Volume 22

On this CD:

1. La favorita, opera Una Vergin, un angel di Dio
Composed by Gaetano Donizetti
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

2. Il Trovatore, opera Di quella pira l'orrendo foco
Composed by Giuseppe Verdi
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

3. Aleko, opera, TN ii/70 Il tormento amoroso di Aleko
Composed by Sergey Rachmaninov
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

4. Boris Godunov, opera (Rimsky-Korsakov edition, 2 versions) Canzone di Varlaam
Composed by Modest Mussorgsky
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

5. Otello, opera Vanne: la tua meta già vedo
Composed by Giuseppe Verdi
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

6. Guillaume Tell (William Tell), opera Mio figlio! Ch'io t'abbracci
Composed by Gioachino Rossini
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

7. Le Roi de Lahore, opera Le barbare tribù che stavan quasi a campo
Composed by Jules Massenet
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

8. L' Africaine, grand opera in 5 acts Adamastor, re delle acque
Composed by Giacomo Meyerbeer
Performed by Boris Christoff, Giuseppe Taddei, Giacomo Lauri Volpi
Conducted by Oliviero de Fabritiis, Ferruccio Scaglia, Alfredo Simonetto, Luciano Bettarini

Tracks:

I: Allegretto
Capricho Arabe
A Fancy
Etude No. 5 In C
I. Allegretto
I. Allegretto
I. Allegro
The Wood So Wild
Adante; Molto Adagio; Adante
Fandango
Segovia, Op. 29
Fantasia XXII
II. Andante
Preludio
II. Andantino Grazioso
Fantasia
Bourree
Gigue
Polonaise, Op.2, No.2
Canario

Customer Reviews:

Not ultimate- but wonderful, none-the-less.......2007-04-14

As good a guitarist as Julian Bream is, one must begin by acknowledging that the title of this 2-CD set containing 32 admittedly seminal pieces written for hand-played strings ( primarily, the lute) is a tad hyperbolistic. An "Ultimate" collection of anything would have to be more complete, by definition, than any two CDs can be and, again, it almost goes without saying that no two people are apt to be in total agreement about what should or should not have been included in any such collection. All caveats considered and aside, this is, indeed, a thoughtfully selected and masterfully performed collection of what is, unarguably, some of the very best classical pieces ever written for the lute. Bream plays some of them on the guitar and others on a renaissance lute - the latter giving a somewhat truer indication of the stylings and musical nuances intended by the various composers. But, even the pieces he plays on the guitar - an instrument that, in it's current form, did not exist when many of the pieces were originally composed - are sensitive and lyrical interpretations that sound as if they MIGHT have been composed for the guitar.

Without spending space here reiterating the specific pieces, their titles and lengths, I will simply list the composers whose works Bream presents so nicely in this collection. They span a range of about five centuries beginning in the time of England's Elizabeth I and spanning the years through to the 20th Century's premier Spanish and Brazilian classical guitar composers. The list reads like a `Whose Who" of classical plucked-string instrument music and of composers whose keyboard compositions work particularly well on the strings of a lute or guitar, and includes;
- John Dowland
- Francis Cutting
- Antonio Vivaldi
- Gaspar Sanz (*)
- Mateo Albeniz (*)
- Manuel de Falla
- Enrique Granados (*)
- Hector Villa-Lobos, and
- Joaquin Rodrigo
(*) = Pieces originally written for keyboard play.

Every classical guitarist has his own recognizable style and approach to the instrument and the material. An experience listener would not confuse Bream's work with that of Andres Segovia, for example: but it is not that one is better than the other. Each, in his own distinctive way, is simply superb. Though the Spanish influence is clearly audible with both musicians, Bream's stylings have a more contemporary lilt and inflection than do those of Segovia; he makes each piece his own. One suspects that each time he plays a piece it comes out differently according to the moment, his mood, the instrument and God knows what else. Segovia, on the other hand, was well known for his constancy once he had found a version of each piece that fully suited his own ear and temperament.
While I am admittedly a Segovia fan, I find Bream's renditions to be noticeably fresher and each infused with an aura of presence in the here-and-now which I find especially enjoyable.

The collection is neither complete not `ultimate', but it is VERY good and well worth having in any collection of classical guitar music. In fact, for audiophiles not familiar with this genre, it is a fair place to begin to develop an ear for and a listener's knowledge of and experience with the classical guitar.

Very Nice Bream Collection.......2005-03-03

I have volumes one and two, but I prefer volume two because it contains later recordings, which are of a better sound quality than the tin-can reverb that predominates in volume one. I really like the inclusion of about a half dozen lute pieces in addition to the guitar. I wasn't a lute fan before, but after hearing Bream playing lute on this CD, I am a convert. Ditto with what one reviewer said about Sor's Andantino Grazioso--purely delightful.

Overall, this CD consists of a good variety of masterfully played music. I only wish most of Bream's recordings were recorded using later technology, which would make his playing shine even more.

Not what I thought!.......2004-11-08

Well, a bit of a "anti-climax"! I was expecting something totally different. Not at all the kind of guitar music I like but will make out a great unexpected gift (hopefully). The delivery time from order to delivery was excellant, 19days - internationally!

Ultimately Satisfying.......2004-02-03

A wonderful companion to the first set, this edition includes 20 beautifully recorded pieces by one of the master guitarists of the twentieth century. And Bream is at his best in these recordings, showing off his amazing technique, as well as his almost daunting emotional power. An amazing gift to guitarists and music lovers.

Spectacular.......2002-02-11

The brilliance of Breams guitar/lute shines through. If you love any of his work you will love this, I can never get tired of his work.Especially this one. Antantino grazioso is absolutely amazing.

