The Complete Recordings, Vol. 10

Editorial Reviews
Album Description
When complete the Naxos Historical Caruso edition will constitute the complete cycle of all Caruso's recordings issued in chronological order, thus enabling the artistic development of this great artist to be followed in detail. In 1919, shortly after the period covered by this CD, Caruso was to celebrate his twenty-fifth year, yet in these recordings there is no sign of strain or wear on the voice at all, only the brilliant sounds that made Caruso world-famous and the first real operatic star of the gramophone.

Tracks:

Piano Sonata No. 2 In B Flat Minor, Op. 35: Grave-Doppio movimento
Piano Sonata No. 2 In B Flat Minor, Op. 35: Scherzo
Piano Sonata No. 2 In B Flat Minor, Op. 35: Marche funebre. Lento
Piano Sonata No. 2 In B Flat Minor, Op. 35: Finale. Presto
Etude - Tableau In E Flat Minor, Op. 39 No. 5: Allegro
Etude - Tableau In E Flat Minor, Op. 39 No. 5: Appassionato
Arabeske In C Major, Op. 18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: Von fremden landern und Menschen
Kinderszenen, Op.15 - Scenes From Childhood: Kuriose Geschichte
Kinderszenen, Op.15 - Scenes From Childhood: Hansche-Mann
Kinderszenen, Op.15 - Scenes From Childhood: Bittendes Kind
Kinderszenen, Op.15 - Scenes From Childhood: Gluckes genug
Kinderszenen, Op.15 - Scenes From Childhood: Wichtige Begbenheit
Kinderszenen, Op.15 - Scenes From Childhood: Traumerei
Kinderszenen, Op.15 - Scenes From Childhood: Am Kamin
Kinderszenen, Op.15 - Scenes From Childhood: Ritter vom Steckenpferd
Kinderszenen, Op.15 - Scenes From Childhood: Fast zu ernst
Kinderszenen, Op.15 - Scenes From Childhood: Furchtenmachen
Kinderszenen, Op.15 - Scenes From Childhood: Kind im Einschlummern
Kinderszenen, Op.15 - Scenes From Childhood: Der Dichter spricht
Toccata In C Major, op. 7: Allegro
Hungarian Rhapsody No. 19 In D Minor: Lento patetico (Lassan) - Vivace (Friska)

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Grave - Allegro di molto e con brio
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Adagio cantabile
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Rondo. Allegro
Impromptu In G Flat Major, Op. 90 (D 899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C Sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes: IV Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes: V Bruyeres. Calme
3 Preludes: VI General Lavine - eccentric. Dans le style et le mouvement d'un Cake-Walk
Poeme In F Sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C Sharp Minor, Op. 2 No. 1: Andante
Etude In D Sharp Minor, Op. 8 No. 12: Patetico

Amazon.com essential recording

This collection features wide-ranging repertory, including Russian Romantics like Rachmaninoff and Scriabin that were Horowitz's concert staples, all stunningly played. The Chopin "Funeral March" Sonata is taken at a flowing pace, with a crisp, touching march. Schumann's Kinderszenen is fetchingly done with disarming simplicity and heartfelt poetry. He "improves" Liszt's 19th Hungarian Rhapsody with doubling and rewriting, but it's no less exciting for all that. A stylish Beethoven "Pathetique" Sonata is treasurable for singing tone reined into a classical framework. A good overview of Horowitz's style and repertory with many delights. --Dan Davis

Customer Reviews:

Horowitz at his Musical and Technical Prime.......2003-01-06

Volume One of Sony's reissue of Vladimir Horowitz's Complete Columbia Masterworks Recordings contains studio recordings from 1962-63. His first three LPs for Columbia (Columbia Presents Vladimir Horowitz, The Sound of Horowitz, and In His First Recordings of...) were conceived as mini-recitals and have been carefully resequenced to fill two CDs.

By 1962, Horowitz had not performed in public for nine years. Frustrated with the repertoire restrictions, poor sound and lack of marketing he was receiving from RCA, he abandoned Little Nipper and signed on with Columbia Masterworks, headed by the legendary Goddard Lieberson. Thomas Frost was assigned as Horowitz's producer, and the two clicked immediately. The fine results they obtained can be heard here.

For decades Horowitz had a problematic relationship with Chopin's Second Sonata. A 1936 attempt to record the piece was aborted due to the pianist's first nervous breakdown (the first movement survives). Horowitz's 1950 recording for RCA is a bizarre collection of details, with a Funeral March that sounds like a Russian boat song on steroids. This 1962 recording is highly successful, however. Horowitz is obviously on top of the piece, technically, with his spare pedaling highlighting Chopin's use of counterpoint. The Funeral March is, for once, played with a crisp rhythm, the central section exquisitely balanced. He performed this work several times in the 1970s, but not as convincingly. The other Chopin works fare as well, including a passionate "Revolutionary" Etude and a tightly controlled B-minor Scherzo with a characteristically Horowitzian touch: Interlocking octaves replace Chopin's chromatic scales in the coda.

Schumann was Horowitz's favorite German composer. Here we have a swift Arabeske, painted in delicate watercolors, and a reflective Kinderscenen, featuring some remarkable voicing. Less successful is the Toccata, which is pianistically unstable and was spliced together virtually bar-by-bar (this remastering smoothes out the edits much better than previous issues).

Horowitz was less fond of Beethoven. He admired the Master's musical ideas and architecture, but was frustrated by Beethoven's piano writing, and many of Horowitz's Beethoven recordings are not convincing--although none could be classified as "bad." This version of the Pathétique (the only Sonata named by Beethoven himself) is one of the best ones, with a perfectly paced opening movement, a beautifully weighted Andante, and an unrushed Finale. Likewise with the lovingly voiced Schubert Impromptu, which is a great improvement over his 1953 recording which was performed in the wrong key!

Horowitz seldom played Debussy and recorded no Ravel. One wonders why, listening to the three Preludes from Book II included here. Horowitz's ability to control the lower levels of dynamics, playing soft-softer-softest, and his deft tone painting suit this music perfectly.

