Strauss: op. 20, op. 24, op. 30

On this CD:

1. Don Juan, tone poem for orchestra, Op. 20
Composed by Richard Strauss
Performed by Vienna Philharmonic Orchestra with James Brown
Conducted by Herbert von Karajan

2. Tod und Verklärung (Death and Transfiguration), tone poem for orchestra, Op. 24
Composed by Richard Strauss
Performed by Vienna Philharmonic Orchestra with James Brown
Conducted by Herbert von Karajan

3. Also sprach Zarathustra (Thus Spoke Zoroaster), tone poem for orchestra, Op. 30
Composed by Richard Strauss
Performed by Vienna Philharmonic Orchestra with James Brown
Conducted by Herbert von Karajan

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
The Life and Works of Ludwig van Beethoven
What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

An Alpine Symphony, Op.64: Night - Sunrise - Berliner Philharmoniker
An Alpine Symphony, Op.64: The Ascent - Berliner Philharmoniker
An Alpine Symphony, Op.64: Entering The Wood - Berliner Philharmoniker
An Alpine Symphony, Op.64: Wandering By The Brook - By The Waterfall - Apparition - Berliner Philharmoniker
An Alpine Symphony, Op.64: Flowery Meadows - On The Mountain Pasture - On The Wrong Track Through Thickets And Undergrowth - On The Glacier - Berliner Philharmoniker
An Alpine Symphony, Op.64: Precarious moments - On The Summit - Vision - Berliner Philharmoniker
An Alpine Symphony, Op.64: Rising Mists - The Sun Gradually Dims - Elegy - Berliner Philharmoniker
An Alpine Symphony, Op.64: Calm Before The Storm - Berliner Philharmoniker
An Alpine Symphony, Op.64: Thunderstorm, Descent - Berliner Philharmoniker
An Alpine Symphony, Op.64: Sunset - Berliner Philharmoniker
An Alpine Symphony, Op.64: Epilogue - Night - Berliner Philharmoniker
Don Juan, Op.20: Tone Poem After Nikolaus Lenau - Berliner Philharmoniker
Waltzes From Act III - Berliner Philharmoniker

Tracks:

Thus Spake Zarathustra, Op.30: Introduction - Michel Schwalbe
Thus Spake Zarathustra, Op.30: Of The Backworldsmen - Michel Schwalbe
Thus Spake Zarathustra, Op.30: Of The Great Longing - Michel Schwalbe
Thus Spake Zarathustra, Op.30: Of Joys And Passions - Michel Schwalbe
Thus Spake Zarathustra, Op.30: The Song Of The Grave - Michel Schwalbe
Thus Spake Zarathustra, Op.30: Of Science - Michel Schwalbe
Thus Spake Zarathustra, Op.30: The Convalescent - Michel Schwalbe
Thus Spake Zarathustra, Op.30: The Dance Song - Michel Schwalbe
Thus Spake Zarathustra, Op.30: Song Of The Night Wanderer - Michel Schwalbe
Festival Prelude, Op.61 - Wolfgang Meyer
Till Eulenspiegel's Merry Pranks, Op.28 - Berliner Philharmoniker
Salome, Op.54: Dance Of The Seven Veils - Berliner Philharmoniker

Tracks:

A Hero's Life, Op.40: The Hero - Erich Muhlbach
A Hero's Life, Op.40: The Hero's Adversaries - Erich Muhlbach
A Hero's Life, Op.40: The Hero's Companion - Erich Muhlbach
A Hero's Life, Op.40: The Hero's Battlefield - Erich Muhlbach
A Hero's Life, Op.40: The Hero's Works Of Peace - Erich Muhlbach
A Hero's Life, Op.40: The Hero's Retirement From The World And Fulfilment - Erich Muhlbach
Death And Transfiguration, Op.24 - Staatskapelle Dresden

Customer Reviews:

first-rate interpretations, second-rate recorded sound.......2006-07-30

What admirable interpretations from Böhm! He breathes so much character into each of the musical "paragraphs" in these readings. Each theme is given its own distinct tempo, chosen with exceptional judgement to emphasize its idiosyncracies and expressive character; and Böhm can turn his orchestra on a dime when a good deal of contrast is called for between the end of one paragraph and beginning of the next. There's also enourmous dynamic range and contrast, form the softest pianissimi to thundering fortissimi. These are readings that really bring out the broad ebb and flow of these long pieces, emphasizing the structure, the architecture of them. They're really fantastic.

Do be warned, though, that the recorded sound is very dated: generally it's rather one-dimensional and the resolution is not very high, so that you mostly hear only the most prominent voices of the ensemble at any given time. It's at its worst in the Alpine Symphony, which sounds like a scratchy, screechy 1930's film soundtrack. In the rest of the pieces it ranges from good to serviceable; but if there's any repertoire that really benefits from today's high-fidelity recording technology, massive post-Romantic orchestral scores like these are certainly a front-runner. Buy this set for the marvellous interpretations, but you'll want to explore other, better-recorded readings as well to really hear the full depth and resonance of the orchestral sound.

Not worth it!!!!!!!.......2006-07-19

This seems like a great deal with the amount of material and the price, but the truth is "cheap price, cheap recordings" . I highly suggest if you want to get the most of Richard Strauss's tone poems you should buy different recordings. The main thing I was disappointed with on this box set was the recording of An Alpine Symphony. The recording of the alpine symphony was too old and weak, sloppy and loud (only at times),and just ok overall. The alpine symphony is on the first cd so I after I listened to that, I had a bad attitude about the rest of it. Even though, all of the other recordings are pretty good or ok.

Personally, I would suggest Karajan and the Berlin Philharmonic when it comes to Richard Strauss's tone poems.

Wonderful Interpretation throughout........2006-01-01

This collection is a wonderful package in that it brings together one of Strauss's life friends and largest advocates (Karl Bohm) with two incredible GERMAN orchestras playing their own nationalistic music.

These recordings rank among my most cherished and loved. Highlights (for me) include the climax of sunrise in the Alpine Symphony, the huge reverberations as the massive sound of the fff chords carry over into silence in Heldenleben, and the wicked-crazy horns as they rip through the Waltz from Rosenkavalier.

These are prime interpretations (better, I feel than any other -- and I mean ANY - sorry Karajan fans!!!). And these two wonderful forces play their musical heritage with passion and brilliance.