The Piano Works Of Nikolai Medtner, Volume 1

Average customer rating:

Fascinating music, well introduced

The Piano Works Of Nikolai Medtner, Volume 1

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

The Piano Works of Nikolai Medtner, Vol. 2
Medtner: Piano Works, Vol. 4
The Piano Works of Nikolai Medtner, Vol. 7
The Piano Works of Nikolai Medtner, Vol. 8
The Piano Works of Nikolai Medtner, Vol. 6

ASIN: B000000AP7
Release Date: 1992-10-28

Tracks:

Sonata Reminiscenza In A Minor Op. 38 No. 1: Allegretto tranquillo (Andantino con moto) - Svegliando (con moto) - Tempo 1
Russian Fairy Tale Op. 42 No. 1: Allegro sostenuto
Dancing Fairy Tale Op. 48 No. 1: Allegro risoluto
The Organ Grinder Op. 54 No. 3: Allegro assai - Poco piu tranquillo - Tempo 1
Fairy Tale In F Minor Op. 26 No. 3: Narrante a piacere
Fairy Tale In D Minor Op. 51 No. 1: Allegro molto vivace al rigore di tempo e sempre leggierissimo
Funeral March Op. 31 No. 2: Andante lugubre
Fairy Tale In G Sharp Minor Op. 31 No. 3: Allegretto capriccioso, con molto tenerezza
Fairy Tale: Allegretto abbandonamente
Fairy Tale In E Minor Op. 34 No. 2: Allegro cantabile e leggiero
Sonata In G Minor Op. 22: Tenebroso, sempre affrettando - Allegro assai - Interludium: Andante lugubre - Allegro assai

Customer Reviews:

Fascinating music, well introduced.......2001-08-28

I was first introduced to the music of Medtner in 1994 when I heard Boris Berezovsky perform three "Fairy Tales" at a recital. I was so taken that I had to begin collecting Medtner's music on CD. This album, Geoffrey Tozer's first volume of the piano works of Medtner, was my first Medtner CD. Mr. Tozer is a very fine pianist, and the Chandos stereo sound is first rate. The result is a captivating introduction to Medtner's music. The music is complex, harmonically daring, sometimes quirky, whimsical at times and always evocative. Mr. Tozer plays sensitively and is in complete technical command. He does us a wonderful service in bringing this music to a wider audience. Through this disc I have come to know and love many more pieces by Medtner, and I have been inspired to buy each new volume of Mr. Tozer's set as it has become available. This is the volume of the set that I play most often. It is a rich introduction to this fascinating music.

Medtner: Complete Piano Sonatas, Forgotten Melodies / Hamelin

Average customer rating:

Medtner's piano music is a strong, major addition to the piano standard repertoire, for both listener and performer. Beautiful.
but it IS unjust;
the war is Iraq is unjust
contra drollere
The Best Overall Recording of Complete Medtner Sonatas

Medtner: Complete Piano Sonatas, Forgotten Melodies / Hamelin
Marc-Andre Hamelin
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical | Imports | Stores | Music
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Nikolai Kapustin: Piano Music
Marc-André Hamelin Live at Wigmore Hall
Alkan: Symphony for solo piano
Kaleidoscope
Godowsky: Sonata; Passacaglia

ASIN: B00000DG21
Release Date: 1998-10-27

Tracks:

Sonata In F Minor Op. 5: Allegro
Sonata In F Minor Op. 5: Intermezzo: Allegro
Sonata In F Minor Op. 5: Largo divoto
Sonata In F Minor Op. 5: Finale: Allegro risoluto
Zwei Marchen Op. 8: Andantino
Zwei Marchen Op. 8: Allegro
Sonaten-Triade Op. 11: No. 1 In A Flat Major
Sonaten-Triade Op. 11: No. 2 In D Minor (Sonata-Elegy)
Sonaten-Triade Op. 11: No. 3 In C Major

Tracks:

Sonata In G Minor Op. 22: Tenebroso, sempre affrettando - Allegro assai - Interludium (Andante lugubre) - Allegro assai
Sonata-Skazka In C Minor Op. 25 No. 1: Allegro abbandonamente
Sonata-Skazka In C Minor Op. 25 No. 1: Andantino con moto
Sonata-Skazka In C Minor Op. 25 No. 1: Allegro con spirito
Sonata In E Minor 'Night Wind' Op. 25 No. 2: Introduzione: Andante - Allegro
Sonata In E Minor 'Night Wind' Op. 25 No. 2: poco e poco Allegro molto sfrenatamente, presto

Tracks:

Sonata-Ballada In F Sharp Major Op. 27: Allegretto
Sonata-Ballada In F Sharp Major Op. 27: Introduzione: Mesto
Sonata-Ballada In F Sharp Major Op. 27: Finale: Allegro
Sonata In A Minor Op. 30: Allegro risoluto - Allegro molto
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 1 Sonata-Reminiscenza: Allegretto tranquillo
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 2 Danza graziosa: Con moto leggiero
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 3 Danza festiva: Presto
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 4 Canzona fluviala: Allegretto con moto
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 5 Danza rustica: Allegro commodo
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 6 Canzona serenata: Moderato
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 7 Danza silvestra
Vergessene Weisen (Forgotten Melodies) Op. 38: No. 8 Alla Reminiscenza: Quasi coda

Tracks:

No. 1 Meditazione: Introduzione, quasi Cadenza - Meno mosso - Meditamente
No. 2 Romanza: Meditamente
No. 3 Primavera: Vivace
No. 4 Canzona matinata: Allegretto cantando, ma sempre con moto
No. 5 Sonata tragica: Allegro non troppo
Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Romanza: Andantino con moto, ma sempre espressivo
Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Scherzo: Allegro
Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Meditazione: Andante con moto
Sonata In B Flat Minor 'Sonata Romantica' Op. 53 No. 1: Finale: Allegro non troppo
Sonata In B Flat Minor 'Sonata Minacciosa' Op. 53 No. 2: Allegro sostenuto
Sonate-Idylle In G Major Op. 56: Pastorale: Allegretto cantabile
Sonate-Idylle In G Major Op. 56: Allegro moderato e cantabile