Of course, no Horowitz recital would be complete without Scarlatti, Scriabin and Rachmaninoff. The three Scarlatti Sonatas document Horowitz's increasing concern with authenticity, coupled with his ability to play with infinite grades of detachment and color. The Rachmaninoff and Scriabin illustrate Horowitz's huge dynamic range and unique understanding of Russian rhetoric.

Liszt's Hungarian Rhapsody No. 19 is a rather monotonous piece in the original version, but Horowitz's arrangement of it here unquestionably improves the piece. Not only is the work more spectacular with Horowitz's additions, but the pianist's editing maked the structure more coherent. This was originally the last piece on the first LP he made for Columbia, and it's obvious his intent was to show that although he had mellowed and matured, he could still play "like Horowitz" when he chose. He proved his point.

These recordings were produced at Columbia's legendary 30th Street Studio (actually a converted church) and the "360-degree" sound was widely praised in its day. The remastering has opened up the dynamics, and brought forth a fuller, more natural sound, reducing noise without overly capping the high frequencies.

Delightful First Volume.......2000-11-12

"The Studio Recordings 1962-1963" is the first of Vladimir Horowitz's incredible nine CD volumes of the Complete Masterworks Recordings, which are available individually or as a boxed set. Volume One features solo piano works by an amazing array of composers -- Beethoven, Chopin, Debussy, Liszt, Rachmaninov, Scarlatti, Scriabin, Schubert and Schumann. Several of these pieces I was not familiar with prior to purchasing this disc, especially Schumann's "Kinderszenen" and Horowitz's own transcription for Liszt's Hungarian Rhapsody No. 19, and they are wonderful additions to my collection. Some of the other pieces I do have other versions of, and it is delightful to hear the subtle differences in Horowitz's style and interpretation. I always thought Rubinstein was the best at playing Chopin, but Horowitz really gives him a run for his money. The Etudes and the Scherzo are played like they are Horowitz's old friends, and the "Funeral March" flows beautifully between the somber and revelatory passages. I might even have to give Horowitz's rendition the nod over Van Cliburn's version (see my review of that title). Horowitz handles Debussy's three Preludes (from Book II) with all the majesty of Walter Gieseking's classic recordings. And Horowitz's reading of Beethoven's "Pathetique" Sonata is equal, if not superior, to the version by Daniel Barenboim that is coupled with Tchaikovsky's "Pathetique" Symphony. Finally, Horowitz captures three Scarlatti sonatas (not featured on Volume 2) in the brilliant manner that only he could. This two-disc set is an essential purchase for the new and veteran classical music fan alike.

Garrick Ohlsson: The Complete Chopin Piano Works Vol. 10 - Etudes

Average customer rating:

Stunning Technique, Spellbinding Beauty. It deserves 7 Stars!
Mind Boggling!!!
Wow, Ohlsson is such an underrated pianist
QUITE SATISFYING
His technique is so secure, these 'studies' become music.

Garrick Ohlsson: The Complete Chopin Piano Works Vol. 10 - Etudes

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 1 ~ Sonatas
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 6 ~ Nocturnes
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 5 ~ Polonaises & Impromptus
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 8 ~ Masterpieces & Miniatures
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 3 - Ballades

ASIN: B00000DCQR
Release Date: 1998-10-20

Tracks:

Twelve Etudes, Op. 10: No. 1 In C Major
Twelve Etudes, Op. 10: No. 2 In A Minor
Twelve Etudes, Op. 10: No. 3 In E Major
Twelve Etudes, Op. 10: No. 4 In C-Sharp Minor
Twelve Etudes, Op. 10: No. 5 In G-Flat Major
Twelve Etudes, Op. 10: No. 6 In E-Flat Major
Twelve Etudes, Op. 10: No. 7 In C Major
Twelve Etudes, Op. 10: No. 8 In F Major
Twelve Etudes, Op. 10: No. 9 In F Minor
Twelve Etudes, Op. 10: No. 10 In A-Flat Major
Twelve Etudes, Op. 10: No. 11 In E-Flat Major
Twelve Etudes, Op. 10: No. 12 In C Minor
Twelve Etudes, Op. 42: No. 1 In A-Flat Major
Twelve Etudes, Op. 42: No. 2 In F Minor
Twelve Etudes, Op. 42: No. 3 In F Major
Twelve Etudes, Op. 42: No. 4 In A Minor
Twelve Etudes, Op. 42: No. 5 In E Minor
Twelve Etudes, Op. 42: No. 6 In G-Sharp Minor
Twelve Etudes, Op. 42: No. 7 In C-Sharp Minor
Twelve Etudes, Op. 42: No. 8 In D-Flat Major
Twelve Etudes, Op. 42: No. 9 In G-Flat Major
Twelve Etudes, Op. 42: No. 10 In B Minor
Twelve Etudes, Op. 42: No. 11 In A Minor
Twelve Etudes, Op. 42: No. 12 In C Minor
Trois Nouvelles Etudes, Op. Posth.: No. 1 In F Minor - Andantino
Trois Nouvelles Etudes, Op. Posth.: No. 2 In D-Flat Major - Allegretto
Trois Nouvelles Etudes, Op. Posth.: No. 3 In A-Flat Major - Allegretto

Amazon.com

We can't hope for a "perfect" or "definitive" recording of Chopin's Etudes, which have so many aspects. But we can hope for performances like these, which are alive in every moment and which reflect appropriate measures of the composer's and the performer's personalities. Ohlsson has obviously made a profound study of this music (which he plays with a few interesting textual variants), and he brings out expressive elements and inner voices. He rarely stresses technical elements in the music, but his virtuosic command is complete and impressive. Outstanding, insightful program notes by Frank Cooper and excellent recording contribute to a highly recommendable release. --Leslie Gerber

Customer Reviews:

Stunning Technique, Spellbinding Beauty. It deserves 7 Stars! .......2006-03-20

This is one of those rare recordings that capture a pianist at his technical and artistic peak.

