Beethoven in Berlin

On this CD:

1. Egmont, incidental music, Op. 84
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra with Bruno Ganz, Cheryl Studer
Conducted by Claudio Abbado

2. Ah! perfido! . . . Per pieta, non dirmi addio, scena and aria for soprano & orchestra, Op. 65
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra with Cheryl Studer
Conducted by Claudio Abbado

3. Leonore Overture No. 2 in C major, Op. 72a
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
Conducted by Claudio Abbado

4. Fantasia for piano, chorus, and orchestra ("Choral Fantasy"), Op. 80
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra with Evgeny Kissin
Conducted by Claudio Abbado

Tracks:

Symphony No.1 in C major, Op. 21: 1. Adagio molto - Allegro con brio - L.V. Beethoven
Symphony No.1 in C major, Op. 21: 2. Andante cantabile con moto - L.V. Beethoven
Symphony No.1 in C major, Op. 21: 3. Menuetto. Allegro molto e vivace - L.V. Beethoven
Symphony No.1 in C major, Op. 21: 4. Adagio - Allegro molto e vivace - L.V. Beethoven
Symphony No. 3 in E flat major, op.55 Eroica: 1. Allegro con brio - L.V. Beethoven
Symphony No. 3 in E flat major, op.55 Eroica: 2. Marcia funebre. Adagio assai - L.V. Beethoven
Symphony No. 3 in E flat major, op.55 Eroica: 3. Scherzo. Allegro vivace - L.V. Beethoven
Symphony No. 3 in E flat major, op.55 Eroica: 4. Finale. Allegro molto - L.V. Beethoven

Tracks:

Symphonie No. 2 D-dur Op.36: I. Adagio Molto - Allegro Con Brio - L.V. Beethoven
Symphonie No. 2 D-dur Op.36: Larghetto - L.V. Beethoven
Symphonie No. 2 D-dur Op.36: Menuet & Trio: Allegro Molto E Vivace - L.V. Beethoven
Symphonie No. 2 D-dur Op.36: Adagio - Allegro Molto E Vivace - L.V. Beethoven
Symphonie No. 4 B-dur Op. 60: I. Adagio - Allegro Vivace - L.V. Beethoven
Symphonie No. 4 B-dur Op. 60: Adagio - L.V. Beethoven
Symphonie No. 4 B-dur Op. 60: Allegro Vivace: Un Poco Meno Allegro - L.V. Beethoven
Symphonie No. 4 B-dur Op. 60: Allegro Ma Non Troppo - L.V. Beethoven

Tracks:

Symphonie No. 5: 1. Allegro Con Brio - L.V. Beethoven
Symphonie No. 5: 2. Andante Con Moto - L.V. Beethoven
Symphonie No. 5: 3. Allegro - L.V. Beethoven
Symphonie No. 5: 4. Allegro - L.V. Beethoven
Symphonie No. 6: 1. Erwachen Heiterer Empfindungen Bei Der Ankunft Auf Dem Lande (Allegro Ma Non Troppo) - L.V. Beethoven
Symphonie No. 6: 2. Szene Am Bach (Andante Molto Mosso) - L.V. Beethoven
Symphonie No. 6: 3. Lustiges Zusammensein Der Landleute (Allegro) - L.V. Beethoven
Symphonie No. 6: 4. Gewitter - Sturm (Allegro) - L.V. Beethoven
Symphonie No. 6: 5. Hirtengesang, Frohe Und Dankbare Gef Hle Nach Dem Sturm (Allegretto) - L.V. Beethoven

Tracks:

Symphony 7: 1 Poco Sostenuto - Vivace - Ludwig Van Beethoven
Symphony 7: 2 Allegretto - Ludwig Van Beethoven
Symphony 7: 3 Presto - Ludwig Van Beethoven
Symphony 7: 4 Allegro Con Brio - Ludwig Van Beethoven
Symphony 8: 1 Allegro Vivace I Con Brio - Ludwig Van Beethoven
Symphony 8: 2 Allegretto Scherzando - Ludwig Van Beethoven
Symphony 8: 3 Tempo Di Menuetto - Ludwig Van Beethoven
Symphony 8: 4 Allegro Vivace - Ludwig Van Beethoven