Amazon.com

Nikolai Medtner's chums at the Moscow Conservatory included Scriabin and Rachmaninoff. Like them, he was a brilliant pianist. Also like them, he composed an extensive body of distinguished piano music, most of which is relatively unknown. Its style resembles that of Rachmaninoff (who greatly admired it), although it lacks the latter's memorable melodies. Technically, it is just as difficult, requiring not only great fluency and endurance but also a wide range of colors. Marc-André Hamelin's prodigious technique makes him an ideal interpreter of Medtner's strong, clearly chiseled structures. His ability to play even the most complex and difficult passages at an even pace helps delineate and clarify them. Excellent recorded sound. --Paul Turok

Customer Reviews:

Medtner's piano music is a strong, major addition to the piano standard repertoire, for both listener and performer. Beautiful........2007-05-02

When this 4CDs-album came out in 1998 I was one of the first in the states to purchase a copy, and even without knowing whether Medtner is my taste or not. I loved Hamelin's Scriabin-sonatas album so I didnt care about the high price of this Medtner-sonatas album. And I was right. With the first scanning of each disc I fell more and more in love with this gorgeous, rich, imaginative, romantic, melodic&rhythmic, intense, serious, profound, passionate...simply *beautiful* music. Medtner does not seem to strive for creating something extraordinary, innovative, modern, interesting per se but for pure musical intent. What you hear is pure (and absolute?) music by a genuine musician (Medtner) as natural and pianistic as one could imagine, with nothing else intended or presumed.
For comparative listeners, Geoffrey Tozer's boxed Medtner-sonatas set includes the complete Forgotten Melodies (I-III), not only I and II (Hamelin), but in the sonatas Hamelin plays with much more verve, drive, energy and speed. However, in the past years I tend to listen more of TozerPlayingMedtner...simply because he has been recording the complete Medtner solo music (prospected 9 volumes on Chandos) and I really enjoy the wealth of non-sonata music by Medtner which is less complex, of lighter content and much easier to understand. Many pianophiles whom I borrowed the Hamelin album thought that these sonatas were way too dense and heavy, yet in the end they fell in love with Medtner, too, when listening to his non-sonata pieces (Fairy Tales, etc.). They have become Medtner fans, yes!
As for my part, after having listened to Medtner sonatas for almost ten consecutive years, I somehow obtain the feeling that his other solo piano music is more enjoyable on a long-term basis. I cant listen to the sonatas nearly any more but I experience still lots of pleasure, fun and enjoyment listening to his other pieces. So thanks Hamelin for the convincing introduction to Medtner's world, and even more thanks to Tozer on Chandos (and Hamish Milne on CRD) for making this world my new home.

but it IS unjust;.......2006-10-03

that such beautiful music should be ignored! i never understood why rachmaninoff enjoyed more popularity than his more ingenious colleague, scriabin. i similarly don't understand why rach is deemed greater than medtner. perhaps it was sergei's larger-than-life presence as a pianist and conductor? i deem rachmaninoff one of the greatest pianist-conductors in history, but as a composer he ranks below both scriabin and medtner.
listen to medtner's music and be blown away by the intricacy and intimacy of his music. the density, the poignant lyricism. counterpoint unfolds and reveals music that is ten times more dense than rachmaninoff's (possibly excluding rach's 2nd and 3rd piano concerto).
you hear explosive genius, innovations, and emotions. a different trajectory from scriabin's music - not apocalpytic, but more rustic. more pastoral and fairy-like, if not as charged with pathos.
if you are a fan of piano music, or just keyboard music as a whole, if you're looking for something sexy, medtner's sonatas are the answer.
and hamelin's playing, i presume, does not need my vouching.

the war is Iraq is unjust.......2004-09-08

Medtner is a trult great composer and Hamelin is a truly great pianist, not just a technician.

contra drollere.......2004-06-23

Just a few words for those of you who are considering this set but have been given pause by the dissenting opinion in drollere's review, below.

I can understand that on first listen this music (like a great deal of classical music) may be difficult to parse -- to break into meaningful paragraphs and sentences, so to speak. And I know first-hand that when one can't yet hear the phrase structure in a piece of music, it tends to sounds like, yes, a long drum solo; it sounds like the music is attempting to express itself solely through superficial, local effects. drollere's review is actually a lovely, well-written description of the experience of listening to music without knowing how to parse it. One hears only "chords," "scales," "arpeggios," "melodies," and is aware that things seem to "change...every 20 seconds or so." In fact, listening to music this way - a bit like listening to the rise and fall of an actor's voice without being able to make out the words - often tends to give one an exaggerated impression of the surface effects, which I think must account for drollere's belief that this music is best characterized as "virtuosity for its own sake." Assessments like "the kinetic equivalent of serialism" and "a musical rubik's cube" really have nothing to do with Medtner - they just describe the general phenomenon of a piece of music being meaningless to a listener, in the truly musical sense of the word "meaning."

I was struck by these things, reading drollere's review, because they were so familiar to me: I am often frustrated by how long it takes me to come to terms with the form (and through it, substance) of a new musical work; sometimes it seems like I can listen to a piece 20 times and not yet know how to parse it. Frustrating indeed, because I, unlike drollere, know that at that point I'm still not qualified to form an opinion of the music. In a very real sense, I still haven't heard it. I might form an opinion about the fact that the music is still opaque to me (e.g. "I'm putting in an attentive, good faith effort to make sense of this music, so I declare that if I still don't know what's up after 20 listens, the composer isn't doing his/her job") but I'm simply not in a position to say anything about the composer's musical or aesthetic intentions or accomplishments. The composer didn't write the "drum solo" that I hear - it's just the raw data stream, not yet decoded by my brain, and as such isn't a work to be reviewed.

