Concerts 2

On this CD:

1. L' Africaine, grand opera in 5 acts Act IV, Scene II: Mi batte il cor...O paradiso
Composed by Giacomo Meyerbeer
Performed by Beniamino Gigli
Conducted by Alfredo Simonetto

2. Die Entführung aus dem Serail, opera, K. 384 Act II, Scene III: Tutte le torture
Composed by Wolfgang Amadeus Mozart
Performed by Maria Callas
Conducted by Alfredo Simonetto

3. Werther, opera Act III, Scene III: Ah! non mi ridestar
Composed by Jules Massenet
Performed by Beniamino Gigli
Conducted by Alfredo Simonetto

4. Dinorah (Le pardon de Ploërmel), comic opera in 3 acts Act II, Scene III: Ahimè! Che notte oscura!...Ombra leggera
Composed by Giacomo Meyerbeer
Performed by Maria Callas
Conducted by Alfredo Simonetto

5. L'Arlesiana, opera Act II: È la solita storia
Composed by Francesco Cilea
Performed by Beniamino Gigli
Conducted by Alfredo Simonetto

6. Louise, opera Act III, Scene I: Depuis le jour
Composed by Gustave Charpentier
Performed by Maria Callas
Conducted by Alfredo Simonetto

7. Andrea Chénier, opera Scene I: un dì all'azzurro spazio
Composed by Umberto Giordano
Performed by Beniamino Gigli
Conducted by Alfredo Simonetto

8. Armida, opera Act II, Scene II: D'amore al dolce impero
Composed by Gioachino Rossini
Performed by Maria Callas
Conducted by Alfredo Simonetto

Tracks:

O Divine Redeemer
Laudate Dominum
Bist Du Bei Mir
Jesu, Joy Of Man's Desiring
Sanctus
Auf Flugeln Des Gesanges: On Wings Oof Song
Panis Angelicus
Ave Verum K. - KV 618
Ave Maria Op.52-6
Trumpet Tune
Let The Bright Seraphim
Let Their Celestial Concerts

Customer Reviews:

Great collection of sacred music.......2005-12-23

What a great collection, many real sacred classics, all delivered in very heartfelt, but simple way, and Kiri's voice is just so beautiful. And I like the fact that there are many different moods, there are some songs which are very soothing, slow pieces but also different ones, and the the final songs are Let The Bright Seraphim which is so uplifting and bright and Let Their Celestial Concerts. They are both from Samson, it's refreshing to hear these tracks instead of the usual pieces from Messiah.
My favourite songs are Bist du bei mir and especially Mozart's Ave Verum, so perfect when sung by Kiri, I know so many different versions but these are probably the best I have heard.
Mozart's Laudate Dominum is done very nicely, good tempo and such great singing. Kirir has a great trill! Panis Angelicus is good too, I wish Kiri would do something else instead of this worn classic, but her version of Schubert's Ave Marias on this album is actually very good. This is a great, refreshing collection overall, well put together, with very tasteful arrangements. There is also a nice chorus, they only sing in few pieces but they sound really good.
There is a small problem with the sound level on this album, it's true, but Kiri's voice still sounds beautiful, just crank up the volume a little bit, so you can hear her better. Maybe the bright seraphim will hear her too!

An Inspiring and Heartening Compilation.......2004-07-12

Kiri Te Kanawa voice never fails to inspire me and uplift my spirit. Her rendition of "Ave Maria" is just so beautiful and moving that its effect on the listener can not be expressed in mere words. Kiri's voice and intuitive nature of delivering the inner strength and emotion of each selection on this CD is just inspiring.

making a joyous sound.......2003-07-03

Dame Kiri's voice shines in these beautiful sacred pieces, and as her biographer David Fingleton, in his excellent liner notes for this CD points out, that going back to her youth and first voice teacher, who was a Sister of Mercy, church music has always been a part of her repertoire, even though she is mostly noted as an operatic soprano.
Favorites include Gounod's exquisite "O Divine Redeemer" ("Repentir"), the two Mozart pieces, "Laudate Dominum" (from "Vesperae solennes de confessore" KV 339), and "Ave Verum" KV 618, and the luminous performance of Schubert's popular "Ave Maria".

Track # 11, Purcell's "Trumpet Time", is a trumpet solo by Crispian Steele-Perkins, and there is also a good and jolly trumpet on track # 11, Handel's "Let the Bright Seraphim" from "Samson", which is the piece Dame Kiri sang in St. Paul's Cathedral for the Prince and Princess of Wales, at their wedding in 1981, and has become one of her most often requested songs.
This recording was made in 1984, at the All Saints' Church in Tooting, England, and the sound is not great but quite adequate. The boys of the Choir of St. Paul's Cathedral sing like little angels, and the English Chamber Orchestra is led by Barry Rose. Total time is 47:40.
This would make a nice change of pace CD during the Christmas Season, and for fans of this wonderful soprano, hearing her voice is a joy any time of the year.

A correction.......2003-05-28

I don't know where this comment belongs, but I have a correction to make:
Track 2 is Laudate Dominum from Vespearae solennes de confesore (K.337) and not Vespeare de Dominica (K.321) as the listing says.
Both Mozart's arias are beautiful, though.