Tracks:

Symphony No. 9: Allegro ma non troppo, un poco maestoso - Ludwig Van Beethoven
Symphony No. 9: Molto vivace - Ludwig Van Beethoven
Symphony No. 9: Adagio molto e cantabile - Ludwig Van Beethoven
Symphony No. 9: Presto - Ludwig Van Beethoven
Symphony No. 9: Presto. - - Ludwig Van Beethoven

Amazon.com essential recording

By general consensus, Herbert von Karajan's first (1963) Beethoven cycle for Deutsche Grammophon is the best of the four (!) that he recorded. The Berlin Philharmonic was in top form, and they had not yet made an artistic fetish out of the bland smoothness that typified the conductor's later recordings of this music (and just about everything else). Karajan's squeaky clean, emotionally cool Beethoven will always be something of an acquired taste, but this set makes the best possible case for it. --David Hurwitz

Customer Reviews:

Those who ignore repeats should be taken outside and shot.......2007-06-07

Karajan shows no respect for the balance of Beethoven's score. Overall, there is little here to laud or hate......a bonus second star for spectacular execution by the Berlin Phil, without actually playing any music. Glossy, zero rubato, zero sforzati, continuous mezzo forte.

In 20 years, music notation software with masterful samples will sound exactly like this: the most perfect and beautiful sounds a computer can generate. These performances are soulless.

Give me Bernstein/VPO or Solti/Chicago any day over this rubbish.

One of the best cycles out there - if not the best!.......2007-05-05

The 9 Symphonies play a great role in my life because of their sheer beauty and touching deepness. So I have obtained a lot of recordings of these pieces through the years, some of them on CD, some on casette, some on LP. And there are the concerts, of course. As a natural consequence, I have listened to a lot of different interpretations of these masterpieces. All interpretations (well not all but a great majority) have their moments but when I listen to Maestro Karajan's recordings of these, I always discover something that wasn't there the last time I heard. Karajan has always been critiqued for being too mechanical, too much in control but he always introduced something new to the music through his interpretation... The artistical point of the 1963 Karajan cycle has already been talked about a lot, I've got nothing more to say about it, I can only repeat that this cycle is perpahs the best cycle you will ever find. It is one of those works which become to be the yardstick for the later recordings to be compared with.

I was most pleasantly surprised to discover that the sound quality is phenomenal for a 1963 recording, it is better than more recent ADD records. The sound engineering is also very good, it is like having the full orchestra play for you in youor living room. The deep notes of the double basses go right through you while the violins tease your ears in a most pleasent way. So, the sound quality is just great.

I also would like to talk about the CD design, which is something very important for me. I know it is strange but I like to own CDs that have good design. Of course the included material is a lot more important but... Anyway, there are two CD cases with the first one including the first 6 symphonies on 3 CDs, and the other presenting the remaining three on 2 CDs, with the last CD contains the 9th. CDs have mirror surface with the classic DG logo and the contents are listed on the CD itself as well as the booklet. The booklet offers a good read on the 9 symphonies and the cycle presented with the set.

I hope you will enjoy the set as much as I do...

Excellent set of Beethoven's 9 Symphonies.......2007-04-12

I have only one complaint: the first part of both the 5th and 6th
symphonies feel a bit rushed in my view, the tempo seems just a
little fast. Other than that, this is an excellent set of
Beethoven's 9 symphonies, well worth it.

SACD set is better.......2007-03-30

Beethoven's 5th by Karajan was my first classical record purchase.
Thousands of analogue and digital discs later, I again purchased the same 5th and eight others on this CD set.

Karajan lived through the eternal dilemma of the all artists who came after the great predecessors.
At his last Saltsburg Festival, after conducted "Don Giovanni"He said to his wife,

"Furtwangler would have said it wasn't all that great."
She consoled the Maestro,
"It was! It was!"
Karajan had a life long struggle with legacy of Furtwangler and was not too sure if he won.