Garrick Ohlsson's rendition of the Etudes is nothing short of miraculous. If Chopin were alive to hear this he would cry out in religious ecstacy! I imagine Chopin saying, "I can now rest knowing my work has finally been given justice!" One can only hope he hears from beyond the grave. Ohlsson succesfully combines the often exclusive elements of lightness of touch combined with extreme speed, accuracy and exceptional artistry without pathos.

This performance will expand your intellect and satisfy your soul.

Mind Boggling!!!.......2006-01-12

I agree with the reviewer who comments on how easily Ohlsson handles the fiendish difficulties of the great Chopin Etudes. I read somewhere that he did not practice scales, arppegios, etc. like the rest of us poor mortals - his technical studies were the Etudes!!! If this is true, I'm sure that he is so secure with the notes and technical 'study' of each etude, that he can consentrate soley on the music, rather than its technical aim. Examples: The great "Winter Wind"Etude, in c minor, simply roars in his hands, and the "Harp" and Etude in Double Thirds are like gossemer. Gorgeous sounds. The study in broken chords, I never liked until I heard Ohlsson play it. After many playings, they are still a spell-binding joy to listen to.

Wow, Ohlsson is such an underrated pianist.......2005-12-31

People buy Pollini's record of these because they haven't heard Ohlsson's.

These etudes come so easily to Ohlsson that he can play everything with speed, dexterity, and MUSICALLY!!! who would have thought?

He's incredible.

QUITE SATISFYING .......2001-12-13

Chopin's two sets of Etudes, Op. 10 (1833) and Op. 25 (1837), have been known to set many pianists' teeth a-chatterin', and for good reason: they are fiendishly difficult to play and equally so to communicate easily, to render afresh. Not, apparently though, for Mr. Ohlsson, whose transcendental virtuosity enables him to subdue the nearly technically impossible and immerse himself in the sheer beauty, myriad moods, colors, textures and emotional utterances these twenty-four etudes have to offer.

So deep is Ohlsson's understanding of these studies that each literally takes on a life of its own, while, at the same time, becomes inseparable from the whole. So seemingly effortless is his technical command, so fruitful his passion, so revelatory his "voice," we become transfixed by a comforting trust in his interpretation of these works... and by our profound sense that his expressivity runs so deep within him that his musical simpatico enables us to feel completely secure--- wherever he wishes to take us. There is no bogus bravura here, no blatant showmanship, both of which are traits that would cripple these pieces.

Amidst etudes that sing, thunder, weep or misbehave, Ohlsson truly guides us, his pianism full of charismatic authenticity, balance and gossamer poetry. The ease with which Mr. Ohlsson obtains our rapt attention resides within the power of his own convictions regarding each and every one of these etudes. It is a wonderment. [Ah, Chopin, you genius, melancholy Pole!] The Trois Nouvelles Etudes of 1840, as well, are superb pieces, performed beautifully: hypnotic, wistful, nostalgic.

Consistent is the exemplary sound given this exemplary artist: rich, warm, detailed and intimate. The match couldn't be more perfect or enveloping. Excellent liner commentary, too, by Frank Cooper.

[Running time: 67:05]

His technique is so secure, these 'studies' become music........1998-12-19

Ohlsson plays these with such technical security, that he can and does shape them into individual jems. The big etudes are huge, and the softer one,(like the double thirds) weave in out beautiful dynamics and colors. They are spectacular performances.

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 8 ~ Masterpieces & Miniatures

Average customer rating:

A PENULTIMATE CHOPIN POTPOURRI

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 8 ~ Masterpieces & Miniatures

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ecossaises | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
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Garrick Ohlsson - The Complete Chopin Piano Works Vol. 9 ~ The Orchestral Works
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 6 ~ Nocturnes
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 3 - Ballades
Garrick Ohlsson: The Complete Chopin Piano Works Vol. 10 - Etudes
Garrick Ohlsson - The Complete Chopin Piano Works Vol. 1 ~ Sonatas

ASIN: B000000T9K
Release Date: 1997-02-18

Tracks:

Fantasy In F Minor, Op. 49
Berceuse In D - Flat Major, Op. 57
Barcarolle In F - Sharp Major, Op. 60
Bolero In C Major, Op. 19
Tarantella In A - Flat Major, Op. 19
Prelude In C - Sharp Minor, Op. 45
Allegro de Concert In A Major, Op. 46
Marche Funebre In C Minor, Op. 72 No. 2
Ecossaise No. 1 In D Major, Op. 72 No. 3
Ecossaise No. 2 In G Major, Op. 72 No. 3
Ecossaise No. 3 In D-Flat Major, Op. 72 No. 3
Souvenir de Paganini
Contredanse In G - Flat Major
Cantabile In B - Flat Major
Feuille d'album In E Major
Largo In E - Flat Major
Fugue In A Minor

Customer Reviews:

A PENULTIMATE CHOPIN POTPOURRI.......2001-12-19

For the most part, compilation CDs drive me to distraction. Bits and pieces of this and that, you know how it is. But in Volume 8 of Arabesque's Chopin traversal ("Masterpieces and Miniatures"), quite the contrary is true; not one work is off the mark in this dedicated "whole." Listening to Ohlsson play is to hear these pieces as if for the first time. There's more insight, more tenderness, more genuine sparkle than you can shake a stick at.

What immediately, and excitedly, comes to mind is his rather unorthodox conception of the lovely Berceuse, Op. 57. Not only is this the longest interpretation I've ever heard (5:52), but it is also the most ravishingly seductive, caressing, nurturing and beautiful. (This is no lullaby for children--- not played as hauntingly as this! No. This is a calmative for adults. Valium! Get thee behind me!) For Mr. Ohlsson's rendition of this piece, alone, the CD is well worth buying. The Barcarolle, Op. 60, too, is as mesmerizingly seductive as the Berceuse, its gentle melody, swaying rhythm, undulations all so soulfully nourishing under Mr. Ohlsson's fingers. You cannot escape the wonder of it.