I AM A SIMPLE WOMAN.......2003-02-08

I LEARNED TO PLAY CHOPSTIX AND THE RIGHT HAND PART OF BLUE MOON FROM MY FATHER WHEN I WAS LITTLE. I LEARNED TO SING FRERE JAQUES FROM HIM TOO AND WE SANG IT TOGETHER IN ROUNDS. I KNOW WHERE MIDDLE C IS ON THE PIANO AND THIS IS THE EXTENT OF WHAT I KNOW ABOUT MUSIC. SO YOU EXPERTS CAN JUST GO TO THE NEXT REVIEW IF YOU LIKE AND I WONT BE OFFENDED. I AM A KNUCKLEHEAD BY YOUR STANDARDS AND I WOULDN'T PAY ATTENTION TO ME EITHER IF I WERE YOU. BUT FOR THE REST OF YOU, LET ME SAY THAT THIS WOMAN'S VOICE IS LIKE NOTHING YOU HAVE EVER HEARD. THE MUSIC SHE CHOSE TO SING FIRST OF ALL, IS BEATUIFUL, JUST BEAUTIFUL. YOU'LL GET GOOSEBUMPS. BUT HER VOICE IS THE THING. IT'S LIKE GOOD COLD SPRING WATER. IT'S CLEAN AND CONFIDENT, NO FUZZY EDGES OR BIG SHOWY SWOOPS. IT'S SOFT AND STRONG AND BIG AND TINY JUST WHEN IT SHOULD BE, I THINK. YOU WILL JUST FIND YOURSELF LISTENING AND SOMETIMES YOU WILL JUST BE HOLDING YOUR BREATH, HARDLY BELIEVING YOUR GOOD LUCK THAT YOU ARE HEARING THIS. I ACTUALLY SHUSHED MY HUSBAND AND TOLD HIM TO STOP TRYING TO TALK TO ME WHEN I FIRST HEARD IT BECAUSE I WAS AFRAID I WOULD MISS SOMETHING. I LOVE A GOOD VOICE AND/OR A GOOD SINGER. THEY AREN'T ALWAYS THE SAME THING. SO I WILL ADD THIS WOMAN AND HER MUSIC TO MY COLLECTION OF FAVORITES THAT INCLUDE THE MUSIC OF JANIS JOPLIN, NINA SIMONE, JONI MITCHELL, CECILIA BARTOLI, MARIAH CAREY, MR. PAVOROTI AND SOME OTHER GOOD GIRLS AND GUYS. AND POUR YOURSELF A GLASS OF WINE THE FIRST GO AROUND...

Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments

Average customer rating:

Gloriously melodic
Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments
Listen with pleasure
Still The Best Recording of this work!

Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005NPJ7
Release Date: 2003-03-25

Tracks:

Messe Solennelle De Sainte Cecile: I. Kyrie - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: II. Gloria - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: III. Credo - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: IV. Offertorium - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: V. Sanctus - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: VI. Benedictus - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: VII. Agnus Dei - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Messe Solennelle De Sainte Cecile: VIII. Domine Salvum (Priere De L'Eglise; Priere De L'Armee...) - Pilar Lorengar/Heinz Hoppe/Franz Crass/Henriette Puig-Roget/Chor Rene Duclos...
Petite Sym: I. Adagio Et Allegretto - Halle Orch/Sir John Barbirolli
Petite Sym: II. Andante Cantabile - Halle Orch/Sir John Barbirolli
Petite Sym: III. Scherzo - Halle Orch/Sir John Barbirolli
Petite Sym: IV. Finale - Halle Orch/Sir John Barbirolli

Customer Reviews:

Gloriously melodic.......2007-02-22

Gounod's Saint Cecelia Mass is one of my favorite religioius/choral compositions. It is filled with moving, melodic parts and should be a part of the music collection of anyone who loves choral works.

Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments.......2006-07-07

Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments~ Franz Crass is an astounding recoding of an incredible piece of work. The mass is magnificent and being a devout Christian at heart it verily touches my spirit in so many ways. The book-let is a not so well done but the wonderful painting on the cover is a treat indeed. I love portraits and especially art made in the 16th, 17th and 18th century which I consider to be the pinnacle of what art has accomplished so far. The little wind symphony is also a nice piece of work and whilst Gonoud is not one of my favorite composers by any means one can still acknowledge a truly gifted composers when one hears it. Highly recommended indeed.

Listen with pleasure.......2004-04-09

This is the only performance of the Gounod mass I know. Had it on LP years ago, bought the CD, and it is better than I remember. An old recording, but lovely transfer and delectable sound. Gounod is a sadly underappreciated composer; the guy could write a memorable tune, and in this mass he wrote several. This works as religious and as choral music. A stirring Credo, a galvanizing Kyrie, and a glorious Agnus Dei are just some of the highlights. This is a massive, important work, lovingly performed by a clearly attentive team. The soloists shine, the orchestra is great. And considering the bargain cost and the great pairing--quite a change of pace but a scrumptious little piece--this is a delightful disc that will get a lot of use in your CD player.

Still The Best Recording of this work!.......2003-06-17

EMI has done me and many others a great favor by re-issuing this
recording of Gounod's Messe Solonnelle de Sainte Cecile on CD
in their Encore series. This is the second time this recording has been issued on CD the first was in their Studio series. Frankly this recording makes the digital recording by Georges Pretre also made by EMI as an attempt to replace this one in the catalog pale into complete insignificance by the comparison.
and having the Petite Symphony as a filler is only icing on the cake. Also the price makes this a clear first choice.

Average customer rating:

LETTER PERFECT CLASS(ICAL) ACT!
Great Tracks -- Great Value -- Great Book, Who Can Complain?
At this price, how can one complain?