Well, his style and interpretations are definitely non-Furtwangler, or to more precisely put non-German.
It seems to me that Karajan tried to avoid playing Beethoven's music in conjunction with German culture and spirituality.

Whether his attempt was successful one or not, has been a topic of many music critics and connoisseurs.

Personally, I have a mixed feeling toward this cycle.
I like No.1, 2 and 7 very much. However, there are some flaws; for instance in the fourth movements of 5th and 9th,
cello, bass, tympani and all lower notes suddenly disappear. All you hear is the first violin all the way to coda with painfully
bright tone.(This is more obvious if you own high resolution Audiophile stereo system)

Wonder if this deletion of bass is a part of Karajan's interpretations or a fault of old analog recorder, which is incapable of
recording loud passages?

In each symphonies, the first violin is always exaggerated over other instruments. I think that is the reason why some people
call these recordings "light" Beethoven.

If you must listen to Karajan's Beethoven Symphonies, I would recommend SACD reissue, which is more expensive and bass is
still thin but tonal quality is somewhat more acceptable.

And if you want to listen to the best Beethoven cycle, do yourself a favor:
Obtain the 9 symphonies by Furtwangler.

This set is not my first choice.

one of the best beethoven cycles.......2007-02-22

generally this set is one of the best beethoven cycles, audio is good considering that this recording was done in the 60's. though the string section of the orchestra was quite dominant, the wind instruments were sonically weak maybe due to placements of microphones during recording( compare with carlos kleiber beethoven symphonies). Last movement of symphony no. 9 seems to be lacking of the high frequecy content of the sound. it seems that there was a cutting of the full audio frequency. maybe they were trying to suppress the noise but the fidelity of the audio was sacreificed. overall this cycle is a must for a beethoven fan.

Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra

Average customer rating:

Terrible overture, okay symphony.
As Promised
Don't Listen to The Hype!
Absolutely amazing
If One Must...

Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Stravinsky Conducts Stravinsky: Petrouchka/ Le Sacre du Printemps

ASIN: B000001GPY
Release Date: 1996-01-23

Tracks:

Ouverture 'Coriolan', Op.62: Ouverture
Symphony No.9 In D Minor: 1. Allegro ma non troppo, un poco maestoso
Symphony No.9 In D Minor: 2. Molto vivace
Symphony No.9 In D Minor: 3. Adagio molto e cantabile
Symphony No.9 In D Minor: 4. Presto
Symphony No.9 In D Minor: Presto - 'O Freunde, nicht diese Tone!' - Allegro assai - (Final Chorus From Schiller's 'Ode To Joy')

Amazon.com

This performance is also available on Deutsche Grammophon in an earlier, mid-price incarnation, but this version is clearly the one to own, since the remastered sound is a definite improvement over previous issues. Herbert von Karajan always did a good job with this symphony, and his performances are quite consistent, even down to the very backward-balance of the chorus. By general consensus, though, this is the best of them. --David Hurwitz

Customer Reviews:

Terrible overture, okay symphony........2007-07-11

I do not wish to discredit Herbert von Karajan, who is simply one of the most versatile and talented conductors the world has ever seen. His Mahler and Sibelius possess a charm that I just cannot resist, though this does not mean I do not prefer other conductors. However, it must be noted that Karajan himself always felt as if he would never fill Furtwangler's shoes, and he simply does not. Most people criticize Karajan's readings of anything to be shallow and "string-laden," and while some of the allegations are unjust, in this case they are definitely true.

The overture is almost a grotesque caricature of what Furtwangler, Mengelberg, or even David Zinman can do with it. the brass players strain to the extent that they almost squeal, and the Berlin players would definitely not do so unless ordered by the maestro to give the tutti an "oomph!" Fluctuations of dynamics and tempi are grossly exaggerated and clearly not well thought-out. This is certainly one of Karajan's worst outings, and actually it is my experience with this performance a few years back that compelled me to abandon Karajan's Beethoven.