As another reviewer pointed out, the sound quality leaves something to be desired, however it is not quite as bad as they would have us believe. What we first must take into account is that Strauss' huge tone poems put enormous demands on the recording equipment of its day that could not be met. Also, Bohm was stressed above all else that "the melody be prominent". Yes - as a result the recording really kicks out the melody line.

Okay - take that into account and listen to these with some imagination. I assure you that you will be able to hear the detail of Strauss' music - but more importantly the style and idea of it. Listen like you would look at a black and white photo. While the B&W leaves more for your imagination, you still "get the picture" - and sometimes the B&W reveales more! It's exactly the same with this incredible box of Strauss.

The interpretation is absolutely stunning and revealing. Bohm nailed this on the head and truly captured the essence of this music. I feel this is a wonderful place for you to start if you know little Strauss - and if you know much about Strauss, this is a great place for you to hear a different, but seemingly perfect interpretation of Strauss.

Average customer rating:

Outstanding performances
Reviving a Lost Love
Not for beginners...
One of the very best of all EMI sets! The 2nd coming for all Straussians!
terrible, awful, hideous, lousy

Strauss: Orchestral Works

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Debussy, Ravel: Orchestral Works
Bruckner: The Complete Symphonies
Sibelius: The Complete Symphonies & Tone Poems
Liszt: Works for Piano and Orchestra
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

ASIN: B000026D4K
Release Date: 1999-11-16

Tracks:

Horn Concerto No. 1 In E Flat Major, Op. 11: I: Allegro
Horn Concerto No. 1 In E Flat Major, Op. 11: II: Andante
Horn Concerto No. 1 In E Flat Major, Op. 11: III: Allegro
Horn Concerto No. 2 In E Flat Major: I: Allegro
Horn Concerto No. 2 In E Flat Major: II: Andante con moto
Horn Concerto No. 2 In E Flat Major: III: Rondo (Allegro molto)
Oboe Concerto In D Major: I: Allegro moderato
Oboe Concerto In D Major: II: Andante
Oboe Concerto In D Major: III: Vivace
Duett-Concertino: I; Allegro moderato
Duett-Concertino: II: Andante
Duett-Concertino: III: Rondo (Allegro ma non troppo)

Tracks:

Burleske
Parergon zur Sinfonia Domestica, Op. 73
Panathenaenzug, Op. 74

Tracks:

Till Eulenspiegels lustige Streiche, Op. 28
Don Juan, Op. 20
Ein Heldenleben, Op. 40: The Hero
Ein Heldenleben, Op. 40: The Hero's Adversaries
Ein Heldenleben, Op. 40: The Hero's Wife
Ein Heldenleben, Op. 40: Certainty Of Victory
Ein Heldenleben, Op. 40: The Hero's Battlefield
Ein Heldenleben, Op. 40: War Fanfares
Ein Heldenleben, Op. 40: The Hero's Work Of Peace
Ein Heldenleben, Op. 40: The Hero's Withdrawl From The World
Ein Heldenleben, Op. 40: Renunciation

Tracks:

Violin Concerto in D minor, Op. 8: I: Allegro
Violin Concerto in D minor, Op. 8: II: Lento
Violin Concerto in D minor, Op. 8: III: Rondo
Sinfonia Domestica, Op. 53: Bewegt - Thema I - Thema II - Thema III
Sinfonia Domestica, Op. 53: Scherzo (Munter)
Sinfonia Domestica, Op. 53: Wiegenlied - Massig langsam
Sinfonia Domestica, Op. 53: Adagio - (Langsam)
Sinfonia Domestica, Op. 53: Finale (Sehr lebhaft)

Tracks:

Also sprach Zarathustra, Op. 30
Tod und Verklarung, Op. 24
Der Rosenkavalier, Op. 59

Tracks:

Salome, Op. 54: Dance Of The Seven Veils
Le Bourgeois Gentilhomme - Suite, Op. 60: Overture
Le Bourgeois Gentilhomme - Suite, Op. 60: Jourdain - Minuet
Le Bourgeois Gentilhomme - Suite, Op. 60: The Fencing Master
Le Bourgeois Gentilhomme - Suite, Op. 60: Entrance and Dance of the Tailors
Le Bourgeois Gentilhomme - Suite, Op. 60: Minuet of Lully
Le Bourgeois Gentilhomme - Suite, Op. 60: Courante
Le Bourgeois Gentilhomme - Suite, Op. 60: Entry Of Cleonte
Le Bourgeois Gentilhomme - Suite, Op. 60: Intermezzo (Prelude To Act 2)
Le Bourgeois Gentilhomme - Suite, Op. 60: The Dinner
Schlagobers, Op. 70: Waltz
Josephslegende, Op. 63: Symphonic Fragment

Tracks:

Metamorphosen: Study For 23 Solo Strings
Eine Alpensinfonie, Op. 64: Night
Eine Alpensinfonie, Op. 64: Sunrise
Eine Alpensinfonie, Op. 64: The Ascent
Eine Alpensinfonie, Op. 64: Entering The Forest
Eine Alpensinfonie, Op. 64: Strolling By The Stream
Eine Alpensinfonie, Op. 64: By The Waterfall
Eine Alpensinfonie, Op. 64: Apparition
Eine Alpensinfonie, Op. 64: In Flowery Meadows
Eine Alpensinfonie, Op. 64: In A Mountain Pasture
Eine Alpensinfonie, Op. 64: Lost In The Thickets And Undergrowth
Eine Alpensinfonie, Op. 64: On The Glacier
Eine Alpensinfonie, Op. 64: Dangerous Moments
Eine Alpensinfonie, Op. 64: On The Summit
Eine Alpensinfonie, Op. 64: Vision
Eine Alpensinfonie, Op. 64: Mists Rise Up
Eine Alpensinfonie, Op. 64: The Sun Grows Dark
Eine Alpensinfonie, Op. 64: Elegy
Eine Alpensinfonie, Op. 64: Quiet Before The Storm
Eine Alpensinfonie, Op. 64: A Thunderstorm - Descent
Eine Alpensinfonie, Op. 64: Sunset
Eine Alpensinfonie, Op. 64: Conclusion
Eine Alpensinfonie, Op. 64: Night

Tracks:

Aus Italien, Op.16: I: Andante
Aus Italien, Op.16: II: Allegro molto con brio
Aus Italien, Op.16: III: Andantino
Aus Italien, Op.16: IV: Finale (Allegro molto)
Macbeth, Op. 23: Symphonic Poem

Tracks:

Don Quixote, Op. 35: Introduktion (Massiges Zeitmass)
Don Quixote, Op. 35: Massig (Don Quixote)
Don Quixote, Op. 35: Maggiore (Sancho Panza)
Don Quixote, Op. 35: Variation I: The adventure with the windmills
Don Quixote, Op. 35: Variation II: The battle with the sheep
Don Quixote, Op. 35: Variation III: Discourse between knight and squire
Don Quixote, Op. 35: Variation IV: The adventure with the pilgrims
Don Quixote, Op. 35: Variation V: The knight's vigil
Don Quixote, Op. 35: Variation VI: The meeting with Dulcinea
Don Quixote, Op. 35: Variation VII: The ride through the air
Don Quixote, Op. 35: Variation VIII: The voyage in the enchanted boat
Don Quixote, Op. 35: Variation IX: The combat with the two magicians
Don Quixote, Op. 35: Variation X: The defeat of Don Quixote
Don Quixote, Op. 35: Finale (Sehr ruhig)
Dance Suite from harpsichord pieces by Francois Couperin: I: Entree and stately round
Dance Suite from harpsichord pieces by Francois Couperin: II: Courante
Dance Suite from harpsichord pieces by Francois Couperin: III: Carillon
Dance Suite from harpsichord pieces by Francois Couperin: IV: Sarabande
Dance Suite from harpsichord pieces by Francois Couperin: V: Gavotte
Dance Suite from harpsichord pieces by Francois Couperin: VI: Tourbillon - Wirbeltanz
Dance Suite from harpsichord pieces by Francois Couperin: VIII: Allemande
Dance Suite from harpsichord pieces by Francois Couperin: VIII: March

Amazon.com essential recording

When it comes to the music of Richard Strauss, none of the world's great orchestras has a more distinguished tradition than the Staatskapelle Dresden. As pit orchestra of the Dresden Court Opera, the Staatskapelle was involved in the premieres, between 1901 and 1911, of Feuersnot, Salome, Elektra, and Der Rosenkavalier; later, with Karl Böhm conducting, its players participated in the premiere of Daphne. Most of Strauss's major tone poems have been in the Dresden orchestra's concert repertory since completion.

Back in the 1970s, EMI was able to capitalize on this association when it reunited the Staatskapelle with Rudolf Kempe--a native of Dresden, one of the master conductors of the 20th century, and an absolutely authoritative Straussian--for an integral recording of Strauss's orchestral works and concertos. The cycle was warmly received when it was originally released on LP, and it has become one of the treasures of the CD catalog since EMI reissued it whole, in three volumes, in 1992. With this latest repackaging, the whole impressive enterprise becomes available in one box.

Across the board, Kempe and the Dresdeners give magnificent readings of the music. Their Zarathustra is imposing and grand; their Heldenleben suitably heroic and quite smashingly played; their Till Eulenspiegel and Don Juan delightfully brisk, characterful, and exultant (the latter is dispatched in a blazing 16:06, and receives as ardent and exhilarating a reading as you are ever likely to encounter on disc). One of the finest of all the offerings is the account of Eine Alpensinfonie, a Kempe favorite and still a sonic knockout after nearly three decades.

The less familiar orchestral works are here, as well, including the early tone poems Aus Italien and Macbeth and the admittedly rather frothy ballet scores Josephslegende and Schlagobers. Of special value are the accounts of all Strauss's concerted works, from the early Violin Concerto (played by Ulf Hoelscher) and Burleske for piano and orchestra (with Malcolm Frager as soloist), through Don Quixote (featuring Paul Tortelier in magisterial form) and the two horn concertos, to the Oboe Concerto of 1946 and the final Duett-Concertino for clarinet and bassoon.

It's hard to imagine any label tackling such a project in today's bottom-line environment, or coming up with such definitive readings from today's performers. All the more reason to celebrate the appearance of this compendium. --Ted Libbey

Customer Reviews:

Outstanding performances.......2007-05-13

Rudolf Kempe's interpretations of Richard Strauss orchestral works (almost complete - one miss the orchestral songs) have been classic recordings since they first appeared on record in the early seventies (1970-75).

Especially fine are his interpretations of the core works, e.g., the symphonic poems Also sprach Zarathustra, Ein Heldenleben, Eine Alpensinfonie, Tod und Verklärung, Don Juan, Till Eulenspiegel, Don Quixote. All these are given first rate interpretations.

Furthermore, you get outstanding interpretations of Strauss' two horn concertos as well, with Peter Damm's superb horn playing, and an outstanding performance of Metamorphosen.

There is simply no rival to this collection of "core works of Richard Strauss".

In addition, this box collects also Strauss less interesting orchestral works - see Amazon's listing above. These minor works receive fine interpretations and performances too, but the main attraction is of course the core works above.

Sound quality is very fine - just excellent analogue stereo - and the orchestra, Staatskapelle Dresden, was one of the top orchestras in the world when these sessions were put on record.

Warmly recommended!

Reviving a Lost Love.......2006-08-07

The highest praise for any conductor must be that he rekindles enthusiasm and love for music that had been recently abandoned. In his autobiography, the conductor Felix Weingartner confesses that he had grown out of touch with Strauss' music; until hearing this set, I had felt the same, with only a few exceptions. But Rudolf Kempe and his really great Staatskapelle Dresden have won me back to Richard's orchestral music. So far, I have only heard part of the set: Zarathustra, Heldenleben, Till, Tod und Verklaerung, Der Buerger als Edelmann, Don Juan, Burleske, and Sinfonia Domestica, but my appetite is whet for more. Because of the refined, subtle, and yet intense conducting of Kempe, what used to strike me as cheap and taudry now strikes me as profound and moving. And the sheer musical skill of Strauss in thematic invention and counterpoint never ceases to amaze. Kempe was truly, in my not so humble opinion, the greatest conductor of the German classics following Furtwaengler; Karajan was empty and shallow by comparison. Kempe brings to this music the same passion and dignity that he brought to Beethoven, Brahms, Wagner, Schumann, and other of "his" composers. To make just one comparison, Reiner's Zarathustra, once hallowed by me as by most listeners, now sounds like overripe, rotting fruit as compared to the passionate yet thoughtful quality that Kempe brings to it. The Staatskapelle Dresden, by the way, sounds like the greatest orchestra in the world, only matched by the Berlin Philharmonic under Kempe or Furtwaengler, an orchestra that produces incidentally beautiful sounds but whose main goal is the projection and characterization of the music. No virtuosity for its own sake, just musicianship, musicianship, and more musicianship. EMI's sound is the very epitome of how to record an orchestra: Impactful, yet smooth and detailed, with natural perspectives and no spotlighting. This set belongs in every music lover's library.