A to Z of Classical Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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The Arts: World Themes
A - Z of Opera (includes 762 page booklet)
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ASIN: B00004YYRT
Release Date: 2000-10-17

Tracks:

De Profundis - Nova Schola Gregoriana
Alleluia - O Virga Mediatrix - Oxford Camerata
Gloria - Oxford Camerata
Pavane - Red Byrd
Canon - Capella Istropolitana
Vivace - Grave - Capella Istropolitana
Prelude - Laurence Cummings
Allegro - Takako Nishizaki
Adagio - Miroslav Kejmar
Air On The G String - Capella Istropolitana
Hallelujah Chorus - Scholars Baroque Ensemble
Menuetto: Allegretto - Capella Istropolitana
Andante - Failoni Orchestra
Allegro - Capella Istropolitana
Adagio - Jeno Jando
Andante - Ernst Ottensamer
Quis Est Homo - Hungarian State Opera Chorus

Tracks:

Ave Maria - Ingrid Kertesi
Un Bal - Pinchas Steinberg
Wedding March - Slovak Philharmonic Orchestra
Minute Waltz - Idil Biret
Larghetto - Alexander Rahbari
Ride Of The Valkyries - Uwe Mund
Prelude - Alexander Rahbari
Hungarian Dance No.3 - Budapest Symphony
Scene - Ondrej Lenard
Slavonic Dance No.1 - Balazs Szokolay
Nimrod - Bournemouth Symphony Orchestra
Clair De Lune - Keith Clark
Also Sprach Zarathustra (Opening) - Slovak Philharmonic Orchestra
Prelude In C Sharp Minor - Idil Biret
Fountain Of The Villa Medici At Sunset - Royal Philharmonic Orchestra
Overture - Bournemouth Sinfonietta
O Fortuna - Slovak Philharmonic Chorus
Playful Pizzicato - Bournemouth Sinfonietta
Violin Concerto - Adele Anthony

Amazon.com

Is it a two-CD set with a particularly thick booklet, or a 562-page book with a compilation album attached? Either way, the unpretentious text by Keith Anderson offers an introduction to the lives and works of dozens of composers, together with recommended recordings from the Naxos and Marco Polo catalogs. Anderson includes a useful 59-page glossary of musical terms and an extensive listing of classical pieces used in films. The odd thing about the 36 extracts and complete pieces on the CDs is that they do not form an A-to-Z at all. Rather, they are arranged chronologically, from 1,000-year-old Gregorian chant to the opening movement of contemporary composer Philip Glass's Violin Concerto. Between these two points is the early music of Palestrina and Byrd; the Baroque glories of Vivaldi and Bach; the 19th-century Romantic masters, from Beethoven to Tchaikovsky; and such 20th-century greats as Rachmaninov and Stravinsky. Opera, song, and chamber music are barely represented, but only so much can fit into 151 minutes. Essentially a deluxe sampler of the vast Naxos catalogue, the discs offer a good introduction to some of the most famous and melodic music ever composed, while the book will be very useful to newcomers to the potentially confusing world of classical music. --Gary S. Dalkin

Album Description

A-Z of Classical Music is a remarkable 562-page, illustrated bok, detailing the lives of all the great composers as well as many less known, but equally fascinating, musical masters. Like the Naxos range of recording itself, A-Z of Classical Music is a rich source of inspiration for anyone either just embarking on a lifetime of musical enjoyment or for whom classical music has long been a way of life. Included within is an extensive glossary of musical terms plus a unique guide to classical music used in acclaimed films. Two-and-a-half hours of the finest music from across the centuries are contained in the accompanying CDs.

Customer Reviews:

LETTER PERFECT CLASS(ICAL) ACT!.......2003-01-19

It's only natural we sometimes hit the high seas....make that Cs. This is one box set about which we sing praises. This set features more than two hours of the finest music from across the centuries by such composers as Schubert, Chopin, Mozart, Handel, Stravinsky and Glass. The set also comes with a 562-page illustrated book, detailing the lives of hundreds of composers, a
glossary of musical terms and a unique guide to the classical music used in 360 top films.

Great Tracks -- Great Value -- Great Book, Who Can Complain?.......2002-08-30

Naxos is a fabulous label -- you will not get samples of the best classical music through the ages at no better price. These tracks are as good as any of the over-priced major orchestras and in some cases better. This is a great starter set for a beginner or anyone who just wants to "taste" the classics. If you prefer Opera I would suggest the A to Z of Opera -- most of the tracks on A to Z Classical are orchestral. I was so impressed with this collection that I purchased the Discover the Classics Vol's 1-3 which will give you a more detailed look at the great classics. Take a look at the Naxos web site at NAXOSUSA.COM -- what you will see will blow your mind -- there are literally thousands of pieces that you could listen too!

At this price, how can one complain?.......2001-09-30

This is pretty much a CD version of a mini-Naxos and Marco Polo catalog. All the pieces and extracts are ordered chronologically on the 2 CDs and are of very acceptable quality, but don't expect excellence in every track. Personally, I was particularly disappointed with one of my favourite Pachelbel pieces. The Naxos Canon & Gigue lacks all the emotion of my favourite versions.

Still, any possible weaker performances are of little importance after you get your hands on the fat booklet with over 500 pages. The booklet offers a short intro about the great composers, a glossary of musical terms, a list of works used in films and dozens of illustrations of several composers.

Overall, at this price, this is a must-have pack for any beginner, and might be useful for the occasion "quick check" of the work of many composers. Do not expect many detail, nor references to all the works of some composers; I often got frustrated with the lack of detail in some cases, but in general, the booklet is very effective for a quick reference.
You will need more titles that offer more complete information, and you won't truly learn to love classical music just by reading it, but it is small and compact.