While the 9th symphony fares a bit better, there are nonetheless hallmarks of Karajan's art that may prove to be slightly annoying to some listeners (such as me)
The first movement will surprise you with what seems to be a superficial treatment of Beethoven's score. The opening tremolos are fine. The crashing chords that follow, not so. They are not given the position they require to exhibit a certain degree of inevitability or naturalness. This impression is retained throughout the entire performance, and peaks during the last movement. Compare Karajan's last five minutes with Klemperer, Fricsay, or Furtwangler. The tempi are not merely badly judged - they do not seem to be judged at all!
If I sound harsh it is only because better, greater performances litter the market. Take anything by Wilhelm Furtwangler, Otto Klemperer, Erich Kleiber, Arturo Toscanini, Ferenc Fricsay, Sergiu Celibidache, Rafael Kubelik, Charles Mackerras, David Zinman, and even John Gardiner. True, a recording of this quality does not deserved to be condemned to the ranks of obscure, pathetic performances. It just doesn't have what it takes to be great. Three stars for a performance that deserves neither two nor four.

As Promised.......2007-05-14

I received the CD quickly and in perfect condition. Just what I ordered, as promised.

Don't Listen to The Hype!.......2006-12-10

I listened to the other reviewers and purchased this Ninth as my first version of Beethoven's great symphony. It's something I really regret. There are at least two very irritating flaws in this recording that you should know about:

1) The second movement is played with a ludicrously fast tempo that's sounds obviously unnatural. I played it to friends who never listen to classical music and even they felt that something didn't seem right. You almost get the sense that Karajan didn't like the 2nd movement nearly as much as the others and therefore wanted to skip over it. It's played in maybe 11:00 flat, if that.

2) Karajan truly ruins the fourth movement by completely nullifying the beautiful choral performance. He overpowers the humanity of the piece, drowning out what would be a divine, effulgent chorus in an almost bludgeoning display of orchestral power. You would think that in a long, grandiose symphony with very few choral action until the end that you would want to emphasize or at least preserve the human voices, but Karajan treats them as if they are just a few more violins joining the fray.

3) Lastly, I can't really put my finger on it but something about Karajan's style just seems to lack an underlying soul. The strings sound wonderful and the sound quality is top-notch...and it's still Beethoven's Ninth Symphony, a wonderful piece of music obviously! Yet Karajan's performance lacks the desperate zeal and awe-inspiring outrage of Furtwangler's 1942 recording. Solti's early 70s version of the Ninth may have a weaker 3rd movement than this Karajan recording, but Solti's first and final movements are both better performed. Solti's Ninth has the best choral peformance of any of the Ninth recordings hands down.

I would recommend Solti's early 70's rendition, Furtwangler 1942, or Fricsay before buying this recording. Only after owning these other great recordings would I round out my collection with this version of the Ninth.

Absolutely amazing.......2006-05-30

This is a great interpretation of the piece (which is admittedly my favorite piece of all). The tempi are faster than other recordings, but the orchestra never really lags or slows down. The level of musicianship throughout are exactly what you'd expect from one of the world's leading orchestras.

The truely stunning thing about this recording is the solo quartet. Now I have many recordings of this symphony, with many different soloists (Domingo included), but this is the best. The solo tenor here (Waldemar Kmentt) is truely brilliant. His voice is loud, booming, and full of life. The same can be said about the whole group. The group dynamic in general is something special, though I wish the alto would show off her tremendous voice more.

This is HIGHLY recommended.

If One Must..........2006-05-13

Knowing that this reviewer's view of this internationally popular favorite of every concertgoer is that of a curmudgeon, this recording is as acceptable as any of the ones available. Herbert von Karajan is at the helm of the trusty Berlin Philharmonic Orchestra, the Vienna Singverein, and a cast of soloists that are the envy of any conductor - Gundula Janowitz, Hilde Rossel-Majdan, Waldemar Kmentt and Walter Berry, stalwarts all and obviously veteran performers of this regularly programmed piece. The interpretation is brisk and lively and yet lingers over the inner two movements that gives some solace between the sandwich ends of the first and fourth movements. It is a fine recording.