Not for beginners..........2006-07-16

Most boxed sets have their ups and downs because no conductor is equally sympathetic to all of a composer's works. Kempe is no exception to this rule.

The masterpieces, Zarathustra, Heldenleben, and Quixote, are superb here. Kempe clarifies Strauss' complex textures in a way that other conductors like Karajan don't. Most of the time, I prefer to hear these works Karajan's way, but it's nice to hear what Kempe does with them, too. No one does Sinfonia Domestica the way Kempe does it...with such gentleness and humor. I listened to Reiner's recording for years, but I put it up for sale on amazon after I heard the Kempe. With all four of these large tone poems, Kempe and Karajan are all I really need.

The Don Juan is just about the best I've ever heard. It is so vital and exciting! Better than Karajan or any other I know. It is hard to imagine that Macbeth will ever be done better than this either. Macbeth is one of the reasons I own this set, but it's hardly one of Strauss' masterpieces. Speaking of non-masterpieces, I also treasure Kempe's recordings of Strauss' strange works for piano and orchestra. The Burleske has more poetry but less excitement than the classic Byron Janis/Reiner recording.

Kempe's recordings of the Horn Concertos are truly awful. Listen to the weak, watery tones of the first-chair horn player stepping into the solo spotlight. One listen to the mono recordings of Dennis Brain conducted by Sawallisch shows what is missing: bold, ringing tone and lots of excitement. If I only knew Kempe's recordings, I wouldn't even care about these pieces.

The bad news continues with the Oboe Concerto (weak oboist) and the charming Duet Concertino (weak bassoon).

Kempe misses the raucous fun that charges the best recordings of Till Eulenspiegel. This is a limp dishrag of a performance (until the last few minutes). At the very start of the performance, you will hear a familiar sound -- our weak horn player from the concertos playing a solo -- and you will long to stop the CD and reach for a different recording.

Metamorphosen is one of my favorite pieces by Strauss. Kempe, as is his wont, tries mightily to clarify Strauss' dense counterpoint here, and I appreciate the effort. I hear things here that I miss in other recordings. But this reading does not move me the way others have. Ormandy, to name just one. Death and Transfiguration is another one that Ormandy did better. Kempe is too fast at times! Really fast!

My greatest disappointment with this set is a recording that has been acclaimed by many as one of the greatest Strauss recordings ever made...Kempe's take on Eine Alpensinfonie. I have lived for many years with the Karajan recording, and I must say that Kempe misses many of the moments that I have come to treasure in Karajan's version. One example would be those 20 horns playing! Karajan makes this absolutely thrilling, which I'm sure is what Strauss intended. With Kempe, this telling touch by Strauss passes by unremarkably. The slow, quiet passage at the summit lacks magic. The apotheosis at the top of the mountain is certainly thrilling in Kempe's hands, but he misses too much on the way up. By the way, his cowbells sound almost comically bad. He certainly does bring out the beauty of the closing sections of the work, though.

If you are really serious about getting to know Strauss' music, this is a necessary purchase for the rarities that will probably never be done better like the Violin Concerto and the pieces I've already mentioned. If you just want Strauss' most famous works, this is a waste of your money (no matter how cheap it is!)because there's a lot of stuff here that either isn't very good or that you probably won't want to listen to that often. You would be better off buying Karajan's recordings (the 1970s recordings, not the remakes from the 80s) of the big three tone poems and then filling in the smaller ones as your interests dictate. Casual listeners will never need to hear pieces like Macbeth or the piano works that make this set so vital to Strauss-aholics like me!

One of the very best of all EMI sets! The 2nd coming for all Straussians!.......2006-02-10

The great Strauss tone poems soar to the highest level imaginable! With Kempe's genius, the lesser works become great! Kempe resists all temptation to be banal or bombastic. He directs the Staatskappele Dresden with a silken, burnished tone yet with restraint that has a radiant glow that never sacrifices the inherent capacity of the music to thrill, deeply move, or elevate to another plain. Each work played is in itself the guide: conductor and orchestra let the works deliver their own brilliance. The Don Juan and Dead and Transfiguration are soul piercing, along with Ein Heldenleben, and....... The Staatskapelle Dresden has always been an inspired ensemble and in Kempe's hands they are simply put, magnificent, delivering one thrilling performance after another. Like Wagner and Faith, you get Strauss or you don't. If you do get it, this set is beyond self recommendation; Buy this set before it disappears from the shelves. Classical Cd shelves these days have hidden boomerangs. One minute here, next minute.....boing going gone)...! The concert hall may never hear greater performances of Strauss' orchestral works as we hear on these nine disks. The sound is nothing short of a rich, full timber as Kempe leads then with inspired and interpretive genius . This all may sound over the edge but I don't think so and I don't think you will be disappointed. Strauss has been served in splendor by the Dresden musicians under Kempe's baton. [Although in an aside I must say that Raphael Fruhbeck de Burgos and the Tanglewood Music Center Orchestra's performance this past summer of Don Juan and the Rosenkavalier suite were superb.] Then I think of the BSO with Levine...., their Strauss should be something else. Bravo and kudos to all for bringing us this gift. Booklet is very well done with one exception. There is not a word in the booklet about Rudolf Kempe and/or the orchestra itself. 10 stars anyway!!

terrible, awful, hideous, lousy.......2005-04-22

The problem with the "classics" is that too many hacks have hacked them to pieces. My opinion of these recordings, for whatever it is worth, is that they simply do not do justice to Strauss's magnificent music.

There is a reason they are a "bargain". I would avoid this set.
Sometimes a boxed set is a good deal, but this one is not. I find the entire set unspeakably dull and literally unlistenable.

In any event, this is merely my opinion. The majority of the other reviewers think its terrific.