And the astounding fact is: every work on this disc meets the equivalent standard. Ohlsson's "vision" of the way Chopin might be performed is so exceptionally refreshing, so filled with surprising details, quirky inner voices and subtle interludes that his playing is simply impossible to resist.

As another example, I give you the famous Fantasy in F Minor, Op. 49 (timing in at a healthy 13:12), forever hackneyed in the wrong hands. But listen to Ohlsson; listen to the way he slowly builds the initial tension, gently bridging into the sublime chorale-like middle section--- with the most hushed, heart-rending lyricism--- and then, abruptly, with a striking chordal release, brings to fruition a coda of dashing panache and completely unexpected quietude. Incomparable.

The Allegro de Concert, Op. 46 (12:13), is a rare, ripe Chopin ear-fest. Every pianistic trick in the book is thrown in here--- and not without a wink, either. Ohlsson's technique is manifest: his rippling passagework, double-noting, hearty chordal work, daring leaps and bounds is fabulous. Yet, so amazingly integrated is his pianism, it never calls attention to itself.

The "dance" in Chopin's heart appears clearly in the enchanting Bolero, Op. 19 (made so popular by Artur Rubinstein), Tarantella (aka Tarantelle), Op. 43, the spirited, short Ecossaises, Op. 72, and the nostalgic Contradanse in G-flat of 1827.

And who could not succumb to the melodies inherent in such miniatures as the Cantabile in B-flat, Feuille d'album in E, or the Largo in E-flat--- all played so raptly, so gently? Indeed, this CD is a charmer and a constant reminder of the breadth of Chopin's genius, and of the sensitivity and exceptional pianism of Mr. Ohlsson.

[Running time: 76:32]

Enrico Caruso: The Complete Recordings, Vol. 10

Average customer rating:

Caruso for a song.
Number Ten and Counting; And Simply the Best Caruso on CD

Enrico Caruso: The Complete Recordings, Vol. 10

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
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Caruso: The Complete Recordings, Vol. 12
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ASIN: B0000BX5KY
Release Date: 2003-10-21

Album Description

When complete the Naxos Historical Caruso edition will constitute the complete cycle of all Caruso's recordings issued in chronological order, thus enabling the artistic development of this great artist to be followed in detail. In 1919, shortly after the period covered by this CD, Caruso was to celebrate his twenty-fifth year, yet in these recordings there is no sign of strain or wear on the voice at all, only the brilliant sounds that made Caruso world-famous and the first real operatic star of the gramophone.

Customer Reviews:

Caruso for a song........2004-03-15

In the liner notes provided with this CD, you will read that opera patrons during the years these recordings were made sometimes paid the equivalent of $1,000 to attend a Caruso performance. Modern marketing, Naxos, and restoration engineer Ward Marston allow us to hear 77 minutes of Caruso recordings for merely a fraction of this cost.

Doyen of reviewers J Scott Morrison has already given Volume 10 of the Naxos Complete Recordings of Enrico Caruso series a rave review, so I shall add only a few comments. Regarding track identification: the composer Faure to whom Track 1 is attributed is not Gabriel but the less well-known French composer J B Faure (1830-1914). The Tchaikovsky item in Track 4 is his Op 6, No 5. The starry quartet and sextet items (2 takes of each) are the ones to go for in the Caruso discography. They are (almost) debut recordings for his compatriot Amelita Galli-Curci, one of the few singers whose voice, like Caruso's, was wonderfully well caught by the acoustic recording process.

Number Ten and Counting; And Simply the Best Caruso on CD.......2003-11-08

Naxos, praise be, is issuing all of Caruso's known recordings in the order in which they were recorded. In this, the tenth of the series, we have reached the era which, for some of us, is the ne plus ultra as regards Caruso's depth of musicianship and richness of voice, 1916 to early 1917. Not long afterward his health began to ebb. But in this time period his tenor voice was at its most baritonal, his breath control inhuman, and his musicianship scrubbed of it earlier vulgarity. I know there are those who revel in the latter, but I'm not one of them. We also get several alternate takes that were not issued on 78 at the time of their recording--one of the opening of the Quartet from 'Rigoletto' that only goes to the point where the mezzo enters, another of the complete Lucia 'Sextet' with Amelita Calli-Curci, Giuseppe de Luca and Marcel Journet among others.

Of special interest here are the selections sung in French--with excellent diction, it must be said--Tchaikovsky's 'Pourquoi?,' and Lensky's aria from 'Eugène Onegin' (gorgeous!), as well as Godard's 'Chanson de Juin,' Saint-Saëns's 'Vois ma misère, hélas' from 'Samson et Dalila.' Best of all are the two arias from Bizet's 'Pearl Fishers': 'De mon amie, fleur endormie,' and especially an absolutely stunning 'Je crois entendre encore.'

Other highlights: the full Quartet from 'Rigoletto' with Galli-Curci, Flora Perini, and de Luca; 'M'appari' from Flotow's 'Martha' with a final B-flat that will knock your socks off (and SO much better than the version he recorded more than ten years earlier).

Fauré's 'Sancta Maria' sounds Italian, I must say. 'Santa Lucia' is just a tad hokey. But Caruso's own 'Tiempo antico' is delightful. Andrea Chenier's 'Come un bel di di maggio' is sung with delicacy, grace and ardor. There are a couple takes of a ditty ('L'alba separa dall luce l'ombra') by Tosti and another couple of popular songs by Castaldon and De Crescenzo.

Finally, two takes of an aria I'd never heard before from Anton Rubinstein's 'Nerone,' 'Ah! lumière du jour.' Caruso's trumpet-like high notes are really something here.

I've acquired all but two of the previous Caruso CDs on Naxos. I've also had earlier transfers of some of the material and I have to say that Naxos and their miracle man, Ward Marston, are doing an amazing job of presenting cleaned-up yet true-sounding transfers. Evviva!

