C Minor - Andante
As Melodies Were Passing By
Sonata In D Minor - Adagio
Trio In C Minor - Andante grazioso (Excerpt): Piano Trio In C Minor - Andante grazioso (Excerpt)
Intermezzo No. 1 In E-Flat
Fantasy No. 4 In E
Variations & Fugue On A Theme By Handel - Variation V
Waltz No. 15 In A-Flat
Lullaby: Lullaby (Reprise)

Customer Reviews:

pre bedtime music.......2007-05-30

Great music for helping you unwind after a long day so you can be more relaxed at bedtime.

Great For Bedtime.......2005-12-15

A few years ago I started having trouble sleeping at night. It was probably due to my new husband's snoring! I remembered how when I worked at a daycare, we would play classical music while the children took naps. So I thought I would give it a try. I have tried a couple different CD's and so far this is my favorite! All of the music is soothing. There aren't any songs that get loud or fast. The only weird thing is that the first and last song are the same. I repeat the CD all night and it really does help me to sleep! If the power goes out I notice immediately because my soothing music is gone! I highly recommend this CD!

A true disappointment.......2004-11-04

Amazingly this compilation has managed to get together some of the most untallented performances of Brahms' music. With a few exceptions the moto of this CD can be summed up as 'no understanding and appreciation for a musical genius'. The choice of music is also quite perfunctory. There are many Brahms pieces that could have served better the bedtime purpose. Buy at your own risk. My only fear is that some people will get their first impressions of Brahms from this CD...

Naptime.......2003-04-18

I love to listen to this cd if I'm tired and need to take a nap or just rest for a while. It is very soothing.

A good choice for quiet time and nap........2000-09-27

This is one of my favorite nap and quiet time choices. It is very mellow and soothing. My three year old frequently falls asleep listening to it, and even turns it on again for herself if she wakes up in the middle of the night and can't get back to sleep!

Average customer rating:

Absolutely perfect transaction
great cd

Copying Beethoven

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Copying Beethoven
Ludwig van Beethoven: The 9 Symphonies - Arturo Toscanini / NBC Symphony Orchestra
Beethoven: Symphony No. 9 "Choral"
Letters from Iwo Jima
Notes on a Scandal: Original Soundtrack

ASIN: B000ICLT64
Release Date: 2006-10-10

Tracks:

Grosse Fugue in B-flat, Op. 133
Seid umschlungen, millionen
Piano Sonata No. 5 in C minor, Op. 10 (Prestissimo)
String Quartet No. 14 in C-sharp minor, Op. 131
Symphony No. 9 in D minor, Op. 125 Â“ChoralÂ” (Finale)
AnnaÂ’s Etude and Variation
Diabelli Variations, Op. 120
Piano Sonata No. 32 in C minor, Op. 111 (arietta)

Album Description

An aspiring composer of humble means, 23-year-old Anna Holtz (Diane Kruger) is seeking inspiration and career advancement in the world's music capital, Vienna. A student at the music conservatory, she is recommended for a position at a venerated publisher, and, in a fortuitous turn of events, orchestrates an opportunity to work beside the greatest, most mercurial artist alive--Ludwig van Beethoven (Ed Harris). When the skeptical Beethoven issues an impromptu challenge, Anna demonstrates her competence and musical insight. The maestro accepts Anna as his copyist, beginning a remarkable relationship that will transform both of their lives. Featuring Harris's remarkable incarnation as the celebrated composer, and a breakthrough performance by Kruger, ("Troy, "National Treasure") COPYING BEETHOVEN, directed by Agnieszka Holland, ("Secret Garden, "Europa, Europa") centers on the last years of Beethoven's life...a turbulent period in which his struggles with deafness, loneliness and family trauma all of which provide profound inspiration for arguably the greatest symphony ever written, his astonishing Ninth. An MGM release of a Sidney Kimmel Entertainment production. Myriad Pictures presents COPYING BEETHOVEN opens on October 13. The Decca soundtrack will be released on October 10 and features the works of Ludwig van Beethoven.