Average customer rating:

Truly great Strauss conducting from Haitink
5 grandes poemas y una hermosa suite
Get this for the wonderful Heldenleben.
Zarathustra said "nevermore"
Just onde for Jochum?

Richard Strauss: 5 Great Tone Poems

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Tone Poems in Full Score, Series 2: Till Eulenspiegels Lustige Streiche, also Sprach Zarathustra and Ein Heldenleben
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Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra

ASIN: B000004198
Release Date: 1994-08-16

Tracks:

Don Juan, Op. 20
Ein Heldenleben, Op. 40 -: Der Held
Ein Heldenleben, Op. 40 -: Des Helden Widersacher
Ein Heldenleben, Op. 40 -: Des Helden Gefahrtin
Ein Heldenleben, Op. 40 -: Des Helden Walstatt
Ein Heldenleben, Op. 40 -: Des Helden Friedenswerke
Ein Heldenleben, Op. 40 -: Des Helden Weltflucht und Vollendung
Les joyeuses plaisanteries de Till l'Espiegle: Till Eulenspiegels lustige Streiche, Op.28

Tracks:

Also sprach Zarathustra, Op. 30: (Sonnenaufgang)
Also sprach Zarathustra, Op. 30: Von den Hinterweltlern
Also sprach Zarathustra, Op. 30: Von der grossen Sehnsucht
Also sprach Zarathustra, Op. 30: Von den Freuden und Leidenschaften
Also sprach Zarathustra, Op. 30: Das Grablied
Also sprach Zarathustra, Op. 30: Von der Wissenschaft
Also sprach Zarathustra, Op. 30: Der Genesende
Also sprach Zarathustra, Op. 30: Das Tanzlied
Also sprach Zarathustra, Op. 30: Das Nachtwandlerlied
Mort et transfiguration: Tod und Verklarung, Op. 24
Der Rosenkavalier, Op.59: First Suite of Waltzes
Der Rosenkavalier, Op.59: Second Suite of Waltzes

Customer Reviews:

Truly great Strauss conducting from Haitink.......2005-09-18

Philips outdid itself with wonderfully warm, clear, detailed sonics for Haitink's Also Sprach Zarathustra, and he obliged the engineers with a super-detailed reading that is riveting in every way. There is not a touch of Solti's vulgarity, and although I never thought I'd say it, this recording sounds better and comes off more dramatically than even Karajan's. Let's call it a tie. Everything else is wonderful as well.

5 grandes poemas y una hermosa suite.......2004-11-30

Bernard Haitink gano los mas pretigiosos premios con su serie de grabaciones de los poemas sinfónicos de Liszt y siguio su marcha de espectacular interpretacion con estos poemas sinfónicos verdaderamente notables.
Muerte y transfiguración, vida de heroe, don Juan y la siempre reducida a la introduccion Asi hablo Zaratustra son obras musicales que permaneceran como muchas en lo mas alto de la composición clasica y Haitink entre sus interpretes mas sobresalientes.
Este es un Cd de colección con obras grandiosas, geniales, llenas de emocion y magia, de sentimentalismo y plenas de innovadora genialidad.
Suma a esta maravillosa coleccion una sublime pieza de gran belleza, la suite del Caballero de la Rosa es notable y ademas en la soberbia direccion de Eugen Jochum, quien tomando a su cargo la orquesta del concertgebouw (patrimonio de Haitink) nos deslumbra y hace que la elección sea mas que satisfactoria, verdaderamente irresistible.

Get this for the wonderful Heldenleben........2003-08-25

The star of this Duo set is the Heldenleben, which alone is enough to justify the money spent. Hermann Krebbers plays the violin solos magnificently and Haitink gives a strongly expansive reading. However, the same expansive approach does not work too well in "Zarathustra" and "Tod", which have a certain Brucknerian stodginess. You will be left wishing for a bit more pace and brio in the playing. "Don Juan" and "Till Eulenspiegel" are excellently paced and played however. They are among the best performances I have ever heard.

Zarathustra said "nevermore".......2001-02-04

I thought it was impossible for any conductor or orchestra to screw up the introduction to "Also Sprach," but Haitink and the Concertgebouw prove it can be done. I will mainly focus on this introduction, as I am rarely able to listen to any more after hearing such an abomination right away. The orchestra leaves spaces in the passages wide enough to drive a truck through, and at the finale there is enough time to get up for some coffee between each chord. For anyone who saw 2001 and wanted a really good recording of the intro, plus some other good works, do not buy this album. It merely leaves you cold and angry that anyone would treat a piece of such majesty so. It's choppy, aimless, and infuriating. You can bet I will never again purchase any album that features the name Haitink.

Just onde for Jochum?.......2000-07-18

excelent music, lots of listening time and...why just one op. for Jochum?

An die Musik [2 CD & DVD Limited Edition]

Average customer rating:

An excellent overview of Dietrich Fischer Dieskau with Deutsche Grammophon

An die Musik [2 CD & DVD Limited Edition]

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0008064XY
Release Date: 2005-07-12

Customer Reviews:

An excellent overview of Dietrich Fischer Dieskau with Deutsche Grammophon.......2005-11-08

"An die Musik", aptly named after the famous Schubert lied of the same title, is an excellent overview of Dietrich Fischer-Dieskau's recorded output for Deutsche Grammophon over the past 56 years. On the CDs, there are six Schubert lieder from Fischer-Dieskau's 21 disc set with pianist Gerald Moore, (dating from ca. 1970) and other lieder by Wolf, Richard Strauss, Brahms, and Schoeck. Also included are two chansons of Claude Debussy, and arias from Mozart's "Die Zauberflote" and "Don Giovanni", both conducted by Ferenc Fricsay; small part of Fricsay's Orff "Carmina Burana" (rec. 1949), Schubert's "Dichterliebe" cycle with pianist Jorg Demus; and the 4 Ruckert lieder with Karl Bohm/Berlin Philharmonic. Fischer-Dieskau is amazing, with such a wide repertory, and such enthusiasm for singing such varied and different styles of music.

The bonus DVD, lasting about 28 minutes, is very interesting to watch and listen to. Dietrich Fischer-Dieskau and pianist Sviatoslav Richter peform 8 famous Schubert lieder in the great room of a hotel in a remote Bavarian village, in utterly charming and rather informal surroundings. The camera work is minimal, the sound, very fine but a little low level mono: filmed in 1978. Fischer-Dieskau looks alot younger here than more recent photos of him, but a little older and more classy than the photos I'm used to seeing of him, which date from the late 1960s. Fischer-Dieskau and Richter work as one, and their partnership and great working relationship is evident from measure 1. There is no doubt watching this that they had alot of fun performing for the cameras.