The irony of drollere's review is that the most outstanding aspect of this music, in exact opposition to what drollere says, is its "emotionally or imaginatively involving musical structure." Medtner's handling of sonata form is astounding - if you don't believe me or can't hear it, get a copy of the score and give yourself the assignment of breaking down the structure of one of the longer movements - the first piece I encountered was Op. 22, which is a good warm-up for the really sprawling ones, Op. 25/2 and Op. 53/2. I promise you that by the time you've gone through the purportedly tedious task of actually identifying the different themes and their recapitulations, noting thematic relationships, etc. etc., you'll realize how strong these pieces are, how exquisitely they fuse profound, heartfelt emotion with ingenious development - and then you'll be ready to listen again and hear it all. Or at least more of it. "What are the rewards of repeated listening?" indeed. Perhaps since July 28, 2003, drollere has found out the answer to that question, in which case I hope s/he will return and clean up around here. I just hate to think that anyone will be turned off to Medtner by a well-written but utterly rash review. Trust me: this is the real thing. The music is, if anything, better than the hype. Do not be dissuaded.

The Best Overall Recording of Complete Medtner Sonatas.......2003-08-15

Speaking in a few words about the music itself, I'll only say it's original, thrilling and endlessly beautiful.

I agree with the statement saying that this music demands several listenings for appreciation of all it's beauty. I can only add that each listening, no matter how much times you did it before, reveals you something new in the music which makes you love it more and more.
I also agree with another statement saying that sometimes the development parts in Medtner sonata forms are too streched out. It's true, usually the thematic material is very laconic (while geniously beautiful) and Medtner masterfully takes it into different harmonic and tonal transformations, as if looking at the theme from all possible angles, lightening it in all possible colours and ways inside the complex polyphonic substance. This statement in no manner contradicts with the first one and might even explain it.
But the third and the ultimate statement for me is the one written once by Rachmaninov: "...I consider him the most talented of all the modern composers...". For me It's quite true and I can only hope for the times when Medtner music will be much better known.

For those, who want to add like me all the 14 Medtner Sonatas to their musical library this set is the definitive solution. I like very much the Medtner of Marc-Andre Hamelin, it's highly emotional with deep understaning of all the complex structure of each piece and, of course, technically brilliant. The only piece where I don't really agree with the reading is Sonata Tragica (From the "Forgotten Melodies II", Op. 39/5). It's too straightforward for me and I don't really hear the "Tragica" in it. In this case I prefer "Sonata Tragica" by Nikolai Demidenko, also available on Hyperion. In the same time "Sonata Reminiscenza" by Hameline is more touchnig and intimate in comparison with that of Demidenko. So, after all, it's the matter of taste. :-) Another point about the interpretation is the tempos which in some cases are too fast and you can feel the excessive concentration on the virtuosic aspects of the playing. To my mind the point is general for the Hamelin style. In this set it doesn't really disturb you a lot.

A nice supplement to the Sonatas are 2 "Skazki" (Fairy-Tales) which are the opening 2 of the over 40 pieces set which could be defined as the heart of the most intimate Medtner music. But this is another story already. :-)

Tracks:

12th Street Rag
Johnson Rag
Tiger Rag
I Want A Girl
Honeysuckle Rose
When My Baby Smiles At Me
Sweet Georgia Brown
Music, Music, Music
Those Were The Days
(Down At) Papa Joe's
A Walk In The Black Forest
You Are My Sunshine
Yellow Rose Of Texas
Red River Valley
Pistol Packin' Mama
Grandfather's Clock
Humoresque
Mack The Knife
Glow Worm
Ragtime Cowboy Joe
Chanson D'Amour
Castle Rag

Customer Reviews:

Music, music, music.......2006-07-27

We enjoy this musician and we own cassettes. We were really glad to find this on CD's. Excellent item, good price, fast delivery.

Ian Bostridge - Schubert Lieder, Volume I

Average customer rating:

Refined singing, but the voice is an acquired taste
A promise of things to come
Fresh, shining, young. I envy that, really.
Refined artistry
Erlkonig note

Ian Bostridge - Schubert Lieder, Volume I
Franz Schubert , Ian Bostridge , and Julius Drake
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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Ian Bostridge - Schubert Lieder, Volume II
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Die Schone Mullerin
Ian Bostridge - Songs of Faure, Debussy & Poulenc

ASIN: B000007TK1
Release Date: 1998-07-14

Tracks:

Die Forelle, D.550
Ganymed, D.544
Im Fr, D.882
An den Mond, D.196
Heidenrin, D.257
Wandrers Nachtlied II, D.768
Erster Verlust, D.226
Der Fischer, D.225
Fischerweise, D.881
Nacht und Tre, D.827
Der Zwerg, D.771
An die Musik, D.547
Du bist die Ruh, D.776
Auf dem Wasser zu singen, D.774
An Silvia, D.891
Litanei auf das Fest Allerseelen, D.343
Frsglaube, D.686
Im Haine, D.764
Der Musensohn, D.764
Wandrers Nachtlied I, D.224
Seligkeit, D.433
Erlk, D.328

Amazon.com

Ian Bostridge has chosen a kaleidoscopic variety of songs by the greatest of all songwriters. The attractions and challenges of these songs are poetic and dramatic as well as musical, and Bostridge and Drake mobilize a wide range of expressive skills to reinforce their pure musicianship. They are intensely involved in storytelling in the playfully serious "Die Forelle" (The Trout) and "Heidenroeslein" (Wild Rose), in the grotesque "Der Zwerg" (The Dwarf) and the spooky "Erlkonig," which gallops through a story of a fruitless race against death. Tranquility reigns in the "Wandrers Nachtlied" (Wanderer's Night Song) I and II; hushed awe in "An die Musik" (To Music--a performance that brings tears to my eyes) and "Du bist die Ruh" (You are Peace); and idealistic love in the Shakespearean "An Sylvia" ("To Sylvia"). Each song creates a world of its own, superbly embodied in these performances. --Joe McLellan

Customer Reviews:

Refined singing, but the voice is an acquired taste.......2005-09-18

Ian Bostridge is a phenomenon, the darling of British critics and one of the few lieder recitalists today who can fill arnegie Hall. I've heard him there and on CD, and I don't get his enormous appeal. Usually when you dislike an artist revered by almost everyone else, it's best to keep quiet, but I must say this hooty, small voice with its limited range, along with Bostridge's precious underlining of every word, is so off the mark that I have to register a complaint. There is much refinement in his singing, and an admirable dramatic commitment, but none of that seems like adequate compensation. Now everyone can go on enjoying themselves, apparently.