It really puzzles me why Naxos did not include a full index of composers, a serious omission. To find a particular composer you will have to look for it yourself in over 500 pages. Also, the separation of the text is not so good, making the search even a bit slower. The lack of the index is truly annoying and I am sure it will be corrected in future editions.

Even with a few weaker pieces and the lack of the index, at this price, there isn't much to argue about. This is truly a bargain that you should not miss. I would also recommend the A-Z of Opera, which offers a bigger booklet with over 700 pages, focusing on opera works and mentioning several composers that are absent from the A-Z of Classical. That other booklet has a very complete index, and much clearer text layout and separation, that's the way both booklets should have been designed.

Tracks:

Ils S'Eloignent Enfin...Sombre Foret
D'Amour L'Ardente Flamme
Les Grecs Ont Disparu...Malheureux Roi!
Nous Avons Vu Finir...Chers Tyriens
Je Vais Mourir...Adieu, Fiere Cite
Ah! Salome! Dans Ce Palais...Il Est Doux, Il Est Bon
Je Souffre
Mes Cheres Filles, J'Ai Encore A Vous Dire
Soir
Le Secret
Apres Un Reve
Clair De Lune
Lo Fiolaire
Lou Coucut
Coeur En Peril
Berceuse Creole

Tracks:

Einsam In Truben Tagen
Euch Luften, Die Mein Klagen
Eine Waffe Lass Mich Dir Weisen...Der Manner Sippe
Ich Sah Das Kind
I. Der Engel
II. Stehe Still!
III. Im Treibhaus
IV. Schmerzen
V. Traume
I. In Der Fremde
II. Intermezzo
III. Waldesgesprach
Timor Di Me?...D'Amor Sull'Ali Rosee
Ecco L'Orrido Campo...Ma Dall'Arido Stelo Divulsa
Tu Che Le Vanita
D'Art Et D'Amour

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Sensuality Personified!.......2005-04-27

This is one of the best collections of Regine Crespin. Of course, her Berlioz/Ravel set with Ansermet is definitive, but the beauty and soft womanliness of her voice can be heard in all the selections on this disc. The engineers went for her vocal best and they created a fine collection aptly titled "The Best of..." One would be unduly captious to find Crespin "brittle" of tone here.

It is by now, very difficult to imagine anyone singing "Il est doux" with more apt expression of the line than La Crespin. Wagner's Wesendonk lieder is simply sublime from start to finish and the Faure takes on new meaning. That she is comical, melancholy, fun and happy by turns singles her out. This collection captures all her awesome talent. Underneath it all seems to be a very, if I may, sexual energy.

Crespin must be heard to be believed and the miracle lies in that even her softest tones are really enveloping, never thin. All tones are open and this is why there are enough colors in Regine Crespin's delicious voice to paint the world a thousand times, but it may also be why she infamous for being short and edgy on top but I remind, never here is she such. She is a relaxed singer in superb voice, comfortable in her own olive skin and makes the most out of every word those poets wrote.

The whole collection is unique in pace, style, and voice. It is Regine Crespin...in a nutshell fabulous!

Average customer rating:

Love it!
Fantastic!
Rameau, Minkowski: an intelligent concert!
A beautiful bit of late Baroque Color
A hoot!

Rameau: Une Symphonie Imaginaire

Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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ASIN: B000935TV8
Release Date: 2005-06-14

Tracks:

Ouverture
Scene Funebre
Air Tendre
Tambourins I & II
Air Tendre Pour Les Muses
Contredanse
Air Gracieux
Gavottes I & II
Orage
Prelude
La Poule
Musette
Ritournelle
Riguadons I & II
Danse Des Sauvages
Entre De Polymnie
Chaconne

Customer Reviews:

Love it!.......2006-11-10

Love it, love it, love it. Have not stopped playing it since it arrived and haven't gotten sick of it yet either. I bought it because I heard just one track briefly on the radio - bit of a gamble but it paid off. Great to drive to! Love the fast violin playing and the french horns. Rameau was one cool dude. Can't wait to share it with my dad. Am even wondering if I could wire the garage for sound so we can listen to Rameau while working there over Christmas! (Sorry this is not a high brow, classical music critic kind of review with lots of technical observations - I'm just a passionate classical music lover speaking from the heart).

Fantastic!.......2006-07-15

Great,I heard this piece on ABC Classic fm yesterday,the 14th of July....Amazon is a day late.Thank you to the programmer,they often use the savage dance as a theme.I must have this CD the thumping tympani and the tambourine really brightens up my day.I didn't even know there was a fugal bassoon movement!
The true french baroque is far better than any thing Handel could wright or borrow.Vivre Rameau!Beautifully played by all,the tempo and ornamentation's are perfect in all parts.Vivre Les Musciens du Louvre!Vivre Motorola for having a camera on their phones so I don't have to remember how to spell in french.
I do not work for any party mentioned.

Rameau, Minkowski: an intelligent concert!.......2006-04-14

Minkowki dedicated this album to his father, Dr. Alexandre Minkowski. The symphony imaginaire recorded live, is for him a personal intimate selection. This is intelligent, sensitive and extremely well played music by Rameau.
I stumbled upon this recording after being impressed by the last Bartoli recording with Les Musiciens du Louvre. Happy me!
The SACD is worth it.

A beautiful bit of late Baroque Color.......2005-09-12

I plan to give copies of this CD to my friends whose musical taste froze 35 years ago and who think of Baroque music as just so much "sewing machine music". Rameau was an imaginative instrumental colorist, and these dance pieces, taken from several of his operas and ballets, show him at his best in that regard.
While the conceit of calling this a "symphony" may seem strange, the pieces are arranged to form a nice sequence and, most importantly, are engagingly played by this early music ensemble. The interpretation is lively and the playing stylish. The sonics are detailed without being analytical.
I would recommend this to anyone as an introduction to the joys of French Baroque, but would encourage a follow-up purchase of one of the full operas.