Customer Reviews:

Absolutely perfect transaction.......2007-06-12

Everything was as described with fast service. A pleasure to do business with.

great cd.......2007-06-08

Music is so beautiful especially the Ode to Joy! Inspirational as only Beethoven can be.

Average customer rating:

Five Piano Concertos
Subtle and meaningful
Beethoven"s 5 piano concertos
Running an infinite gamut of emotions
If I were to become deaf, this is what I would hear

Beethoven: The Five Piano Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Beethoven: The Violin Sonatas
Bach: Goldberg Variations
Beethoven: Favourite Piano Sonatas / Vladimir Ashkenazy
Mozart: The Great Piano Concertos, Vol. 2
Beethoven: 9 Symphonies

ASIN: B0000026O8
Release Date: 1990-10-25

Tracks:

Concerto For Piano And Orchestra No. 1 In C Major, Op. 15: I. Allegro con brio (Cadence: Beethoven) - L.V. Beethoven
Concerto For Piano And Orchestra No. 1 In C Major, Op. 15: II. Largo - L.V. Beethoven
Concerto For Piano And Orchestra No. 1 In C Major, Op. 15: III. Rondo. Allegro scherzando - L.V. Beethoven
Concerto For Piano And Orchestra No. 2 In B-Flat Major, Op. 19: I. Allegro con brio (Cadenza: Beethoven) - L.V. Beethoven
Concerto For Piano And Orchestra No. 2 In B-Flat Major, Op. 19: II. Adagio - L.V. Beethoven
Concerto For Piano And Orchestra No. 2 In B-Flat Major, Op. 19: III. Rondo. Molto allegro - L.V. Beethoven

Tracks:

Concerto For Piano And Orchestra No. 3 In C Minor, Op. 37: I. Allegro con brio (Cadenza: Beethoven) - Beethoven
Concerto For Piano And Orchestra No. 3 In C Minor, Op. 37: II. Largo - Beethoven
Concerto For Piano And Orchestra No. 3 In C Minor, Op. 37: III. Rondo. Allegro - Beethoven
Concerto For Piano And Orchestra No. 4 In G Major, Op. 58: I. Allegro moderato (Cadenza: Beethoven) - Beethoven
Concerto For Piano And Orchestra No. 4 In G Major, Op. 58: II. Andante con moto - Beethoven
Concerto For Piano And Orchestra No. 4 In G Major, Op. 58: III. Rondo. Vivace (Candenza: Beethoven) - Beethoven

Tracks:

Concerto For Piano And Orchestra No. 5 In E Flat Major, Op. 73 'Emperor': I. Allegro - Beethoven
Concerto For Piano And Orchestra No. 5 In E Flat Major, Op. 73 'Emperor': II. Adagio un poco mosso - Beethoven
Concerto For Piano And Orchestra No. 5 In E Flat Major, Op. 73 'Emperor': III. Rondo. Allegro - Beethoven

Customer Reviews:

Five Piano Concertos.......2007-01-04

Personally, I am not enough of a music wizard to be able to compare this CD with others producing the same concertos. It's beautiful, I hear no flaws, it sweeps me away.

Subtle and meaningful.......2006-11-30

There's no doubt that the reviewer Alexander Leach knows what he writes about, but contrary to Leach I think the present 4th is better than the 4th by Fleisher/Szell.
My humble opinion is that here we find the best performances of the concertos 3rd, 4th and 5th. (I am not especially interested in the 1st and 2nd.) Perahia/Haitink/Concertgebouw are supreme when it comes to meaning and subtility. Gramophone, I think, gave the 3rd and 4th the highest rating, three recordingsymbols, and in this case I agree fully.
Of course you can find more dominating piano voices, for example by Arrau (his 4th under Haitink, which I can fully enjoy, whereas I am not so happy with his later 4th under Davis). I love the well-structured, superior Richter-Haaser 3rd under Giulini more than any other, but that is unfortunatly not available on CD here (I got it from Japan). However non of these are able to put Perahia/Haitink out of business.
Perahia is a little low-key, I think. But the same can be said about Leon Fleisher under Szell. Anyway Concertgebouw under Haitink sounds much better than the Cleveland under Szell. And as I said, the present recordings are more meaningful as far as my ear can hear.
I've checked out the 4th by Gilels under Ludwig. Giles played wonderfully, but Ludwig is unfortunately not at par with him.