I am grateful DG released this set: 2 very full discs at over 70 minutes of music each, + the DVD of a telecast not seen since 1978. The sound is very good, even in the mono tracks, and if you like lieder and opera excerpts, you will be delighted. I mention this as one who's experienced Fischer-Dieskau's recordings for 25 years, and been usually delighted by them.

Lorin Maazel - Richard Strauss / Bavarian Radio Symphony Orchestra

Average customer rating:

Kempe Vs. Maazel is closer than one would think
Very Good But Not Great Richard Strauss from Maazel
boring and over rated
Overall, the recordings well worth it!

Lorin Maazel - Richard Strauss / Bavarian Radio Symphony Orchestra
Richard Strauss , Bavarian Radio Symphony Orchestra , and Lorin Maazel
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00000IYO1
Release Date: 1999-05-18

Tracks:

Sinfonia Domestica - Thema I (Bewegt)
Sinfonia Domestica - Thema II (Sehr lebhaft)
Sinfonia Domestica - Thema III (Ruhig)
Sinfonia Domestica - Scherzo (Munter)
Sinfonia Domestica - Massig langsam (Wiegenlied)
Sinfonia Domestica - Adagio (Langsam)
Sinfonia Domestica - Finale (Sehr lebhaft)
Tod und Verklarung (Death and Transfiguration)
Thus Spake Zarathustra, Op.30: Night Wanderer's Song
Rosenkavalier Ste, Op.59
Don Juan, Op.20

Tracks:

Also sprach Zarathustra (Thus Spake Zarathustra) - Einleitung (Introduction)
Zarathustra - Von den Hinterweltlern (Of the People of the Unseen World)
Zarathustra - Von der grossen Sehnsucht (Of the Great Longing)
Zarathustra - Von den Freuden und Leidenschaften (Of Joys and Passions)
Zarathustra - Das Grablied (Dirge)
Zarathustra - Von der Wissenschaft (Of Science)
Zarathustra - Der Genesende (The Convalescent)
Zarathustra - Das Tanzlied (Dance Song)
Zarathustra - Das Nachtwandlerlied (Night Wanderer's Song)
Rosenkavalier Suite
Don Juan

Tracks:

Till Eulenspiegels lustige Steiche (Till Eulenspiegel's Merry Pranks)
Ein Heldenleben (A Hero's Life) - Der Held (The Hero)
Heldenleben - Des Helden Widersacher (The Hero's Adversary)
Heldenleben - Des Helden Gefahrtin (The Hero's Companion)
Heldenleben - Des Helden Walstatt (The Hero's Battlefield)
Heldenleben - Des Helden Friedenswerke (The Hero's Works of Peace)
Heldenleben - Des Helden Weltflucht und Vollendung (The Hero's Flight from Reality and Fulfillment)

Tracks:

Eine Alpensinfonie (An Alpine Symphony) - Nacht (Night)
Alpensinfonie - Sonnenaufgang (Sunrise)
Alpensinfonie - Der Anstieg (Ascent)
Alpensinfonie - Eintritt in den Wald (Entrance into the Forest)
Alpensinfonie - Wanderung neben dem Bache (Walking by the Brook)
Alpensinfonie - Am Wasserfall (At the Waterfall)
Alpensinfonie - Erscheinung (Vision)
Alpensinfonie - Auf blumige Wiesen (To flowery Meadows)
Alpensinfonie - Auf der Alm (At the Alpine Meadow)
Alpensinfonie - Durch Dickicht und Gestrupp auf Irrwegen (Wandering through Thicket and Undergrowth)
Alpensinfonie - Auf dem Gletscher - On the Glacier
Alpensinfonie - Gefahrvolle Augenblicke (Dangerous Moments)
Alpensinfonie - Auf dem Gipfel (At the Summit)
Alpensinfonie - Vision
Alpensinfonie - Nebel steigen auf (Rising Mist)
Alpensinfonie - Die Sonne (The Sun)
Alpensinfonie - Elegie (Elegy)
Alpensinfonie - Stille vor dem Sturm (Calm before the Storm)
Alpensinfonie - Gewitter und Sturm, Abstieg (Thunderstorm, Descent)
Alpensinfonie - Sonnenuntergang (Sunset)
Alpensinfonie - Ausklang (Conclusion)
Alpensinfonie - Nacht (Night)
Macbeth - Allegro, un poco maestoso; Presto
Macbeth - Moderato maestoso
Macbeth - Allegro, un poco maestoso

Amazon.com

Richard Strauss's gift for evocative musical description was uncanny, to the point where it was joked he could set even a grocery list or a pint of beer to music. In fact, his various tone poems--the form with which he first gained fame as a composer--actually develop an orchestral vocabulary to depict topics ranging from Nietzsche's Superman to a fierce storm on the Alps and a day in the life of a nuclear family. This set gathers Lorin Maazel's interpretations from the last few years (with perhaps the greatest tone poem of the whole canon, Don Quixote, still to come in a planned future recording). Maazel--currently music director of the Orchestra of the Bavarian Radio, an ensemble of high-powered soloists modeled on Toscanini's famous NBC orchestra--is returning to some of these works for his third take, and his vision seems to have clarified in particular for the vistas of Ein Heldenleben and the Alpine Symphony as for the idealistic poetry of Death and Transfiguration and Don Juan.

While these accounts don't achieve the degree of narrative thrust of Kempe's indispensable versions or the astonishing ensemble opulence of Karajan's Strauss, Maazel highlights his orchestra's solo prowess at every possible moment, and textures are often given a marvelous clarity. The feeling such technical perfection imparts can be distant, as in what should be the most fevered passages of Zarathustra. But Maazel brings a loving touch to the much-dismissed Domestic Symphony as well as conviction to the early Macbeth. And the orchestra's wizardry--particularly the winds--gives much pleasure, especially in the deftly humored account here of Till Eulenspiegel. Both Zarathustra and the Sinfonia Domestica are still available as single-CD issues, as well. --Thomas May

Customer Reviews:

Kempe Vs. Maazel is closer than one would think.......2005-10-02

There are two competing sets at mid-to-budget price of the major orchestral works of Richard Strauss, this RCA set and the much more complete one from Kempe on EMI. Although the Kempe has been a darling of critics for decades, he wasn't in truth a major interpreter of these works, just a solid, unintrusive Kapellmeister type. None of his readings, with the possible exception of Don Quixote with Paul Tortelier as collo soloist, would rank as a first choce, but none are eccentric, either. Kempe's specialty was to find delicacy and refinement in works that often come off blantantly.