For this listener this is Beethoven's least impressive symphony. While there are moments in the 'Adagio molto e cantabile' that justify the Elysium reference in the final movement, and yes, there are interesting inner fugues and some lovely solo lines for paired celli and double basses, the popularity of the piece seems to be the much recorded last movement 'An die Freude'. It is big, loud, long, and uses massive forces and it does gratefully terminate a 70 minute piece. Heresy? Yes, for most listeners these words are scandalous. But just getting trough the first movement's wandering ideas and then waiting for the climax can be wearing. Does anyone else agree? Probably not. But if you must your own #9, this recording is as fine as they come. Grady Harp, May 06

Ode to Freedom: Bernstein Conducts Beethoven's Ninth Symphony in Berlin

Average customer rating:

The Best Ever Beethoven's Ninth Symphony (in Berlin)
Who let this old fart conduct this masterpiece?
I will only listen to this work in private
The longest running commercial
A sloppy, heaartfelt performance from a great occasion

Ode to Freedom: Bernstein Conducts Beethoven's Ninth Symphony in Berlin

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Bernstein Century - Berlioz: Symphonie Fantastique, etc.
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ASIN: B000001GDR
Release Date: 1990-03-01

Tracks:

Symphony No. 9 in D Minor Op.125: 1. Allegro ma non troppo, un poco maestoso
Symphony No. 9 in D Minor Op.125: 2. Molto vivace
Symphony No. 9 in D Minor Op.125: 3. Adagio molto e cantabile
Symphony No. 9 in D Minor Op.125: 4. Presto - Allegro assai

Customer Reviews:

The Best Ever Beethoven's Ninth Symphony (in Berlin).......2007-04-29

This is no doubt the best rendition of Beethoven's Ninth Symphony.
Even though it was recorded live you can feel the crowds passion in silence as the music sores our spirits to new hights.
The depth of the acoustics and the feelings it evokes in one is outstanding.
You have not lived until you hear this live concerto at full volume.
You wont be disappointed, if your new to Classical, I reccomend this as a start to your collection.
Listen with Headphones and think of the Berlin Wall and the tragedy that surrounded it, only to be lifted by mans yearning for freedom. This is what Beethoven would of wanted to deliver this piece for.

Who let this old fart conduct this masterpiece?.......2007-02-25

I know who let him conduct it! Those greedy DG music executives, that's who, hoping to make a quick killing with the release of this sludge of a performance. The fall of the Berlin Wall was an event of great significance and to commemorate the occasion, DG gets the most famous living conductor in the world to conduct one of the greatest and most famous works of music in history, Beethoven's 9th Symphony! They even changed the word joy to the word freedom in the finale! This had the makings of something truly special but unfortunately it falls short of even the most mediocre expectations.

Herbert von Karajan died not too long before the Berlin Wall fell and if he was still alive, it would undoubtedly be Karajan conducting on this recording, not Bernstein. Karajan became an old man physically in his final years, but his musicmaking never surrendered to his age. Karajan's last decade of performances was just as vigorous and intense as in the good, old days. Bernstein on the other hand, really did become an old man, physically and musically. His tempos became messy and lethargic, everything was elongated, ponderous and many times vapid. Don't think I'm wanting in respect to Bernstein, I think he was great when he was young, never on the level of Toscanini, Furtwangler, Karajan, but great nonetheless. Even in his final years, Lenny could turn out a gem like Shostakovich's Leningrad Symphony with the Chicago Symphony Orchestra but more and more Bernstein became the hack, the slow, painful hack. Listen to the infamous Tchaikovsky 6th from the final Bernstein years, it's a joke!

Returning to this Beethoven 9th, it is just as much of a joke as that Tchaikovsky 6th. The first movement is nearly 18 minutes long, limp and slow without any of the apocalyptic climaxes that you have to deliver if you're going to take such a spacious tempo. The scherzo is better, one short repeat is skipped and the movement is palatable. The adagio is awful, 20 minutes long and without any spiritual tension at all. Furtwangler's famous wartime 9th also has a 20 minute adagio but it is phrased and sculpted so beautifully, with such inner intensity that it overwhelms you and tears are not uncommon upon hearing it's magnificence. Bernstein on the other hand puts you to sleep. It's nap time.