Beethoven"s 5 piano concertos.......2006-11-07

Murray Perahia's collaboration with Bernard Haitink is first-rate. He is never overwhelmed by the orchestra but is clear through all 5 concertos. The first two sound like Mozart concertos. With the third Beethoven begins to chart his own course. I personally enjoyed the first concerto which is less familiar than the later ones. The fourth and fifth really sing.

Running an infinite gamut of emotions.......2005-10-26

Having discovered and listened to Beethoven's nine symphonies at least ten thousand times during my teen years, his five piano concertos came into my life during a very particular moment. Along with Mozart's and Haydn's piano works, Beethoven's concertos constitute, for personal reasons, a body of work very, very dear to me.

Beethoven inherited from Mozart's 27 piano concertos a form so finely developed that one can naturally feel Mozart's influence on Beethoven during his first two concertos, where (I believe) he struggles to find his own identity. These two concertos have the soft, jovial side of Mozart's concerto style: they certainly are sublime at patches, but maybe not Beethoven's very best work (he wrote them in his early twenties).

The third concerto created something entirely new, which would serve as a model to later generations of composers (Brahms certainly being one of them). This is Beethoven's best (to me) piano concerto, certainly the most gentle and poetic and perhaps his very first "original" one not to be mistaken for a Mozart or Haydn concerto. Most of the time the solo instrument is soft and lyrical, while the orchestra is severe and sometimes fierce, the piano eventually softening and subduing the orchestra, with the two melting together into an exuberant, magnificent finale.

The fourth concerto is perhaps the most unusual one. This one constitutes an example of the transcendence of form: for the very first time in the history of form the solo instrument opens a concerto alone. The second movement is simply a dialogue between piano and strings. And towards the concerto's finale, drums, trumpets and wind instruments, which had been silent during the entire second movement and most of the first one, burst out in a joyful explosion.

The fifth concerto, "The Emperor", is the most popular one nowadays and has always been. This one is almost completely different from his four siblings. My favorite Beethoven concerto, along with the third one.

Beethoven's five Piano Concertos are certainly up there with Mozart's piano works. I have caught myself many a time running the gamut of all possible kind of facial expressions, from melancholy to extasy, while listening to these sublime concertos. One thing I'd like to stress though: the great Ludwig Van went on to live and write magnificent music for twenty years after having finished his fifth and last piano concerto, never to write a sixth one, thus leaving us with only five of them. What a shame!

If I were to become deaf, this is what I would hear.......2003-04-19

This recording is simply amazing. The way Perahia plays each note in such a way that notes no longer exist but ooze out as sugary themes piqued by sweet harmonics which in themselves become the theme, over and over again, like undulating waves upon a lake. The 3rd and 4th are my favorites. The recordings are perfectly clear, limited only by your own hardware--speakers, wires, etc. The piano itself rings with perfect tonality. What can on say except that these recordings are sheer perfection. A definite buy.

Average customer rating:

Shostakovich Jazz Album
Shostakovich the Jazz Guy
Wonderfully engaging light music from Shostakovich
Shostakovich Defies Stalin With "Jazz Music"
High spirits from a composer known for melancholy

Shostakovich: The Jazz Album

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Shostakovich: Waltzes
Jazz Suites 1 & 2
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ASIN: B0000041ZT
Release Date: 1993-02-16

Tracks:

Jazz Suite No. 1: I. Waltz
Jazz Suite No. 1: II. Polka
Jazz Suite No. 1: III.Foxtrot
Piano Concerto No. 1 In C Minor, Op. 35 (Concerto For Piano, Trumpet And Strings): I. Allegretto
Piano Concerto No. 1 In C Minor, Op. 35 (Concerto For Piano, Trumpet And Strings): II. Lento
Piano Concerto No. 1 In C Minor, Op. 35 (Concerto For Piano, Trumpet And Strings): III. Moderato
Piano Concerto No. 1 In C Minor, Op. 35 (Concerto For Piano, Trumpet And Strings): IV. Allegro con brio
Jazz Suite No. 2 (Suite For Promenade Orchestra): I. March
Jazz Suite No. 2 (Suite For Promenade Orchestra): II. Lyric Waltz
Jazz Suite No. 2 (Suite For Promenade Orchestra): III. Dance 1
Jazz Suite No. 2 (Suite For Promenade Orchestra): IV. Waltz 1
Jazz Suite No. 2 (Suite For Promenade Orchestra): V. Little Polka
Jazz Suite No. 2 (Suite For Promenade Orchestra): VI. Waltz 2
Jazz Suite No. 2 (Suite For Promenade Orchestra): VII. Dance 2
Jazz Suite No. 2 (Suite For Promenade Orchestra): VIII. Finale
Tahiti Trot (Tea For Two)

Customer Reviews:

Shostakovich Jazz Album.......2006-01-29

An excellent rendition of Shostakovich's two jazz suites plus his Piano Concerto #1. However, I've heard Rostropovich conduct all three in person, and would welcome a recording of his, since he was a great friend of Shostakovich's. It hasn't been done, and until it is, this will suffice as a fine addition to any classical library.

Shostakovich the Jazz Guy.......2005-10-10

If Shostakovich had decided to write in the Russian folk idiom, this CD would probably be the best glimpse into that genre.

Intending to raise the level of Soviet jazz, we now have two jazz suites scored for orchestra, but featuring instruments used in a way we don't normally hear in Shostakovich. Using xylophone, twangy guitar, accordion, harmonica, and saxophones, we are treated to various "dance forms" such as waltzes, polkas, foxtrots, and marches. Shostakovich goes from the militant, to the humorous, to the sensual, each with an engaging and "catchy" Russian melody and unusual orchestration. He also orchestrates the famous "Tea for Two" into a short fantasia, which is rather whimsical.

The 1st piano concerto is a kind of odd fit on this CD in my opinion. More in the vein of what we are used to hearing from mainstream Shostakovich, he is rather melodic and often quotes from other works. The bare bones orchestration of piano, trumpet, and strings gives this work a very transparent feel. The first movement has an ominous opening theme. The slow second movement is very exciting in its own right with its sense of drama, rarely dwelling in lugubriousness, carrying the sense of dread from the first movement. The third movement is a sort of recitative to the last movement. The last movement has an unusual string mode mixture, the piano goes into a dance feel and the trumpet has some fanfare licks. Both piano and trumpet work together very well as separate soloists in this movement. He ends in a fury with piano and string poundings, the piano has some raucous quotes, and the trumpet ends with fanfares.

Overall, the performances are stellar. The jazz suites have natural Russian flair, the slow with great sumptuousness, the fast never taking itself too seriously and never careening out of control. The piano concerto doesn't fit the program in my opinion, but a very fine performance indeed. This CD is a must for any collection and an easy introduction to the lighter side of Shostakovich.

Wonderfully engaging light music from Shostakovich.......2004-12-05

Who knew Shostakovich had such a sense of humor? This disc is delightfully entertaining and sparkles a the turn-of-the century cosmopolitan sound that is simultaneously reminiscent of Milhaud, Gershwin, and Ibert. The result is something supremely different. It's certainly worth a listen or two.

Shostakovich Defies Stalin With "Jazz Music".......2004-08-26

Although he was much better known as a composer of symphonies, fifteen in all (the most of any major composer since Beethoven), many of them large and bold, Dmitri Shostakovich had moments where he could be light-hearted. Given that he worked under the watchful eyes of the Soviet Communist Party and that tyrant of Iron Curtain political correctness Joseph Stalin, this is nothing short of a miracle. This album of "jazz music", all of which was composed in the 1920s and 1930s, demonstrates Shostakovich's more "light-hearted" side.