A promise of things to come.......2005-08-30

I must be entirely honest and say that this was a disappointment to me. That comes, I promise, from probably the one person in the world most obsessed with Ian Bostridge's voice.
The reason is that I had heard so much of his subsequent work. The depth, color, agility, and timbre of his voice is simply spell-binding, but all of it is acquired, added to his natural melodic talent. So this, an earlier recording, holds less of that acquired beauty than later albums, particularly the Debussy, Faure, & Poulenc and Schubert Lieder, Vol II.
If you're looking for Schubert sung in a subtly emotional and petulent way, this is for you. I cannot say that his execution is particularly fulfilling, nor his German as good as it is now, nor his voice as rich -- he almost sounds tired in much of it -- but what you will hear is a promise of better things to come as he grows musically.
Personally, I think we should form a petition to get him to record another Lieder disc including a better version of Du Bist Die Ruh.

Fresh, shining, young. I envy that, really........2004-10-15

Just listen to the track 19, Der Musensohn. Only after that will you really understand the title "Der Musensohn", the son of the muse. I really wonder there would any singer surpass this. What a beautiful song, what an amazing fresh interpretation. The whole disc is almost too beautiful, clean and elaborated.

And, Ian is such an intelligent and gifted singer that I envy him so much.

I, with my own selfish anticipation, hope that in the future he will become more and even more mature, and just like Schubert, from a pure gifted intelligent voice into a deep and great immortal one.

Refined artistry.......2004-02-18

Ian Bostridge is a rarity in today's classical music world--a singer who is making his way mostly as an exponent of the intimate world of art song and the song recital.

The present volume contains many of Schubert's greatest and best-known songs. Bostridge's voice is a light tenor of extreme refinement--one suspects the voice in live performance is on the smallish side (I have not heard him live). On recording, however, without the urgency of filling a hall with sound, the artist can use his considerable skills to maximum interpretive effect. His liquid legato, clear diction and dynamic control give considerable pleasure--listen to the way he handles the taxing rising lines of "Du bist die Ruh," for example. Occasionally, as in the pianissimo conclusion of "Erlkonig," he goes for melodrama where a straightforward rendering would have been more effective. Pianist Julius Drake is a superb musical collaborator throughout. On balance, then, this is a beautifully performed and recorded disc.

Erlkonig note.......2002-10-21

I'd like to mention that the reason I bought this CD was because the Erlkonig that is contained on it in sang and played in G minor. This is the original key for the piece. Most (I'd say at least 9 out of 10) recordings of the song (including Fischer-Deskau) are in F minor. A good amount are sung by women. However, it is a VERY rare find indeed to hear Erlkonig in G minor. Also, Liszt transcribed this work for piano solo, and that's in G minor. Of course, most people don't care about the right key of the piece, but for those who do, like myself, this CD is the one you want. It's also a very good recording, as his voice is less harsh than most male singers, and thus more enjoyable to those not already into classical vocal works.

Ian Bostridge - Schubert Lieder, Volume II

Average customer rating:

Like his voice
Can we put the rapture in perspective?
A REAL SUCCESS
Even more beautiful than volume I
A Great Lieder Singer, with some unsuitable songs

Ian Bostridge - Schubert Lieder, Volume II
Franz Schubert , Ian Bostridge , and Julius Drake
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Ian Bostridge - Schubert Lieder, Volume I
Ian Bostridge - Liederkreis Op. 24, Dichterliebe Op. 48 & 7 Lieder
Die Schone Mullerin
Ian Bostridge - J.S. Bach: Cantatas & Arias / Biondi, Europa Galante
Schubert: Winterreise

ASIN: B00005KBJC
Release Date: 2001-07-03

Tracks:

Lied Eines Schiffers An Die Dioskuren, D.360
Nachtstuck, D.672
Auf Der Donau, D.553
Abendstern, D.806
Auflosung, D.807
Geheimes, D.719
Versunken, D.715
Schafers Klagelied, D.121
An Die Entfernte, D.765
Am Flusse, D.766
Wilkommen Und Abschied, D.767
Die Gotter Griechenlands, D.677
An Die Leier, D.737
Am See, D.746
Alinde, D.904
Wehmut, D.772
Uber Wildermann, D.884
Auf Der Riesenkoppe, D.611
Sei Mir Gegrusst, D.741
Dass Sie Hier Gewesen, D.775
Der Geistertanz, D.116

Amazon.com

Ian Bostridge's second Schubert recital for EMI (which features a welcome number of the less familiar songs) is even more impressive than the first--and that's saying something. Much of the disc finds him in a somber mood, from the hymnlike tone of the first song, "Lied eines Schiffers an die Dioskuren" ("Sailor's Song to the Dioscuri"), via "Nachtstück" ("Nocturne") to "Wehmut" ("Melancholy"). But though the tone is frequently valedictory and the tempo often slow, there is never a lack of variety.