The finale, can Bernstein pull it off? Did he ever? This might come as a shock to some but as great a conductor as Bernstein was, he never recorded a great version of the 9th Symphony. I repeat, never! Not with the NYPO, not in Vienna and certainly not here in Berlin with this hastily put together concoction of musicians from various orchestras. Bernstein could succeed with the initial three movements, back in NY and in Vienna with the VPO, but the finale always eluded him. He schmaltzed it up every up, he made it disjointed, episodic and nearly incoherent as on this "Ode to Freedom" CD. It becomes not joy, not freedom but instead, a hapless, lethargic mess. The whole thing seems like a funeral and proceeds for nearly 29 minutes! Karl Bohm's final digital version on DG was also that slow but felt somewhat more alive what with the great orchestra and chorus. Bernstein doesn't even have that.

Please, whatever you do, don't listen to this nightmare and conclude that this is Beethoven's 9th. It's not. If you want to hear the 9th, there is Furtwangler, Karajan, Toscanini, Solti, Wand, whomever, but not this Bernstein, it's possibly the worst ever! I'm not exaggerating, it's just as egregious as Roger Norrington's infamous London Classical Players recording, except for totally different reasons. Norrington is the worst of the period-instrument, fast paced, clipped readings and this Bernstein is the worst of the traditional, big orchestra versions.

If you just love Bernstein and want to hear him in Beethoven's 9th Symphony, go buy his earlier versions, one from the late 1970's with the Vienna Philharmonic and one with the New York Philharmonic from the 1960's. Those versions are average but even average is far superior to this epic mess called "Ode to Freedom". Please free yourself from this recording, it's only good as a bad joke!

I will only listen to this work in private.......2006-08-18

For years, when I listened to the 9th, I would play the 1st and 2nd movements
and then skip to the finale. I enjoy crisp, energetic and powerful music and
the 9th has it in unsurpassed measure. And this rendition provides just that.
I haven't listened to all the great performances of the 9th, but I've listened
to quite a few, and this is my favorite. This is the version I compare all the
subsequent ones I've listened to. I've heard better 4th mvts., but this one is
very near to the best. The first two movts. are done competantly and do not
disappoint. If the skills of the orchestra and recording quality were to be the
same....the time alotted the conductor, that he has to rehearse a work with
his players, determines it's ultimate success. I believe that Bernstein had a
good amount of time to communicate his interpretation to this orchestra.
And Lord knows there was high motivation by all concerned in the project.
Bernstein's interpretation of Beethoven's 3rd movt., the adagio molto e
cantabile, is by far the finest I've ever experienced. The emotional
groundwork is laid and the peak and resolution are sublime.
I know I'm going to fight back the tears, if I'm allowed to
listen this 3rd movt without distraction. If you ever get the opportunity
to purchase the video tape of this concert, do by all means buy it.
Oddly, the audio recording, alone, does not contain the full emotional
impact of the performance. However the audio CD is a "must have".
But, the full effect of the live performance in the video tape with
both audio and visual is truly magnificant. I'm not going
to attempt to describe it here. Why it's not reprinted for more to
experience is a sad business. People don't know what they're missing.
I allow myself to view my copy but seldom. I dare not watch it too
many times.

The longest running commercial.......2005-10-09

But one would rather watch the Milk commerical, at least it markets some real stuff and doesn't take 70+ labored minutes. The coalition of the willing was undoubtedly doing a heck of a job in fending off the competition from various common village bands, and the commander-in-chief barely held its members together. Despite all the Freiheit, it is a freudlos performance.

A sloppy, heaartfelt performance from a great occasion.......2005-09-18

This best-selling Beethoven Ninth, with new lyrics for the Schiller poem in the finale, has sold by the millions, I'm sure. The fall of the Berlin wall called for such a grand coming together of musicians form all over Europe, but in musical terms this isn't good Beeethoven. Bernstein wrenches every note to grab as much drama as possible out of it, and there is nothing left of real, unvarnished Beethoven. I owuld only buy this CD as a histroical memento at this late date.