The works featured here include the composer's First Piano Concerto (with pianist Ronald Brautigam and trumpeter Peter Masseurs), the famous Tahiti Trot, and the two Jazz Suites that Shostakovich composed in 1934 and 1938 respectively. Each of the four works gives us the knowledge that Shostakovich knew how to be wickedly subversive and humorous under severe conditions, though it is not necessarily "jazz music" the way Americans might think. There are twists in these works, as well: for example, the jaunty Foxtrot of the Jazz Suite No. 1 incorporates what sounds like a Dobro (more commonly associated with American bluegrass and country music).

The Jazz Suite No. 2, of course, contains the famous Second Waltz in the key of C Minor that director Stanley Kubrick used for his final film, the psychosexual drama EYES WIDE SHUT, in 1999. In fact, this very recording, by Riccardo Chailly and the Concertgebouw Orchestra of Amsterdam, is the one that Kubrick used. It has a salon feel to it, and has as much in common with Johann Strauss' classic waltz style as it does with Shostakovich's own individualistic approach to things.

Both Brautigam and Masseurs are brilliant in the Concerto, and Chailly and the Concertgebouw demonstrate the kind of orchestral brilliance that serves them as well in this lesser-known Shostakovich collection as it does in their Bruckner and Mahler sojourns. It comes highly recommended as an unusual look into how great music with humor could be created under extreme circumstances.

High spirits from a composer known for melancholy.......2004-06-26

It's too bad that Riccardo Chailly and the Concertgebouw haven't recorded more Shostakovich (perhaps because Haitink did), since this project is pretty winning. As several other reviewers have noted, however, the term "jazz" here is a bit of a misnomer. Some of the music is lighter than usual for the composer, but anyone expecting to find even as much as what Bernstein created in his "jazz moments" is likely to be a bit disappointed.

But never mind, the recording is superb. Shostakovich's "Piano Concerto No. 1," for piano, trumpet and strings, is one of his most wittily engaging works, and Ronald Brautigam (piano) and Peter Masseurs (trumpet) sound wonderful. The final movement is fairly hilarious, despite a somewhat introspective middle movement that precedes it. The second of the two "Jazz Suites" has the dark little waltz made famous by its appearance in Kubrick's "Eyes Wide Shut." (This is the very recording used in the film.)

As if all this weren't enough, the concert closes with the composer's hilarious take on "Tea for Two" called "Tahiti Trot." Its sparkling insouciance is a gentle reminder that despite the composer's anguish and pain, he still had wit to spare.

Tracks:

Tuning Up
Amques (Original Version)
Po ectronique
Arcana
Nocturnal
Un Grand Sommeil Noir (Orchestral Version)

Tracks:

Un Grand Sommeil Noir (Original Version)
Offrandes: Chanson de laut
Offrandes: La Croix du Sud
Hyperprism
Octandre: Assez lent
Octandre: Trvif et nerveux
Octandre: Grave - Animt jubilatoire
Intales
Ecuatorial
Ionisation
Density 21.5
Drts: 1st Episode
Drts: 1st interpolation of organized sound
Drts: 2nd episode
Drts: 2nd interpolation
Drts: 3rd episode
Drts: 3rd interpolation
Drts: 4th episode
Dance for Burgess

Amazon.com essential recording

For a composer who is (now) recognizably part of the 20th-century classical canon, the French émigré Edgard Varèse's output was astoundingly meager. Just 15 compositions from his entire life (he destroyed the compositions from his early years, and was a merciless editor of his own material in general) made it out to the listening world. Varèse was caught in the chasm between the music of yesterday and the music of tomorrow: scoring music for modified theremin, steamboat whistles, or air sirens, all balanced with the force of a large orchestra; writing pieces based on the flows of water and wind because that's what shapes the earth; using the concepts of chemical reactions and specific gravity as a basis for his music. Using extremes of contrast, dissonance, and variety in sound, Varèse's pieces had power in the way he attacked and shaped the sound he imagined. From Ionisation (1929), scored almost entirely for unpitched percussion, to the electronic-only, three-dimensionally produced Poeme Electronique (1958), he's provided a foundation that many genres, musicians, and composers were to build from not only for the next 40 years, but inevitably beyond. --Robin Edgerton