A hoot!.......2005-08-20

Within a few seconds after pressing the "play" button for this CD, the sound of a percussionist beating the tar out of the tympani emergeged from my speakers. The waps and thumps are intermittenly interrupted by an orchestra on steroids. From there this production goes on a musical romp that I regret hearing come to an end. I'm not sure if this is authentic French baroque; but as a musical listening experience it is a blast. Great sound. Great energy. Wonderful music.

Rameau: Harpsichord Music (Complete), Vol. 2

Average customer rating:

Rameau: Harpsichord Music (Complete), Vol. 2
Joyful and exuberant; Delicate and sensitive delivery

Rameau: Harpsichord Music (Complete), Vol. 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000143M
Release Date: 1995-07-05

Tracks:

Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: Allemande
Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: Courante
Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: Sarabande
Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: Les Trois Mains
Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: Fanfairette
Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: La Triomphante
Nouvelles Suites de Pieces de Clavecin - Suite in A Minor - Major: Gavotte & 6 Doubles
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: Les Tricotets (Rondeau)
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: L'Indifferante
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: Minuets I & II
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: Le Poule
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: Les Tirolets
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: Les Sauvages
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: L'Enharmonique
Nouvelles Suites de Pieces de Clavecin - Suite in G Major - Minor: L'Egyptienne
Solo Harpsichord pieces from Pieces de Clavecin en Concerts (1741): La Livri (Rondeau)
Solo Harpsichord pieces from Pieces de Clavecin en Concerts (1741): L'Agacante
Solo Harpsichord pieces from Pieces de Clavecin en Concerts (1741): La Timide (Rondeau I & II)
Solo Harpsichord pieces from Pieces de Clavecin en Concerts (1741): La'Indescrete (Rondeau)
La Dauphine (1747)

Customer Reviews:

Rameau: Harpsichord Music (Complete), Vol. 2.......2007-05-25

1. Gilbert Rowland's playing was first-rate on Vol. 2 (as good as Vol. 1)
2. This is the best harpsichord music recording I've heard in quite awhile. (This quality level equals that of Vol. 1)
3. The price ($6/US) was a bonus! (same as Vol. 1)

I rate this five stars!

Joyful and exuberant; Delicate and sensitive delivery.......2002-12-17

This album takes the full range of the harpsichord instrument with all its embellishments. Highly complex composition with the left carrying the bass. The right carrying the melody. Alternating harmonies. All registers explored. It is hardly apparent that the harpsichord has limited dynamic range. This is due to the skill of the composer (Jean-Philippe Rameau) and the skill of the performer (Gilbert Rowland). This particular album contains the breadth and depth of Rameau's mastery of the solo instrument of the mid-1700s (Suite in A minor, Suite in G major, Pieces de Clavecin en Concerts, La Daphine), all written for the harpsichord. Add this album to your valuable collection of 18th century music.

Poulenc: Concerto champêtre; Concerto for two pianos; Organ Concerto

Average customer rating:

Poulenc: Concerto champêtre; Concerto for two pianos; Organ Concerto

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Poulenc: Gloria; Stabat Mater
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Poulenc: Concerto for 2 Pianos; Piano Concerto; Aubade

ASIN: B0000CG8ER
Release Date: 2003-10-07

Tracks:

I: Allegro Molto - Aime Van De Wiele
II: Andante (Mouvement De Sicilienne) - Aime Van De Wiele
III: Finale (Presto) - Aime Van De Wiele
I: Allegro Ma Non Troppo - Francis Poulenc
II: Larghetto - Francis Poulenc
III: Finale (Allegro Molto) - Francis Poulenc
Andante - Allegro Giocoso
Andante Moderato
Tempo Allegro (Molto Agitato)
Tres Calme (Lent)
Tempo De L'Allegro Initial
Tempo De L'Introduction (Largo)

Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts

Average customer rating:

How Live is Live?
A gigantic recording
Beautiful piano playing
A MONUMENT
One of the great piano recordings of all time

Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics
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The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert
Liszt: Sonata, Ballades and Polonaises
Monteverdi: Vespro Della Beata Vergine

ASIN: B00000290C
Release Date: 1994-06-14

Tracks:

Toccata, Adagio And Fugue In C Major, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C Major, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C Major, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C Major, Op.17: I. Durchaus phantastisch und ....
Fantasie In C Major, Op.17: II. Mag. Durchaus energisch
Fantasie In C Major, Op.17: III Langsam getragen. Durchweg leise zu halten
Piano Sonata No. 9, Op. 68 'Black Mass': Moderato quasi andante - Molto meno vivo - A llegro - Piu vivo - Allegro...
Poeme In F Sharp Major, Op. 32 No. 1: Andante cantibile

Tracks:

Mazurka In C Sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Menno mosso - Presto con fuoco
Serenade For The Doll: Andante
Etude In C Sharp Minor, Op. 2 No. 1: Andante
Etude In A Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K. 331: I. Tema. Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. (Rondo) alla Turca. Allegretto
Polonaise - Fantaisie In A Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Sonata In F Major, Hob. XVI : 23: I. Allegro
Sonata In F Major, Hob. XVI : 23: II. Adagio
Sonata In F Major, Hob. XVI : 23: III. Finale
Blumenstuck In D Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo. Modere et tres souple
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Amazon.com essential recording