That is Bostridge's achievement as much as Schubert's--he has designed his program with great sensitivity, and his voice seems to have grown in soulfulness and depth (try "Abendstern"--"The Evening Star"--to hear how much he can wring out of such apparently simple lines) to be even more mellifluous than previously, cherishing each word and finding total accord with pianist Julius Drake. Bostridge delights, too, in the rare happier moments, such as two of the Goethe settings, "Geheimes" ("A Secret") and "Versunken" ("Rapt Absorption"), which explore the lighter side of love. The recording is beautifully lifelike, and the liner notes are excellent. This is the work of a supreme artist caught at the height of his powers. --Harriet Smith

Customer Reviews:

Like his voice.......2007-02-15

Several of the reviews I've read on this site concerning Ian Bostridge are by people conspicuously more knowledgeable than I. They voice serious reservations about his work and his voice (small). Still his Shone Mullerin is my favorite collection of lieder. Whether his voice is small or not doesn't make much difference, I'd imagine, in the recording studio, and I find it very beautiful.

Can we put the rapture in perspective?.......2005-10-28

People are allowed to love what they love, but many reviewers here claim that Bostridge is the best lieder singer since Fischer-Dieskau. That's true only if you discount, among others,
Janet Baker
Christa Ludwig
Anne Sophie von Otter
Thomas Quasthoff
Mitsuko Shirai
Gundula Janowitz
Peter Schreier
Jan De Gaetani
Bryn Terfel
Thomas Hampson
Birgitte Fassbender
Kathleen Battle
Olaf Bar
Hakan Hagegard
Barbara Bonney
Thomas Allen
These are just the ones who've given us superlative Schubert and romatic lieder recitals on major labels since 1980 or so. I mean, it's one thing to advertize your enthusiasms, but it's another to claim your opinion as fact in the face of many, many great artists in this genre. Only after someone showed me how Bostridge excelled, or even equalled, these singers could I consider putting him up against legendary artists like F-D, Schwarzkopf, Hans Hotter, Imgaard Seefried, Julius Patzak, Kathleen Ferrier, Peter Pears...need one go on? A trendy favorite of the moment doesn't a master make. Personally, I find Bostridge an unappealing lieder singer, but if he one day gets added to the list of greats, I can accept that.

This post duplicates the one I wrote for the first volume of Bostridge's Schubert. I apologize if that offends some.

A REAL SUCCESS.......2002-10-09

This is Bostridge's second volume of "lieder" (i.e. musical settings of German romantic poems) by Schubert, and much of what I wrote in my review of his volume one applies equally here. These are wonderful songs by the greatest songwriter of all time, and Bostridge brings his usual beautiful tone and phrasing to each one of them. It would be pointlessly controversial to give any less than five stars.

The same reservations apply as before: Bostridge's voice is just too pure and lovely for some of Schubert's songs. However, it's fair to say that this later release is more successful than volume 1. In the earlier volume, he was courageously cutting heads with the greatest lieder-singers of all time on what could almost be called "Lieder's Greatest Hits". And it has to be said that for all his beauty of tone and phrasing, he has yet to develop the gravity or indeed the dramatic range and flexibility to put his name up there with the native German greats like Fischer-Dieskau, Prey, or more recently Baer and Quasthoff. In this latest volume, however, Bostridge has selected material that is more clearly suited to his terrific gifts - for the most part less well known but still outstanding compositions that involve less narrative and more reflection.

The experienced lieder aficionado who is attentive to the German lyrics may still find Bostridge's delivery insufficently deep in terms of both pitch and nuance. However, none of this is meant as negative criticism. Bostridge's glorious bel canto voice is one of the brightest lights in Britain's music industry. Lieder-singing is a highly specialised art-form in which even native German performers rarely reach their peak until middle age. And above all, this is a fine album in its own right - in fact one that most English speakers will actually find preferable to a more Teutonic and dramatic performance.

Even more beautiful than volume I.......2002-05-10

This album has a wonderful selection of songs that have a more subtle and beautiful effect than the first volume (and that is one of my very favorite albums!). His singing is beautiful and his artistry is even better. The songs aren't just sung. They are expressed so poetically it is like being in the middle of a magic spell being cast. Of course Mr. Drake's terrific playing adds so much to this recording. It isn't a singer with a pianist. It is two artists combining seamlessly to make the art come alive with a single vision.

I was fortunate to hear Mr. Bostridge and Mr. Drake perform several of these selections here in Ann Arbor. It was a wonderful recital and contained several songs that I hope get in a Volume III.

A Great Lieder Singer, with some unsuitable songs.......2002-05-09

There can be no doubtabout Bostridge's standing in the Lieder world - his recitals commonly sells out, even if he's performing relatively obscure material like Finzi.

Having first sampled him in the wonderful Schumann disc, buying this disc was a no-brainer. Bostridge lives up to my high expectations, singing with transcendental feeling; you know he's actually reliving the experience of the song, conveying the composer's thoughts instead of displaying his own vocal powers.

However, I'm not sure all the songs here are appropriately chosen - Bostridge has a very English tone, meaning a little short on power and size. Auflosung displayed this weakness - the tempo is too slow, the voice lacking in power and grandeur to project the song's intensity - just compare it to the intense Fassbaender / Johnson Hyperion recording will show that this song is less docile than it is here. Sometimes, he uses a slight crooning sound, which sounds fine, but after repeated listening, you wish he can project a fuller sound. I still enjoyed this CD but there are 500+ songs out there and I'm sure Bostridge can find more than enough that suits his voice!