TT=76:59

Tracks:

Prelude In C Sharp Minor, Op. 3, No. 2
Liebestraum No. 3 In A Flat
'Harmonious Blacksmith' Vars
Prelude No. 1 In C, Op. 28, No. 1
Etude No. 1 In C, Op. 10, No. 1
Norwegian Bridal Procession, Op. 19, No. 2
Finale: Perpetuum Mobile
Fantasy-Impromptu In C Sharp Minor, Op. 66
La Cam-panella
Etude No. 20 In D Flat, Op. 25, No. 8
Etude No. 21 In G Flat, Op. 25, No. 9
Etude No. 5 In G Flat, Op. 10, No. 5
Prelude
Fugue
Etude No. 18 In G Sharp Minor, Op. 25, No. 6
Etude No. 13 In A Flat, Op. 25, No. 1
Etude In E Flat Minor, Op. 10, No. 12
First Movement (Abridged)
Third Movenment (Abridged)
Novelette No. 7 In E, Op. 21, No. 7
Waltz No. 11 In G Flat, Op. 70, No. 1
Waltz No. 14 In E Minor, Op. Posth.
Waltz No. 5 In A Flat, Op. 42
Polka In F
Sonata In F, L. 188 (Kk. 525)
Sonata In G, L. 490 (Kk. 523)
Etude No. 7 In C, Op. 10, No. 7
Waltz No. 6 In D Flat, Op. 64, No. 1
Moment Musical No. 3 In F Minor, Op. 94, No. 3
Hark! Hark! The Lark!

Tracks:

Hungarian Rhapsody No. 2 (Abridged)
Polka In F
Naila Waltz
Polonaise No. 6 In A Flat, Op. 53 (Abridged)
Caprice Espagnol, Op. 37
Don Juan Seranade
Widmung
Liebestraum No. 3 In A Flat
Waltz No. 5 In A Flat, Op. 42
Variations On A Theme Of Paganini, Op. 35, Book I
Variations On A Theme Of Paganini, Op. 35, Book II
Berceuse In D Flat, Op. 57
Moment Musical No. 3 In F Minor, Op. 94, No. 3
Traumeswirren, Op. 12, No. 7
Scherzo
Triana, No. 6
Don Juan Serenade

Amazon.com

Backhaus was among the giants of 20th-century keyboard artists, renowned for his solid--some would say stolid--Beethoven and Brahms interpretations. The younger Backhaus was a more overtly virtuosic pianist with a wide repertory. This invaluable Pearl set covers his British recordings, starting in 1908 when he was only 24, and it includes composers and works he abandoned in later years when he pared his programs down to essential masterworks. So we get his only recordings of Rachmaninoff, whom he admired as the greatest among living piano composers, along with Bach, Scarlatti, and others. Backhaus's dazzling virtuosity can be heard in his abridged Brahms Paganini Variations, the Liszt, La Campanella, with its marvelously even runs, and the Weber, Perpetuum Mobile, with precise articulation at fast speeds, among many other examples. Some of his early electrical recordings fill out disc two, sounding fresher than most of the acoustics. Seth Winner's transfers on both well-filled discs are uniformly fine. Collectors of historical recordings will want these rarities. --Dan Davis

Sergei Rachmaninoff: The Complete Recordings

Average customer rating:

Save some $ money! Get the newer January 2006 reissue set instead.
6, or Even 7 Stars!
A must have for Piano and classical music lovers
Ah, Rachmaninoff, brilliant star of music, how we adore you
Review from a spoiled modern listener

Sergei Rachmaninoff: The Complete Recordings

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Beethoven: 29 Piano Sonatas / Gilels
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Liszt: Piano Works
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Shostakovich: The String Quartets

ASIN: B000003FB7
Release Date: 1992-09-15

Tracks:

Concerto No. 2, Op. 18 In C Minor: Moderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Concerto No. 3, Op. 30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op. 30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op. 30 In D Minor: Finale: Alla breve

Tracks:

Concerto No. 1, Op, 1 In F Sharp Minor: Vivace
Concerto No. 1, Op, 1 In F Sharp Minor: Andante
Concerto No. 1, Op, 1 In F Sharp Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Largo
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Variation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op. 43: Variation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVII: (Allegretto)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIV: A tempo un poco meno mosso

Tracks:

Isle Of The Dead, Op. 29
Vocalise, Op. 34, No. 14
Symphony No.3, Op. 44 In A Minor: Lento; Allegro moderato
Symphony No.3, Op. 44 In A Minor: Adagio ma non troppo
Symphony No.3, Op. 44 In A Minor: Allegro

Tracks:

Sonata, Op. 30, No. 3 In G: Allegro assai
Sonata, Op. 30, No. 3 In G: Tempo di minuetto, ma molto moderato e grazioso
Sonata, Op. 30, No. 3 In G: Allegro vivace
Sonata D. 574 In A: Allegro moderato
Sonata D. 574 In A: Scherzo: Presto; Trio
Sonata D. 574 In A: Andantino
Sonata D. 574 In A: Allegro vivace
Sonata, Op. 45 In C Minor: Allegro molto ed appassionato
Sonata, Op. 45 In C Minor: Allegretto espressivo alla Romanza
Sonata, Op. 45 In C Minor: Allegro animato

Tracks:

Partita No. 4, BWV 828: Sarabande
Harpsichord Suite No. 5: Air And Variations - 'Harmonious Blacksmith'
Sonata, K. 331: III: Turkish March
32 Variations, WoO 80 In C Minor: Thema: Allegretto
32 Variations, WoO 80 In C Minor: Variation I
32 Variations, WoO 80 In C Minor: Variation II
32 Variations, WoO 80 In C Minor: Variation III
32 Variations, WoO 80 In C Minor: Variation IV
32 Variations, WoO 80 In C Minor: Variation V
32 Variations, WoO 80 In C Minor: Variation VI
32 Variations, WoO 80 In C Minor: Variation VII
32 Variations, WoO 80 In C Minor: Variation VIII
32 Variations, WoO 80 In C Minor: Variation IX
32 Variations, WoO 80 In C Minor: Variation X
32 Variations, WoO 80 In C Minor: Variation XI
32 Variations, WoO 80 In C Minor: Variation XII
32 Variations, WoO 80 In C Minor: Variation XIII
32 Variations, WoO 80 In C Minor: Variation XIV
32 Variations, WoO 80 In C Minor: Variation XIX
32 Variations, WoO 80 In C Minor: Variation XXII
32 Variations, WoO 80 In C Minor: Variation XXIII
32 Variations, WoO 80 In C Minor: Variation XXIV
32 Variations, WoO 80 In C Minor: Variation XXV
32 Variations, WoO 80 In C Minor: Variation XXVI
32 Variations, WoO 80 In C Minor: Variation XXVII
32 Variations, WoO 80 In C Minor: Variation XXVIII
32 Variations, WoO 80 In C Minor: Variation XXXI
32 Variations, WoO 80 In C Minor: Variation XXXII
Return Home
Polish Songs: The Maiden's Wish
Die schone Mullerin: Das Wandern
Schwanengesang: Serenade
Polonaise No. 2 In E
Songs Without Words, Op. 67: Spinning Song
Impromptu, Op. 90, No. 4 In A Flat
Concert Etude No. 2: Gnomenreigen
Orfeo ed Euridice: Melodie
Etude, Op. 104b, No. 2 In F
Etude, Op. 104b, No. 3 In A Minor
Spanisches Liederspeil: The Smuggler
Minuet, Op. 14, No. 1 In G
Liebesfreud

Tracks:

Sonata No. 2, Op. 35 'Funeral March': Grave; Doppio movimento
Sonata No. 2, Op. 35 'Funeral March': Scherzo
Sonata No. 2, Op. 35 'Funeral March': Marche funebre
Sonata No. 2, Op. 35 'Funeral March': Presto
Carnaval, Op. 9: Preambule
Carnaval, Op. 9: Pierrot
Carnaval, Op. 9: Arlequin
Carnaval, Op. 9: Valse noble
Carnaval, Op. 9: Eusebius
Carnaval, Op. 9: Florestan
Carnaval, Op. 9: Coquette
Carnaval, Op. 9: Replique
Carnaval, Op. 9: Sphinxes
Carnaval, Op. 9: Papillons
Carnaval, Op. 9: A. S. C. H. - S. C. H. A. (Letteres dansantes)
Carnaval, Op. 9: Chiarina
Carnaval, Op. 9: Chopin
Carnaval, Op. 9: Estrella
Carnaval, Op. 9: Reconnaissance
Carnaval, Op. 9: Pantalon et Colombine
Carnaval, Op. 9: Valse allemande
Carnaval, Op. 9: Pganini (Intermezzo)
Carnaval, Op. 9: Aveu
Carnaval, Op. 9: Promenade
Carnaval, Op. 9: Pause
Carnaval, Op. 9: Marche des 'Davidsbundler' contre les Philistins
Nocturne, Op. 9, No. 2 In E Flat
Waltz, Op. 64, No. 2 In C Sharp
Waltz, Op. 64, No. 3
Ballade No. 3, Op. 47 In A Flat
Mazurka, Op. 68, No. 2
Waltz, Op. Posth. In E Minor

Tracks:

Partita No. 3, BWV 1006: Preludio
Partita No. 3, BWV 1006: Gavotte
Partita No. 3, BWV 1006: Gigue
A Midsummer Night's Dream: Scherzo
Liebersfreud
Die schone Mullerin: The Brooklet
Polka de V.R.
Etude-tableau, Op. 39, No. 6 In A Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Sorochintsy Fair: Hopac
Lullaby, Op. 16, No.1
Tsar Saltan: Flight of the Bumblebee
The Ruins Of Athens: Turkish March
Scherzo In A Flat
The Seasons: November: Troika
Prelude No. 8, Op. 11, No. 8 In F Sharp
One Lives But Once
Powder and Paint
Polka italienne (Piano 4 Hands)

Tracks:

Concerto No. 2, Op. 18 In C Minor: Maderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 23, No. 10 In G Flat
Prelude, Op. 32, No. 3 In E Major
Prelude, Op. 32, No. 7 In F Major
Prelude, Op. 32, No. 6 In F Minor
Etude-tableau, Op. 33, No. 2 in C Major
Etude-tableau, Op. 33, No. 7 In E Flat
Daisies, Op. 38, No. 3
Oriental Sketch
Melodie, Op. 3, No. 3 in E
Serenade, Op. 3, No. 5 In B Flat
Humoresque, Op. 10, No. 5 In G
Lilacs, Op. 21, No. 5
Moment Musical, Op. 16, No. 2 In E Flat

Tracks:

Mazurka, Op. 63, No. 3 In C Sharp Minor
Nocturne, Op. 15, No. 2 In F Sharp
Waltz, Op. 18 'Grande valse brilliante' In E Flat
Waltz, Op. 34, No. 3 'Valse brilliante' In F
Waltz, Op. 64, No. 1 'Minute'
Waltz, Op. 69, No. 2 In B Minor
Waltz, Op. 70, No. 1 In G Flat
Scherzo No. 3, Op. 39 In C Sharp Minor
Waltz, Op. 64, No. 1 'Minute' In D Flat
Le coucou
L'Arlesienne Suite No. 1: Minuet
Carnival Of The Animals: The Swan
Songs Without Words, Op. 67: Spinning Song
Waltz
Lyric Pieces, Op. 12: Elfin Dance
Etude, Op. 28, No. 6 In F Minor
If I Were a Bird
La jongleuse
Dr. Gradus ad Parnassum
Children's Corner: Golliwogg's Cakewalk
The Seasons: November: Troika
Humoresque, Op. 10, No. 2 In G
Waltz, Op. 40, No. 8 In A Flat

Tracks:

Prelude, Op. 23, No. 5 In G Minor
Prelude, Op. 32, No. 12 In G Sharp Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Prelude, Op. 32, No. 5 In G
Serenade, Op. 3, No. 5 In B Flat
Lilacs, Op. 21, No. 5
Polichinelle, Op. 3, No. 4 In F Sharp Minor
Polka de V.R.
Liebesleid
Hungarian Rhapsody No. 2
Pastorale In E Minor
Theme and Variations
Waltz, Op. 42 'Two - Four' In A Flat
Waltz, Op. 64, No. 3 In A Flat
Polka de V.R.
Bacarolle, Op. 10, No. 3 In G Minor
Prelude, Op. 3, No. 2 In C Sharp Minor

Amazon.com

We remember Rachmaninov today mostly for the music he wrote. But as this set quickly reveals, he was one of the greatest pianists of the 20th century, able to play his own music and a great variety of others with tremendous personality and a technique that is still astonishing. There's no point picking highlights from this set, since they are everywhere. But if you've never heard Rachmaninov play Schumann's Carnaval, try starting there for one of the most imaginative recreations of a piece of music ever recorded. The set also includes Rachmaninov's only recordings as a conductor in two of his own major works. --Leslie Gerber

Customer Reviews:

Save some $ money! Get the newer January 2006 reissue set instead........2006-05-17

At the time of this review, whenever you search for a phrase such as "Rachmaninoff Complete", amazon's search engine always lands on this out-of-print recording (ASIN: B000003FB7) . It's also no fun to see that it costs more than a hundred bucks! But if you type "B000A2AD2S" in the search box, you'll see the new reissued set for half the price. It's the exact same 10 CDs. Just the cover art is different.

Unfortunately, this situation is a common pattern with amazon's listing of classical music: when you use your intuition and type in common-sense search phrases for Bach, Mozart, etc, you often get the ultra-expensive out-of-print ships-in-4-weeks items as the default item. It takes a lot of detective work to find the newer reissue recordings. For example, to find the new reissue without knowing the ASIN, I had to enter just "Rachmaninoff" in the search text (deliberately left the word "Complete" out of the search) so it would no longer lock me into this item page that you're looking at and give me a full listing instead. I then sorted the listing by "Original Release Date" and found it on the 2nd page. There's no picture on the new item which doesn't give you any confidence that you found the right one. Don't worry, B000A2AD2S is what you want.

For product research, it's good to have both ASIN product listings because the older out-of-print B000003FB7 has the sound samples (and also all the helpful customer reviews) while the new B000A2AD2S has the better price and availability.

To make things even more confusing, the amazon staff sometimes copies entire customer reviews to the new item which would then make THIS review seem strangely out of place. If that happens and I notice it, I will delete this review for B000003FB7.

(In another strange twist, amazon searches in rock/pop usually points you to the newer cheaper remastered/repackaged/reissued/whatever of a particular recording. I don't know why it works the opposite way in classical music?!?!)

6, or Even 7 Stars!.......2005-06-04

Hofmann hit the nail on the head when he said Rachmaninov had "arms of steel and heart of gold". From this album, we can have a clear picture of Rachmaninov's vison of music, of his musical mind and thoughts and moreover his own playing.

While Kempff's playing would often remind of the protestant church music, Rachmaninov bring to our mind the chanting of the Orthodox church, which is much thicker and darker. On top of that, his playing is orchestral which is so powerful and full colours. Yet, it is nothing like Richter, where often the whole piece is just one phrase.

Here each piece has it's own life and identity each with a focal point. It is water tight compact and yet very much natural and alive, never as hair-raising as Horowitz. But, it is not natural in Arrau's way. It is somewhere in between, closer to Argerich but with more consistency and depth. And like Casals' playing, it keeps our attention from the first note up to its focal point until its very end. But unlike Casals, he touches our hearts. It is very emotional but never to the point of being sentimental-- the performance of his own concertos, for example, can tell you that.

Sure, he did have fingers of steel that helped him to bring out whatever colour or atmostphere as appropriate. And despite that fact that there are some minor alterations on the scores like his Chopin, he is one of the few pianists who could really show you every note on the score counts and, above all, how it counts...

His Chopin may not be as neurotic as Cortot. Nonetheless, he sheds light on the dark and nervous side of Chopin so well: a very throbbing interpretation that is so unique. We also have him accompanying Kreisler on some violin sonatas, something that one could turn to time and again, year after year. What a great chamber musician and accompanist he was...!

The recorded sound of the CDs do vary, and some are more acceptable than the others. But for genuine music lovers, they should be able to get over this very soon: how else would they benefit from one of the greatest legacies of a genuinely great musician!

A must have for Piano and classical music lovers.......2005-04-04

To respond to a review about the sound quality-for those people who have no experience with historical performances i.e cortot-hofmann-etc these discs are for the most part much better recorded. There are the inevitable pops and hisses but if these things disturb you, or you cant get past them, then you shouldnt be listening to this kind of thing anyway. the importance here is in the playing, and the playing is extra ordinary. I you want to buy a disc for the reperatoire then i can think of hundreds of performances that will satisfy, but only people with a true interest to hear and study these pieces will be beyond satisfied. I know that may not sound like a lot of fun, but these discs are fun, great, and for me, almost too good to be true. Again, if sound disturbs you, then you may be listening to the music for the wrong reasons. Take from it the playing, the revelations that Rach provides to his pieces, and how fortunate we are that it sounds as good as it does.

Ah, Rachmaninoff, brilliant star of music, how we adore you.......2003-09-14

The music of Rachmaninoff is beyond words, furthermore, beyond imagination. He was a genius, no doubt, and nobody will ever understand how incredibly lucky we are to be blessed with his compositions. Furthermore, it is truly astonishing to hear Rachmaninoff play his own work. There is nothing so beautiful on this earth and there never will be.