With Maazel we have a very intrusive interpreter who is ocnstantly fiddling with the details of Strauss's writing and who is apt at any moment to deliver a little shock by turning a phrase unexpectedly. At first I found this intrusiveness irritating, but Maazel is quite a technician. There is no doubt that he has ideas, agree with them or not. His Bavarian forces sound to me about as virtuosic as the Dresden Staatskepelle for Kempe. Maazel's set is in much better sound than Kempe's, demonstration quality, in fact. That counts for a lot in these splashy works. If only Maazel had given his musicians free rein to go over the top in climaxes, but the orgiastic isn't his style; being in total control is.

In the end, as the owner of both sets, I find about equl rewards in them, even though critics greatly favor the Kempe, a choice that doesn't seem completely valid to me unless you happen to want all the esoterica of Strauss's output.

Very Good But Not Great Richard Strauss from Maazel.......2002-12-28

Perhaps I'm a bit jaded, having heard exceptional accounts of some of Strauss's tone poems from the likes of Karajan and Sawallisch, but Maazel's Strauss tone poem cycle is simply a very well recorded, brilliantly performed set that offers few new insightful thoughts into either Strauss's musical intentions or Maazel's. Maazel does a great job emphasizing the rich orchestral textures of Strauss's scores, but rarely is it played with much conviction and warmth; notable exceptions include brilliant performances of Ein Alpensinfonie - although among the best, I still prefer Solti's glistening account with the Bavarian Radio Symphony - and Macbeth. However, fans of the Bavarian Radio Symphony Orchestra will not be disappointed by their exquisite playing that is just as splendid as their peers in Berlin and Vienna. Yet if you are interested in profound, riveting accounts of Strauss's scores, I recommend listening to recordings by Previn and the Vienna Philharmonic, and Blomstedt and the San Francisco Symphony Orchestra, as well as those from Sawallisch and Karajan.

boring and over rated.......2000-05-11

I am a Lorin Maazel fan. I had no idea, however, that his R. Strauss tempi and balances were so boring. I was completely let down by these recordings. the only bonus was the recording technology they chose to employ, but overall, it was a total waist of time and money.

Overall, the recordings well worth it!.......1999-12-17

Lorin Maazel is not a neurotic conductor (nor was Richard Strauss the composer). Strauss had a tremendous gift of imaginative invention, vividness, and portrayal of the subjects and the heroes behind his symphonic poems. There's no doubt that Strauss took the ideas of Franz Liszt (the father of symphonic poems) and developed the genre further.

Lorin Maazel and the Bavarian Radio Symphony Orchestra managed to achieve the balance in their performances and they sound as if they played the works out of admiration rather than anything else. Vividness, excitement, and commitment are all present in these recordings, especially of Eine Alpinesinfonie.

However, Strauss, though not a neurotic, was a composer of drama. Therefore, performances with drama will tend bring out more effectively the vividness, imaginative, and the descriptive ever so characteristic aspects of Strauss symphonic poems (and his operas). Maazel and the Bavarian were able to bring out those aspects of Strauss' works to some effectiveness. Their main drawback included too much emphasis on balance and not much on daringness. The climax of Death and Transfiguration, for example lacks the element of surprise Rudolf Kempe or Herbert von Karajan were able to portray. It is as if Maazel's performance with the Bavarian, though distinguished, conscientously tried to ignore the ruggedness so much a part of Strauss' tone poems (such as Ein Heldenlaben). Forget the meticulousness for a while, just tell us the story that will keep us awake and excited.

Tracks:

I. Introitus, Requiem
II. Kyrie
III. Sequenz. No. 1. Dies Irae
III. Sequenz. No. 2. Tuba Mirum
III. Sequenz. No. 3. Rex Tremendae
III. Sequenz. No. 4. Recordare
III. Sequenz. No. 5. Confutatis
III. Sequenz. No. 6. Lacrimosa
IV. Offertorium. No. 1. Domine Jesu
IV. Offertorium. No. 2. Hostias
V. Sanctus
VI. Benedictus
VII. Agnus Dei
VIII. Communio. Lux Aeterna
1. Molto Presto
2. Andante
3. Allegro
1. Allegro Spiritoso
2. Andante
3. Tempo Primo

Tracks:

1. Allegro Vivace
2. Andante Di Molto Pito Allegretto
3. Menuett (K. 409)
4. Finale: Allegro Vivace
1. Adagio - Allegro Spiritoso
2. Andante
3. Menuetto - Trio
4. Presto
1. Adagio - Allegro
2. Andante
3. Presto

Tracks:

1. Adagio - Allegro
2. Andante Con Moto
3. Menuetto: Allegretto - Trio
4. Finale: Allegro
1. Molto allegro
2. Andante
3. Menuetto: Allegretto - Trio
4. Allegro Assai
1. Allegro Vivace
2. Andante Cantabile
3. Menuetto: Allegretto - Trio
4. Molto Allegro

Tracks:

1. Allegro
2. Romance: Andante Con Moto
3. Menuetto. Allegretto - Trio
4. Finale. Allegro
1. Marcia: Maestoso
2. Menuetto
3. Rondeau
Euryanthe
Oberon
Preciosa, Op. 78
Peter Schmoll Und Seine Nachbarn

Tracks:

Don Juan, Op. 20
Till Eulenspiegels lustige Streiche
The Hero
The Hero's Adversaries
The Hero's Companion
The Hero's Battlefield
The Hero's Works of Peace
The Hero's Retirement From The World Of Fulfilment

Tracks:

Night - Sunrise
The Ascent
Entering The Wood
Wandering By The Brook
Flowery Meadows
Summit
The Sun Gradually Dims
Calm Before The Storm
Thunderstorm, Descent
Sunset
Epilogue - Night
Tone Poem For Large Orchestra

Tracks:

Main Title - Berliner Philharmoniker
Introduction - Berliner Philharmoniker
Of The Backworldsmen - Berliner Philharmoniker
Of The Great Longing - Berliner Philharmoniker
Of Joys And Passions - Berliner Philharmoniker
The Song Of The Grave - Berliner Philharmoniker
The Convalescent - Berliner Philharmoniker
The Dance-Song - Berliner Philharmoniker
Song Of The Night Wanderer - Berliner Philharmoniker
I. Beim Schlafengehen - Lisa Della Casa
II. September - Lisa Della Casa
III. Fruhling - Lisa Della Casa
IV. Im Abendrot - Lisa Della Casa

Tracks:

Early Years In Graz - Karl Bohm
First Conducting Experiences - Karl Bohm
Munich, Darmstadt And Alban Berg - Karl Bohm
Dresden, Richard Strauss And Mozart - Karl Bohm
Strauss As Conductor And Composer - Karl Bohm
Interlude In Vienna - Karl Bohm
Mozart's Genius - Karl Bohm
The Vienna State Opera Destroyed And Rebuilt - Karl Bohm

Customer Reviews:

I can't say enough good about this release.......2005-10-23

I can't say enough good about this release! DG/Universal have released some great mono recordings from the 1950s + some later Stereo issues of Karl Bohm (1894-1981) with the Vienna Philharmonic, Dresden State Orchestra, and Berlin Philharmonic, some which have never been on CD, or have been out of the catalog for years.

The Richard Strauss discs: about 50% of this set, have been released recently in a 3 CD Strauss box of Bohm/Dresden State Orchestra, and Berlin Philharmonic (DG, budget priced), but discs 1-4: Mozart and Weber, have not.

The Mozart "Requiem" with the Vienna Symphony, is from 1956 and is superb: taut, muscular, dramatic, and in very fine mono sound. Tempos are faster and more exciting than in Bohm's 1970 remake with the Vienna Philharmonic (DG). The 1956 "Requiem" was originally released on Philips LP, and for a short time, on Philips CD. The accompanying Symphonies 26 and 32 are very well played, with the Concertgebouw Orchestra.

The Mozart Symphonies are all excellent: 34 (with the added Minuet movement many conductors leave out), 35 and 38, all with the Vienna Philharmonic, originally Decca recordings, in mid 1950s mono sound. They share the same high marks and good qualities I give to Bohm's DG stereo Berlin Philharmonic Mozart cycle from the 1960s. The playing is warm and affectionate, tempos never too fast or slow: everything is just right. Karl Bohm was one excellent Mozart conductor, and the same can be said for Symphonies 39, 40, and 41 with the Concertgebouw Orchestra.

While the Berlin Philharmonic "Eine Kleine Nachtmusik" might not sound as good as Bohm's 1976 Vienna Philharmonic recording (DG, in several different reissues), it is very good, and affectionate. And I enjoyed the four Weber Overtures, including the rarely heard "Abu Hassan", "Euryanthe" and "Oberon" immensely - recorded in 1951 with the Dresden State Orchestra (Bohm's own orchestra from 1934-43) in very good mono sound.

Nothing need be said in detail about the Strauss works. You may know Bohm and Richard Strauss (1864-1949) became close friends in the early 1930s, and Strauss thought very highly of his younger colleague. Strauss's 1944 opera "Daphne" is dedicated to Karl Bohm. Bohm recorded much of Strauss's music: both orchestral (here) and opera, for DG, Decca, and other labels later on in his career.

Disc 8 is narration by Bohm, in German, recorded in 1960, "A Life re-told" and it is very interesting. There is a rough English translation in the accompanying text booklet, of Bohm's words telling about his life up to 1960 and career as a conductor. I highly recommend this set to anyone interested in great conducting, or in Karl Bohm's recordings.

Strauss: Don Juan op. 20, Tod und Verklarung op. 24, Also sprach Zarathustra op. 30 (London)

Average customer rating:

Strauss: Don Juan op. 20, Tod und Verklarung op. 24, Also sprach Zarathustra op. 30 (London)

Manufacturer: London
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Average customer rating:

Classical Jukebox Vol I - A Vintage Oldie!
J'AI UN FAIBLE POUR ORMANDY

Classical Juke Box, Vol. 1

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

General Christmas | Holiday Music | Special Features | 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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000026YZ
Release Date: 1991-07-01

Tracks:

Minuet In G
Hungarian Dance No. 5
La Boutique Fantasque: Cancan
The Comedians: Comedians' Galop
Coppelia: Waltz
Dance Of The Comedians
Fanfare For The Common Man
Flight Of The Bumblebee
Funeral March Of A Marionette
Dance Of The Hours: Galop
Rodeo: Hoe-Down
Cavalleria Rusticana: Intermezzo
Jesu, Joy Of Man's Desiring
Love For Three Oranges: March
Norwegian Dance No. 2
Gaite Parisienne: Cancan
1812 Overture: Finale
Pizzicato Polka
Polovtsian Dance No. 2
Hansel & Gretel: Prayer
Paganini Variations: 18th Variation
Romeo & Juliet: Love Theme
Gayne: Sabre Dance
Thus Spake Zarathustra: Sunrise
La Boutique Fantasque: Tarantella
Lt. Kije: Troika
Swan Lake: Theme
William Tell Overture: Finale

Customer Reviews:

Classical Jukebox Vol I - A Vintage Oldie!.......2000-12-13

Many of the same pieces on this CD were recorded on a vintage LP vinyl album of the late 1960s, entitled "More Greatest Hits" by Eugene Ormandy and the Philadelphia Orchestra. But the CD is even better; the recordings originally may have been analog, but there are more of them. The choice of music and quality is typically Ormandy -- outstanding. Young music lovers just beginning to explore the classical repertoire will especially appreciate this CD. I highly recommend it.

J'AI UN FAIBLE POUR ORMANDY.......2000-02-13

I confess to having a soft spot for Eugene Ormandy. The programme on this compilation CD is most varied, it goes all the way from HUNGARIAN DANCE NO. 5 by Brahms to the SUNRISE THEME by R. Strauss. The sound is pure Ormandy, crisp and clean, the tempos are always measured and well executed. The recorded sound is beautiful. Only one reservation - the short pieces leave one wishing for more of the same. Someone please inform me when the Sony people put Ormandy's rendition of MOTU PERPETUO by Paganini on CD...

Music Review:

Music Review

music review

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