Customer Reviews:

Superb with just one reservation.......2006-11-10

This complete works of Varèse, superbly performed and recorded, is a fine accomplishment. My only disappointment was its version of Poème Elèctronique being the sole representation of that ground-breaking work that still holds up for me today as one of the finest pieces of electronic music yet created. It is interesting to be able to hear the version in this collection, which appears to be a loving restoration of what must have been primarily the raw, performing version, to be further enhanced during its performances in a very large space? What I miss in the present version is the more clearly heard textures of its huge sound palette; the resonant and often humerous interplay between them, and its dramatic sweep as it was presented on a sparcely documented stereo mix that first appeared on a Columbia Records LP, later reissued on a CD, now out of print. That one is surely more like an actual performance, presumably mixed to re-create as well as possible then what it might have sounded like over its four hundred loudspeakers in the Philips Pavillion. I hope there will be further reissues. To me the CBS version's drama and energy are more like that of the performances of the other pieces in this wonderful Complete Works set. -Curt Wittig

Go ahead, test your intelligence..........2006-06-18

Frank Zappa used to play Varese to test the intelligence of his friends, and most of them used to look at him like he was "out of his f---ing mind" as he put it. As a major Zappa fan, I bought this compliation, and I love every minute of it. This 2 CD set contains all of Varese's work (needless to say, Edgar wasn't very prolific). You really hear Varese's influence in Zappa's work. Some favorite pieces are Deserts, Poem Electronique, and Un Grand Sommeil Noir (Original Version). Varese's music reminds me of universes being created, in all their violence, beauty, and glory. Instruments crashing down upon one another. This music is reminiscent of Zappa's Weasels Ripped My Flesh and his orchestral work especially. Varese is one of the great American composers, like Aaron Copland, John Cage, and Conlon Nancarrow. Superb....

The definitive recordings........2005-11-09

Riccardo Chailly once said Varèse was going to be the Brahms of the XXI Century. I really don't know if he will be right or wrong, specially because of the very conservative auditoriums we have all around the world, but it should be this way, as the french composer has died too many years ago and his music should be understood but most of the public. It's sad to know that composers, like the own Mahler said, use to be years, decades, even centuries in advance to the general public .

Anyway, it's very important for the popular knowledge of this composers to have recordings like this, in which everything works perfectly as if it was a clock. After many years having some good recordings conducted by Boulez (Sony) and Nagano (Erato) mainly, we have now the possibility of listening one of the most musical and technical orchestra & baton of this time: The Concertgebouworkest and Riccado Chailly.

Most of the versions in this 2CDs set are the best I know, specially the orchestral works, played with conviction and precision by the Concertgebouworkest, an orchestra that had some problems with Mr.Chailly when they begin to play this, for them, `rare' music. The way Arcana sounds its incredible, full of power, mistery and perfection, the performing of Ameriques is breathtaking and I can only compare it with the truly outstanding version by Pierre Boulez with the CSO for DG. Deserts is a new dimension in Chailly's hands, really terrible and full of dark emotions.

Of course, there are little things that could be a bit better, like the Spanish sung in Ecuatorial, better sung in Nagano's version, but generally the performing is marvellous and the instrumental and ondes Martenot's playing in this piece is perfect in Chailly's version.

The ASKO Ensemble versions are outstanding too, showing a very modern Varèse. The performing of Ionisation, that great jewel, listened with a good Hi-Fi system is a experience not to be lost.

The recordings are very good, not outstanding, as it sounds like distant sometimes, but clear and with good definition, of course better with good electronics.

Booklet and presentation of the box is marvellous too; as it has to be in real event in recorded music in the last decades.

Sound Splitting Music.......2002-06-25

First, let me state that I am a long-time Varese fanatic. I first heard Ionisation live at a contemporary music concert in my town when I was 12, and I was hooked. I immediately bought the old Robert Craft double album on Columbia and played it until there were scratches on the scratches. So I was overjoyed to see a modern "complete" recording with up to date sonics. For the most part, I haven't been too disappointed with the performances either.