A Cappella, Volume One - Brahms / Parkman, Danish National Radio Choir
Average customer rating:

Gorgeous, pure singing

A Cappella, Volume One - Brahms / Parkman, Danish National Radio Choir

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
A Cappella | Folk | Styles | Music
ASIN: B00000IM76
Release Date: 1999-04-13

Tracks:

Marienlieder, Op.22: Der englische Gruss
Marienlieder, Op.22: Maris Kirchgang
Marienlieder, Op.22: Marias Wallfahrt
Marienlieder, Op.22: Der Jager
Marienlieder, Op.22: Ruf zur Maria
Marienlieder, Op.22: Magdalena
Marienlieder, Op.22: Marias Lob
Two Motets, Op.29: Es ist das Heil uns kommen her
Two Motets, Op.29: Schaffe in mir, Gott, ein rein Herz
Two Motets, Op.74: Warum ist das Licht gegeben dem Muhseligen?
Two Motets, Op.74: O Heiland, reiss die Himmel auf
Fest- und Gedenkspruche, Op.109: Unsere Vater hofften auf dich -
Fest- und Gedenkspruche, Op.109: Wenn ein starker Gewappneter -
Fest- und Gedenkspruche, Op.109: Wo ist ein so herrlich Volk
Three Motets, op.110: Ich aber bin elend
Three Motets, op.110: Ach, arme Welt -
Three Motets, op.110: Wenn wir in hochsten Noten sein

Amazon.com

It's possible to appreciate Brahms's Marienlieder--a set of seven songs set to texts honoring the Virgin Mary--solely on the basis of their charm and simplicity. Brahms modestly compared their style to that of "old German church chorales and folksong." But, although several even sound like folksongs and offer no harmonic surprises, the choral writing reveals much more sophistication than implied by the above references. The Danish National Radio Choir gives us bright, confident, musically solid readings of these unjustly neglected works and continues its program with similarly competent renditions of some of Brahms's finest motets, including the Op. 74 masterpiece "Warum ist das Licht gegeben dem Muhseligen?" The recording gives this excellent choir plenty of room, and the sound is full and natural. The singing would benefit from better articulation of musical lines and text, but this seems to be more a function of the recording and not a reflection of the choir's technical ability. --David Vernier

Customer Reviews:

Gorgeous, pure singing.......2000-10-30

This is a very beautiful recording. Now, it may be pointless to describe why one recommends a vocal recording: vocal production, and in particular the sound of a choir, seems to be a very idiosynchratic and personal taste. An ensemble that sounds great to you might sound terrible to me, and that's just the way it is.

So for what it's worth, I guess what I love most about this ensemble is its clarity. There's a purity of tone and transparency of texture that is perfect for this music, which (as with most singing, if you ask me) would be spoiled by a big, muddy sound. I suspect that this quality is due in part to the small size of the group and the lack of too much vibrato in individual voices, among other things.

Brahms also deserves some credit: the Marienlieder, with their uniquely simple and sweet appeal, should warm the heart of any but the most jaded listener. The motets are more typical of Brahms in their complexity of line and structure, but no less rewarding. I remember singing a couple of them in college choir. We didn't sound like this, but I learned to appreciate the beauty and craftsmanship of the part writing.

Tracks:

Sonata, Op. 5 In F Minor: I Allegro
Sonata, Op. 5 In F Minor: II Intermezzo: Allegro
Sonata, Op. 5 In F Minor: III Largo
Sonata, Op. 5 In F Minor: IV Finale: Allegro risoluto
Sonata Triad, Op. 11 In A Flat Major, Tempo 1: 1 Sonata: Allegro non troppo - Con moto
Sonata Triad, Op. 11 In D Minor: 2 Sonata 'Elegy' - Andante molto espressivo
Sonata Triad, Op. 11 In C Major: 3 Sonata: Moderato, con passione innocente
Sonata, Op. In G Minor: Interludium: Andante Lugubre - Allegro assai

Tracks:

Fairy Tale Sonata Op. 24 No. 1 In C Minor: I Allegro abbandonamente
Fairy Tale Sonata Op. 24 No. 1 In C Minor: II Andantino con moto
Fairy Tale Sonata Op. 24 No. 1 In C Minor: III Allegro con spirito
Sonata 'Night Wind', Op. 25 No. 2, In E Minor: Introduzione: Andante con moto
Sonata 'Night Wind', Op. 25 No. 2, In E Minor: Allegro
Sonata 'Night Wind', Op. 25 No. 2, In E Minor: Tempo dell'introduzione
Sonata 'Night Wind', Op. 25 No. 2, In E Minor: Allegro molto sfrenatamente, presto
Sonata 'Night Wind', Op. 25 No. 2, In E Minor: Quasi cadenza
Forgotten Melodies, Op. 40: 1 Allegretto
Forgotten Melodies, Op. 40: 2 Introduzione: Allegro meditamente - Allegro scherzando
Forgotten Melodies, Op. 40: 3 Tempo capriccioso
Forgotten Melodies, Op. 40: 4 Allegro alla breve e molto sfrenatamente
Forgotten Melodies, Op. 40: 5 Con moto tranquillo e ondulotorio
Forgotten Melodies, Op. 40: 6 Allegro con moto

Tracks:

Sonate - Ballade, Op. 27 In F Sharp Major: Allegretto
Sonate - Ballade, Op. 27 In F Sharp Major: Introduzione: Mesto
Sonate - Ballade, Op. 27 In F Sharp Major: Finale: Allegro
Sonata Op. 30, In A Minor: Allegro risoluto: Poco a poco piu mosso - Coda: Allegro Molto
Sonata Romantica, Op. 53 No. 1 In B Flat Minor: I Romanza: Andantino con moto, ma sempre espressivo
Sonata Romantica, Op. 53 No. 1 In B Flat Minor: II Scherzo: Allegro
Sonata Romantica, Op. 53 No. 1 In B Flat Minor: III Meditazione: Andante con moto
Sonata Romantica, Op. 53 No. 1 In B Flat Minor: IV Finale: Allegro non troppo
Sonata minacciosa, Op. 53 No. 2 In F Minor: Allegro sostenuto, concentrando
Sonata minacciosa, Op. 53 No. 2 In F Minor: L'istesso tempo (ma con entusiasmo)
Sonata minacciosa, Op. 53 No. 2 In F Minor: (Fuga) Sempre al rigore di tempo
Sonata minacciosa, Op. 53 No. 2 In F Minor: Tempo I, concentrando
Sonata minacciosa, Op. 53 No. 2 In F Minor: A tempo (con entusiasme)
Sonata minacciosa, Op. 53 No. 2 In F Minor: Coda: Sempre animato (al rigore di tempo)