Sony's series documenting Horowitz's mature career offers many indispensable items, including "live" (with studio touchups) recordings of his mid-1960s return to the concert stage after a prolonged hiatus. The Bach-Busoni is a dazzling opener, followed by a titanic Schumann Fantasy in C amply illustrating Horowitz's total identification with the composer. The performance abounds with tightly controlled nervous energy, precise articulation, and gorgeously shaded timbres. A crisp Haydn Sonata, a marvelously shaded Scriabin, a poetic Schumann Traumerei, and more are all indispensable. Not to be missed: the pregnant pauses and crackling tension of the Chopin G-minor Ballade. --Dan Davis

Customer Reviews:

How Live is Live?.......2003-11-29

This is not a review per se. My review is posted under the "Live and Unedited" version of the 1965 concert. But I wanted to correct a few errors which have been circulated in regard to this recording.

First, the corrections used on the original version of "Horowitz at Carnegie Hall" were not made at a "patch session at Carnegie a few days" after the concert. Columbia's engineers had already recorded Horowitz's rehearsals and used that material for the editing.

Second, the editing in the album was neither as extensive as some have suggested, nor as insignificant as others state.

Here is a (mostly) complete list of the patches on the original album, which have been removed from "Live and Unedited":

Bach-Busoni: Preludio: Measures 2-12 and parts of the coda (Horowitz, by the way, does not play the ossias at bars 8, 10, and 12); Intermezzo: Small patches at bars 7 and 11; Fugue: Several edits between bars 97 and 110, and again in the coda.

Schumann Fantasy: 1st Movement: patches at 7:32 and 10:21; 2nd Movement: small patches at 2:44 and 4:32, and a series of patches in the coda 6:58-7:39; 3rd Movement: No edits.

Scriabin: Sonata No 9: No Edits. Poem in F-sharp: Patch from 2:16-2:26

Chopin: Mazurka: Small edit at 2:02; Etude: Patched sections from 1:27-1:33 and 2:15-2:20; Ballade: Small edits at 2:04 and 4:52, at least four patches in the coda.

None of the encores were edited.

It should be pointed out that the editing of supposedly "live" recordings is more commonplace than the recording industry will admit. Although not generally aknowledged, Arthur Rubinstein's 1961 Carnegie Hall Highlights album was patched, and most live recordings today are actually compilations from several performances.

Whether you choose this patched version, or "Live and Unedited" the 1965 return concert contains some stunning piano playing. Can anyone imagine the pressure Horowitz was under on that day? To prove you have not just retained your original greatness, but have deepened and become even greater cannot have been easy. The new, unedited version of the concert is not a revelation, but serves as a reminder of Horowitz's all too human frailty.

A gigantic recording.......2001-02-21

There's an interesting debate going on in the reviews below about Horowitz's technical and musical ability in general. Do yourself a favor and read through these reviews. It'll show you that Horowitz's ability to engender strong positions and fairly heated exchanges continues undiminished, more than eleven years after his death. What this proves, of course, is his uniquely important position in 20th century piano playing. No other classical pianist was as influential, no one's style was copied as much, no one was as frequently and thoroughly misunderstood (mere technician, mere dazzler, mere showman). What you have to understand in listening to these recordings is that he was a complete professional, totally devoted to his craft to the exclusion of just about any other interests in his life - a tremendously one-sided person. But within the art of piano playing he reigned supreme. His oddly introverted, unmoveable, purely efficiency-oriented appearance during performance (he never moved anythying but his hands - no facial contortions, no head shakes, no swaying body, and even his hands were super-efficient) contrasted oddly with the extreme extrovertedness of his playing. He knew so much more about the sound possibilities of the instrument than anyone else that listening to him was downright frightening for other pianists. I remember a well-known pianist during intermission at a Horowitz recital in Hamburg in 1986 laughing and crying at the same time, shaking his head and saying over and over again, "it's impossible. That was impossible. That can't be done" (he was talking about Horowitz's rendition of a Schubert-Liszt transacription).

Anyway, his mastery of the instrument far beyond all other humans' capacity has persistently clouded people's perception of Horowitz and made an assessment of his artistic merits much more difficult. Undoubtedly he had clear limitations as an artist (Beethoven, for example, was just not part of his artistc world). But we have to keep in mind that, unlike practically all classical musicians today, who are trained to be universalists and to assemble a vast variety of styles, Horowitz came out of a strong and idiosyncratic musical tradition - that of Scriabin and Rachmaninov. That tradition was his world, his artistic home, and he always explored other musical traditions from the vantage point of his particular musical identity. In all of this he proved extremely flexible (playing, for example, Scarlatti, Clementi and Czerny to great critical acclaim), but since he never aspired to neutrality and objectivity (like, for example, Pollini or Arrau), it always was obvious when he played music that didn't fit with who he was.