Chailly is great on much of this music. Ameriques and Arcana are sonic extravagazas. And this is the best recording I've heard of Nocturnal and Ecuatorial. Chailly does a good job with the chamber pieces of the 20s and 30s, though I agree with other reviewers, Boulez is much clearer on Ionisation. Chailly misses some of my favorite parts, and I find it hard to hear the first snare drum theme. (I'm also quite partial to Craft's version, but I don't think it's available anymore.)

I also must add to the chorus of exceptions on the questionable material. The orhestrated version of the solo song has no place on this CD. It doesn't sound like Varese, more like Debussy, and though the song is quite impressionistic, I think we presume too much to orchestrate it and pass it off as "complete" Varese. And neither Tune Up nor Dance for Burgess really add much to our understanding of Varese, and are of questionable value. I suspect that Varese would have destroyed them completely had he been able. Much better to have a recording of the revised version of Ameriques. The revision is so extensive, that a side by side comparison would be illuminating.

All in all, I like this CD. Chailly's take on Varese is big and passionate, something that I think both Boulez and Craft miss. Abravanel comes close to this passion, but Chailly wins because of the gorgeous sonics. I highly recommend this CD to those interested in exploring the unique sound world of Varese.

An aural knockout.......2002-02-01

Here are two discs with some of the most exciting 20th-century music around. Chailly and the Concertgebouw give definitive readings of Varèse's complex pieces, some written for a huge orchestra, and recorded in typically opulent London sound.

My favorites are, without a doubt, "Ameriques" and "Arcana," two explosive showpieces that will give your sound system quite a workout. But far from being merely loud, the scores have many beautiful textures (including quiet ones) scattered throughout the orchestra, and Chailly captures much of the glittering detail.

I even like "Tuning Up," which may seem like a less substantial work to most ears. To be fair, if the piece is not the last word in Varèse's imagination, it is clever enough for its short duration, and as with everything on this disc, the orchestra sounds superb and totally undaunted. Their virtuosity is both satisfying and thrilling, especially in such seldom-performed music.

Make sure your neighbors are away before turning up the performance of "Ameriques," though - the last few pages will blow your roof off.

I suspect Varèse would have loved this collection.

Music Review:

Music Review

music review

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Inside Out

1. Debussy, Three Images for Orchestra (1905-1912): Gigues
2. Debussy, Three Images for Orchestra (1905-1912): Rondes de printemps
3. Debussy, Three Images for Orchestra (1905-1912): I Par les rues et par les chemins
4. Debussy, Three Images for Orchestra (1905-1912): II Le parfum de al nuit
5. Debussy, Three Images for Orchestra (1905-1912): III Le matin du jour de fête

1. Franck, Symphonic Excerpts from Psyché: I Sommeil de Psyché
2. Franck, Symphonic Excerpts from Psyché: II Psyché enlevée par les Zéphirs
3. Franck, Symphonic Excerpts from Psyché: III Les jardins d'Eros
4. Franck, Symphonic Excerpts from Psyché: IV Psyché et Eros
5. Ravel, Suite No. 2 from Daphnis et Chloé

1. Beethoven, Violin Concerto in D major, Op. 61: I Allegro ma non troppo
2. Beethoven, Violin Concerto in D major, Op. 61: II Larghetto
3. Beethoven, Violin Concerto in D major, Op. 61: III Rondo
4. Beethoven, Piano Concerto No. 3 in C minor, Op. 37: I Allegro con brio
5. Beethoven, Piano Concerto No. 3 in C minor, Op. 37: II Largo

1. Bach/Busoni, Concerto in D minor, BWV 1052: I Allegro
2. Bach/Busoni, Concerto in D minor, BWV 1052: II Adagio
3. Bach/Busoni, Concerto in D minor, BWV 1052: III Allegro
4. Mozart, Violin Concerto No. 4 in D major, K. 218: I Allegro
5. Mozart, Violin Concerto No. 4 in D major, K. 218: II Andante cantabile