Tracks:

Forgotten Melodies, Op. 38: 1 Sonata reminiscenza - Allegretto tranquillo (Andante con moto)
Forgotten Melodies, Op. 38: 2 Danza graziosa - Con moto leggiero - Allegretto grazioso
Forgotten Melodies, Op. 38: 3 Danza festiva - Presto
Forgotten Melodies, Op. 38: 4 Canzona fluviala - Allegretto con moto
Forgotten Melodies, Op. 38: 5 Danza rustica - Allegro commodo
Forgotten Melodies, Op. 38: Canzona serenata - Moderato - Con moto (quasi cadenza) - Tempo 1
Forgotten Melodies, Op. 38: Danza silvestra - Allegro
Forgotten Melodies, Op. 38: Alla Reminiscenza - Quasi coda
Forgotten Melodies, Op. 39: 1 Meditazione - Introduzione (quasi Cadenza) Lento - Meditamente
Forgotten Melodies, Op. 39: 2 Romanza - Meditamente
Forgotten Melodies, Op. 39: 3 Primavera 'Fruhlingsmarchen' - Vivace
Forgotten Melodies, Op. 39: 4 Canzona matinata - Allegretto cantando
Forgotten Melodies, Op. 39: 5 Sonata tragica - Allegro risoluto
Sonate-Idylle, Op. 56 In G Major: I Pastorale: Allegretto cantabile
Sonate-Idylle, Op. 56 In G Major: II Allegro moderato e cantabile

Customer Reviews:

Good introduction to wonderful music, but..........2003-05-15

These marvellous works ought to be in many pianists' repertories; as it is, they mostly get played and recorded by Medtner specialists. Tozer has been recording all of the solo works and much else, and his Chandos set is substantially cheaper than the much-praised Hamelin box on Hyperion. For my money it's marginally better. Tozer can be prosaic, and he simply doesn't have Hamelin's chops (though who does?) But Hamelin is frustratingly uneven; he ruins the lovely second theme in the vernal Op. 11 No. 1, and rushes through the great Op. 22 sonata so that its ironies have little impact. If you can get only one of the sets, I think Tozer gives a better overall impression of Medtner's accomplishment. It's a substantial body of work which deserves to be known by everyone who loves music. Tozer's set also contains more music, though the Op. 40 "Forgotten melodies" are probably the least striking of the three sets. And the Chandos sound is significantly richer and more spacious than the cramped, harsh acoustic of the Hyperion set.

Joseph Haydn: Symphonies, Volume 4 (1764-65) - The Academy of Ancient Music / Christopher Hogwood

Average customer rating:

Joseph Haydn: Symphonies, Volume 4 (1764-65) - The Academy of Ancient Music / Christopher Hogwood
Franz Joseph Haydn , Christopher Hogwood , and The Academy of Ancient Music
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
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Joseph Haydn: Symphonies, Volume 5 (c. 1765-68) - The Academy of Ancient Music / Christopher Hogwood
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Joseph Haydn: Symphonies, Volume 1 (c. 1757-60) - The Academy of Ancient Music / Chrisopher Hogwood

ASIN: B000004CXS
Release Date: 1990-11-10

Tracks:

Sym No.21 in A: I. Adagio
Sym No.21 in A: II. Presto
Sym No.21 in A: III. Menuet-Trio
Sym No.21 in A: IV. Finale: Allegro molto
Sym No.22 in E flat 'The Philosopher': I. Adagio
Sym No.22 in E flat 'The Philosopher': II. Presto
Sym No.22 in E flat 'The Philosopher': III. Menuetto-Trio
Sym No.22 in E flat 'The Philosopher': IV. Finale: Presto
Sym No.23 in G: I. Allegro
Sym No.23 in G: II. Andante
Sym No.23 in G: III. Menuet-Trio
Sym No.23 in G: IV: Finale: Presto assai

Tracks:

Sym No.24 in D: I. (Allegro)
Sym No.24 in D: II. Adagio
Sym No.24 in D: III. Menuet-Trio
Sym No.24 in D: IV. Finale: Allegro
Sym No.28 in A: I. Allegro di molto
Sym No.28 in A: II. Poco adagio
Sym No.28 in A: III. Menuet: Allegro molto-Trio
Sym No.28 in A: IV. Presto assai
Sym No.29 in E: I. Allegro di molto
Sym No.29 in E: II. Andante
Sym No.29 in E: III. Menuet: Allegretto-Trio
Sym No.29 in E: IV. Finale: Presto

Tracks:

Sym No.30 in C 'Alleluja': I. Allegro
Sym No.30 in C 'Alleluja': II. Andante
Sym No.30 in C 'Alleluja': III. Finale: Tempo di Menuet, piu tosto Allegretto
Sym No.31 in D 'Hornsignal': I. Allegro
Sym No.31 in D 'Hornsignal': II. Adagio
Sym No.31 in D 'Hornsignal': III. Menuet-Trio
Sym No.31 in D 'Hornsignal': IV. Finale: Moderato molto
Sym No.34 in d: I. Adagio
Sym No.34 in d: II. Allegro
Sym No.34 in d: III. Menuet-Trio
Sym No.34 in d: IV. Presto assai

Average customer rating:

The Red Room Volume 4
Foo Fighters , Gorillaz , Billy Corgan , Jason Mraz , Doves , Son Volt , Ben Folds , Louis XIV , Bloc Party , and Rilo Kiley
ProductGroup: Music
Binding: Audio CD
ASIN: B000A5IBFG

Music Review:

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