So the debate about Horowitz's musical merits that goes on in the reviews below is as old as his career. What's curious, though, is that a couple of reviewers believe to have found TECHNICAL shortcomings in his playing. That is new in Horowitz criticism. All his career he reigned as the supreme master of piano technique, acknowledged as such first and foremost by most famous pianists (Rubinstein, Argerich, Pollini, Perahia, and many others have rhapsodized - or expressed their jealousy - about Horowitz's technique publicly and at length). When speed and power decreased due to old age, he transferred his technical accomplishments to polyphony, to shadings, colors, multi-layered pianissimi unimagined before or after. In the present recordings from the mid-60s, there was no noticeable decrease in speed and power yet, but his development toward more sophisticated sound effects was well underway. In other words, the questioning of Horowitz's technical abilities in some of the reviews below is utter and complete nonsense. I can only surmise that the authors of these reviews are people raised on the bland, impersonal mechanical functioning displayed by so many contemporary pianists that Horowitz's edginess, his constantly going to extremes (of speed, of clarity, of softness, of bel canto, etc.) irritates them somehow. One thing Horowitz was never after was a polished surface. If you want pleasant, comforting stuff that you can play happily in the background while doing the dishes, Horowitz is not the artist for you. He demands total concentration. But he'll reward that concentration tenfold. Even if you don't agree or don't like what he does in a particular piece, you'll learn a ton about music listening to him. He's a very musically opinionated guy, and some of his work may irritate you a great deal, but he will never, ever bore you.

Beautiful piano playing.......2000-11-17

I am writing in to disagree a bit with the previous reviewer who dismissed this recording and Horowitz's playing in general. I would agree that this is not Horowitz's greatest recital. It may be better remembered for its historical significance than as a representative sampling of Horowitz's art. For me, much of the repertoire in this recital could be called "ill-chosen." The pieces such as the Schumann Fantasie, the opening Bach piece, and Chopin's g minor Ballade do not really show Horowitz at his best -- and not just because they're "big" pieces that "require interpretation." Aside from the Chopin Ballade, these are not pieces that one would typically hear at a Horowitz recital, and I do wish that he had not insisted on repeatedly performing and recording the g minor Ballade. I agree that his bombastic, episodic approach never worked with that piece. I tend to favor the pieces on this album that were recorded in the 1966 recitals, including the Chopin Polonaise-Fantasie dismissed by the previous reviewer. Yes, the ending is too bombastic, but there is so much beautiful, gorgeous piano playing in this performance. The way Horowitz could layer the sound and produce such a beautiful, expressive, vocal melodic line can perhaps be fully appreciated only by real connoisseurs of piano playing. Horowitz was not just a pianist for the "masses." He was also a pianist for connoisseurs.

Is it possible to acknowledge the shortcomings in Horowitz's technique and interpretive ability pointed out by the previous reviewer and to still be a great fan and admirer of his playing? Yes, it is. I know that many listeners who hear the shortcomings in Horowitz's playing feel that Horowitz's admirers must lack discrimination, and I think that in some cases this is true. In fact, I sometimes think that critical reaction to Horowitz can be roughly divided into three categories:

The first category would be for unconditional admirers of Horowitz who feel that he could do no wrong. I would say that this represents the least perceptive evaluation of Horowitz's playing.

The second category would be for people who are aware of the shortcomings in Horowitz's technique and musicality and who feel justified in dismissing Horowitz because of these shortcomings. I think that this view represents a somewhat more perceptive evaluation of Horowitz, and I think that the previoius reviewer would fall into this category.

The third category would be for people who are aware of the shortcomings in Horowitz's technique and musicality and who still feel that he was one of the greatest pianists in history. In my opinion, this is the most perceptive evaluation of Horowitz's playing.

I, too have listened to all of Horowitz's recordings, and have come to a different conclusion about his playing than the previous reviewer. For me, this recording is certainly worth having, mostly for the 1966 recordings.

A MONUMENT.......2000-05-19

One of the best recordings to discover the Horowitz legend. As far as technique is concerned, the Carnegie Hall performances don't reflect all the artist's talents, but Horowitz's magic sonority and the unique atmosphere make it exceptional. My favourite pieces: Bach-Busoni's intermezzo and Chopin's G major ballade.

One of the great piano recordings of all time.......1999-12-09

In May 1965, Vladimir Horowitz, the greatest pianist of all time, ended a 13-year retirement and returned to Carnegie Hall. The audience contained many of the world's most famous musicians, and playing up to its frenzied expectations seemed impossible. Horowitz begins, tense to the breaking point. For a few seconds, his hands are out of control, and he hits more wrong notes than right ones. Then things settle a bit, and he starts to translate his tension into pure musical energy. In that first piece, the Bach-Busoni, Horowitz seems almost superhuman with his orchestral sound, his sharp rhythm, his alternatingly hard-edged attack and meltingly lyrical lines, his supreme intelligence. It must have been immensely frustrating for the pianists in the audience to be so rudely confronted with such hopeless pianistic superiority. The Bach is followed by a highly idiosyncratic Schumann Fantasy, where Horowitz shows a grasp of the work's structure and an analytic penetration of Schumann's neo-Bachian polyphony undreamt of by any interpreter before or after. The recital continues with musical and pianistic jaw-droppers. I single out the Chopin and Moszkovski Etudes, where the audience's incredulity at Horowitz's feats dissolves in laughter at the end of the pieces, the tenderness and intimacy of Debussy's Serenade for a Doll, and the truly moving Schumann Traeumerei. The remainder of this CD collection contains 1966 live recordings, many of which are as fascinating as the '65 concert. Particularly noteworthy are the Haydn Sonata for its dry wit, Chopin's Polonaise-Fantasie for the almost infinite range of expressions and emotions Horowitz creates, and Liszt's Vallee D'Obermann, which inspires Horowitz to the most atmospheric, most evocative music-making I have ever heard on a recording. In sum, if I knew I would lose my hearing in a few hours, I would spend them listening to these recordings.