Review from a spoiled modern listener.......2003-07-13

I'll admit that I'm a spoiled modern listener, accustomed to having the bang and hiss edited out of a recording, and it took me a while to warm to these. Rachmaninoff's performances are splendid, but if you can hardly hear them over the cacophony of background noise, what's the use? His performance of his own, often overlooked Concerto No. 4 finally made me sit up and listen, even though I've owned two versions of this piece for a number of years (Ashkenazy & Wild).

Average customer rating:

Pachelbel COMPLETE ORGAN WORKS Vol. 5

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Pachelbel COMPLETE ORGAN WORKS Vol. 6

ASIN: B00002SWN8
Release Date: 1999-11-16

Tracks:

Arietta in F (POP 7)
Prld in d (POP 256)
Fugue in d (POP 141)
Toccata in g (POP 284)
Fugue in G (POP 142)
Toccata in C (POP 273)
Fugue in C (POP 132)
Chor Prld 'Allein Gott in Der Hoh' Sei Ehr' (POP 25)
Chor Prld 'Allein Gott in Der Hoh' Sei Ehr' (POP 26)
Chor Prld 'Wir Glauben All' An Einen Gott' (POP 89)
Chor Prld ''Gott Der Vater Wohn' Uns Bei' (POP 51)
Chor Vars 'Ach, Was Soll Ich Sunder Machen' (POP 105)
Magnificat Quinti Toni: Fugue 1 (POP 203)
Magnificat Quinti Toni: Fugue 2 (POP 204)
Magnificat Quinti Toni: Fugue 3 (POP 205)
Magnificat Quinti Toni: Fugue 4 (POP 206)
Magnificat Quinti Toni: Fugue 5 (POP 207)
Magnificat Quinti Toni: Fugue 6 (POP 208)
Magnificat Quinti Toni: Fugue 7 (POP 209)
Magnificat Quinti Toni: Fugue 8 (POP 210)
Magnificat Quinti Toni: Fugue 9 (POP 211)
Magnificat Quinti Toni: Fugue 10 (POP 212)
Magnificat Quinti Toni: Fugue 11 (POP 213)
Magnificat Quinti Toni: Fugue 12 (POP 214)

Average customer rating:

Pachelbel COMPLETE ORGAN WORKS Vol. 6

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Pachelbel COMPLETE ORGAN WORKS Vol. 5

ASIN: B00002SWN9
Release Date: 1999-11-16

Tracks:

Aria Sexta 'Sebaldina' (POP 6)
Toccata in F (POP 276)
Fugue in F (POP 135)
Toccata in g (POP 283)
Fugue in g (POP 138)
Chor Prld 'An Wasserflussen Babylon' (POP 29)
Chor Prld 'An Wasserflussen Babylon' (POP 30)
Chor Prld 'Dies Sind Die Heil'gen Zehn Gebot' (POP 39)
Chor Prld 'Mag Ich Ungluck Nicht Widerstahn' (POP 68)
Chor Prld 'Vater Unser Im Himmelreich' (POP 77)
Chor Prld 'Vater Unser Im Himmelreich' (POP 78)
Chor Vars 'Werde, Munter, Mein Gemute' (POP 106)
Magnificat Sexti Toni: Fugue 1 (POP 215)
Magnificat Sexti Toni: Fugue 2 (POP 216)
Magnificat Sexti Toni: Fugue 3 (POP 217)
Magnificat Sexti Toni: Fugue 4 (POP 218)
Magnificat Sexti Toni: Fugue 5 (POP 219)
Magnificat Sexti Toni: Fugue 6 (POP 220)
Magnificat Sexti Toni: Fugue 7 (POP 221)
Magnificat Sexti Toni: Fugue 8 (POP 222)
Magnificat Sexti Toni: Fugue 9 (POP 223)
Magnificat Sexti Toni: Fugue 10 (POP 224)

Complete Aksel Schiøtz Recordings, Vol. 10: The Complete Carl Nielsen Recordings

Average customer rating:

The "other" great Danish tenor

Complete Aksel Schiøtz Recordings, Vol. 10: The Complete Carl Nielsen Recordings

Manufacturer: Danacord Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Scandinavian Languages | Languages | Opera & Vocal | Styles | Music
ASIN: B0000065HL
Release Date: 1998-03-03

Customer Reviews:

The "other" great Danish tenor.......2004-09-12

During the 1930s and `40s, Wagnerian tenor Lauritz Melchior was the most famous Danish tenor in the world, singing virtually every role Wagner ever wrote worldwide, but in Denmark during the same period a very different kind of tenor was flourishing: Aksel Schiøtz, with his light, silvery voice, high standards of musicianship, excellent command of lieder and wide popularity among his countrymen for his singing of Danish folk and art songs.

All of this came to an abrupt end in the fall of 1946 when Schiøtz, suffering from severe headaches and impaired vocal control, was diagnosed with a brain tumor that had to be removed immediately. The operation saved his life but left one side of his face, and vocal muscles, paralyzed. Through sheer hard work he was able to com back, two years later, as a baritone, but though the phrasing and musicianship remained intact the voice no longer had its silvery bloom. He continued to perform and record as a baritone through the late 1950s, then became a teacher of voice and interpretation in Colorado before accepting a similar post in his native Denmark in 1969. He died ten years later.

This, the last album in the Schiøtz series, contains all of his recordings of songs by the great composer Carl Nielsen, better-known internationally nowadays than he was in the 1930s and `40s. Schiøtz' readings, long considered classic, are here lovingly restored to their original pristine sound. The result is an incredible sense of intimacy created between performer and listener. The Danish engineer responsible for most of the Schiøtz recordings had one object in mind: to properly balance voice and piano or voice and orchestra, then let them perform as they would in a natural concert environment.

None of the cramped, dry LP pressings we all became to familiar with were used here, or indeed in any of the volumes of this series; every single track was lovingly and meticulously restored in London's Abbey Road studios from mint-condition copies of the original 78s or brand-new transfers made from the original metal parts. The results are simply magical, creating a tremendous intimacy between the tenor and listener in a way that is hard to describe unless you hear it for yourself. A shame that most of these CDs are now hard to obtain, but I urge you to get them if you can!