Mozart, Telemann, Reicha, J. C. Bach: Chamber Works

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Mozart, Telemann, Reicha, J. C. Bach: Chamber Works

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000026O4
Release Date: 1990-03-30

Tracks:

Three Trios For Flute, Violin And Cello - Trio No. 1: I. Allegro (Divertimento No. 1, 1st Movement)
Three Trios For Flute, Violin And Cello - Trio No. 1: II. Adagio (Divertimento No. 1, 3rd Movement)
Three Trios For Flute, Violin And Cello - Trio No. 1: III. Menuetto (Divertimento No. 1, 4th Movement)
Three Trios For Flute, Violin And Cello - Trio No. 1: IV. Rondo: Allegro (Divertimento No. 1, 5th Movement)
Three Trios For Flute, Violin And Cello - Trio No. 2: I. Allegro (Divertimento No. 2, 1st Movement)
Three Trios For Flute, Violin And Cello - Trio No. 2: II. Larghetto (Divertimento No. 4, 2nd Movement)
Three Trios For Flute, Violin And Cello - Trio No. 2: III. Menuetto (Divertimento No. 2, 4th Movement)
Three Trios For Flute, Violin And Cello - Trio No. 2: IV. Allegro (Divertimento No. 4, 5th Movement)
Three Trios For Flute, Violin And Cello - Trio No. 3: I. Allegro (Divertimento No. 3, 1st Movement)
Three Trios For Flute, Violin And Cello - Trio No. 3: II. Larghetto (Divertimento No. 2, 3rd Movement)
Three Trios For Flute, Violin And Cello - Trio No. 3: III. Polonaise (Divertimento No. 5, 5th Movement)
Quartet For Flute, Violin, Cello And Lute: I. Adagio
Quartet For Flute, Violin, Cello And Lute: II. Allegro
Quartet For Flute, Violin, Cello And Lute: III. Dolce
Quartet For Flute, Violin, Cello And Lute: IV. Allegro
Trio For Flute, Violin And Cello: I. Allegretto
II. Adagio
III. Allegro
18 Variations And Une Fantaisie: Variations
18 Variations And Une Fantaisie: Fantaisie

Canteloube - Chants d'Auvergne / Victoria de los Angeles

Average customer rating:

I Found It Sublime.
de los Angeles: Song of the Auvergne

Canteloube - Chants d'Auvergne / Victoria de los Angeles
Marie-Joseph Canteloube , Jean-Pierre Jacquillat , Victoria de los Angeles , and Orchestre des Concerts Lamoureux
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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Lakme
Joseph Canteloube: Chants d'Auvergne

ASIN: B00000K4FG
Release Date: 1999-09-14

Tracks:

Songs Of The Auvergne: La Pastoura als camps (Series I, No. 1)
Songs Of The Auvergne: Bailero (I - 2)
Songs Of The Auvergne: Trois Bourrees (I - 3): 1. L'aio de rotso
Songs Of The Auvergne: Troi Bourrees (I - 3): 2. Ound' onoren gorda
Songs Of The Auvergne: Trois Bourrees (I - 3): 3. Obal, din lou Limouzi
Songs Of The Auvergne: L'Antoueno (II - 2)
Songs Of The Auvergne: La Pastrouletta e lou Chibalie (II - 3)
Songs Of The Auvergne: La Delaissado (II - 4)
Songs Of The Auvergne: Lo Calhe (Bourree) (II - 5b)
Songs Of The Auvergne: Lo Fiolaire (III - 1)
Songs Of The Auvergne: Passo pel prat (Grande) (III - 2)
Songs Of The Auvergne: Lou Boussu (III - 3)
Songs Of The Auvergne: Brezairola (III - 4)
Songs Of The Auvergne: Malurous qu'o uno fenno (Bourree) (III - 5)
Songs Of The Auvergne: Oi, ayai (IV - 2)
Songs Of The Auvergne: Pour l'enfant (IV - 3)
Songs Of The Auvergne: Chut, chut (IV - 4)
Songs Of The Auvergne: Pastorale (IV - 5)
Songs Of The Auvergne: Lou Coucut (IV - 6)
Songs Of The Auvergne: Obal, din lo coumbelo (V - 1)
Songs Of The Auvergne: La-haut, sur le rocher (V -3)
Songs Of The Auvergne: He! beyla-z-y dau fe (Bourree) (V - 4)
Songs Of The Auvergne: Te, l'co, te! (V - 6)
Songs Of The Auvergne: Uno jionto postouro (Regret) (V -7)

Customer Reviews:

I Found It Sublime........2002-04-05

I recently acquired a large hard drive for my computer and set about loading my favorite CDs for instant listening while working in my home office. In that process I came upon this CD, but do not remember buying it. To be able to quickly jump from track to track, I loaded it and expected to make a quick decision whether to keep it or not, expecting the not. (I believe that I ordered this CD due to the similarity of the title with a CD of Jean Ferrat's that is quite special to me.)
WOW! Was I wrong! So wrong that I don't mind admitting it.
Victoria de los Angeles is one of the greats. Her command of her voice is superb. Her phrasing leaves me breathless. The previous reviewer called her voice too heavy for these songs. While I have not heard the works he/she noted, I did not have that reaction. The selection of works is marvelous. I cannot recommend this CD higher. I recommend it for the true classic connoisseur, for the person who 'just' likes classics, and for the person who likes some classics but not all and needs to hear a recognizable tune.
A last comment, my first thought was that the recording suffered because I (mistakenly) felt that the source of her voice in the recording was too removed from the microphone. I was wrong again. In fact the balance of her clear, soprano voice to the orchestra is perfect.

de los Angeles: Song of the Auvergne.......2001-11-08

De los Angeles's singing can be wonderful, as in her "On the Wings of Song." I find her voice too heavy for this music. I much prefer the version of the late Netania Davrath. Madline Grey's is also better.

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