Land of My Fathers: 100 Great Welsh Choir Favourites

Average customer rating:

Land of My Fathers: 100 Great Welsh Choir Favourites

Manufacturer: Castle Pulse
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009SOFXG
Release Date: 2005-08-01

Tracks:

Guide Me O Thou Great Redeemer (CWM Rhondda) - Caerphilly Make Voice Choir
Land of My Fathers - Caerphilly Make Voice Choir
Dies Irae
Men of Harlech
You'll Never Walk Alone
Cadwyn O Emyn Donau Cymreig: Joanna (Trad./Elfion Wyn)/Crugybar (Trad.
Old Folks at Home
Il Liza Jane
Faust/Soldier's Chorus - Caerphilly Make Voice Choir
Vergine Degli Angeli
Ballard of Rourke's Drift - Cwt-Y-Collen Choir
My Hero
God Bless the Prince of Wales - Caerphilly Make Voice Choir
German Mass/Gloria
German Mass/Sanctus
Misbles/Master of the House/On My Own/Drink with Me/Empty Chairs at
All Through the Night - Caerphilly Make Voice Choir
Arwelfa
Invictus
Softly as I Leave You

Tracks:

Diolch l'R L
Hine E Hine (Maori Lullaby)
Pererin Wyf (Amazing Grace)
Tribute to the USA: America the Beautiful (Ward/Bates)/God Bless ...
Memories of Martha
I Lombardi/The Crusaders' Chorus - Treorchy Male Choir
Myfanwy - Treorchy Male Choir
Tales of Hoffman/Barcarolle
Creation's Hymn
In the Spirit!
Shall We Gather at the River
Nos a Bore
Very Best Time of Year
Soon Ah Will Be Done
Thanks Be to God
Flower That Shattered the Stone
Rhys - Treorchy Male Choir
Where Shall I Be?
Bywyd y Bugail
Lord's Prayer

Tracks:

Ave Maria
Pearl Fishers/Divine Brahma
She Was Beautiful (Cavatina) - Treorchy Male Choir
Cymru Fach
Nidaros
Jacob's Ladder - Treorchy Male Choir
Watching the Wheat
Pan Ddaw y Saint (When the Saints Go Marching In)
Misbles/Stars
Rachie
Pirates of Penzance/With Cat-Like Tread - Treorchy Male Choir
There Is a Balm in Gilead
Rise Up Shepherd and Foller
My Lord, What a Mornin'
Bryn Myrddin
Jesus Christ Superstar/Medley: Jesus Christ Superstar/Hosanna/The Last
Finnish Forest (Suomen Salossa)
Nabucco/The Glory of Israel
Ride the Chariot
Tydi a Roddaist - Treorchy Male Choir

Tracks:

Y Nefoedd
Phantom of the Opera/Think of Me
Morte Christe (When I Survey the Wondrous Cross)
By Babylon's Wave
I'm Gonna Sing
Where Could I Go But to the Lord?
Holy City - Treorchy Male Choir
Mefistofele: Ave Signor, Degli Angeli
Senzenina (Zulu Chant)
That's All I Want from You
Deep Harmony - Treorchy Male Choir
Give Me Jesus
Just a Closer Walk with Thee
My Wish for You
Jeptha/Waft Her Angels
Mose in Egitto/Prayer
Be Still My Soul (Finlandia Hymn)
God's Choir in the Sky
Floral Dance - Treorchy Male Choir
Smilin' Through

Tracks:

Calon Lan
True Love
Mor Fawr Wyt Ti (How Great Thou Art)
Aberystwyth
Comrades in Arms
Cats/Memory
They Led My Lord Away
State Fair/It's a Grand Night for Singing
When I Fall in Love
Let's Face the Music and Dance
Windmills of Your Mind
How Soon
Non Nobis Domine
Rhythm of Life
Kalinka
Sound an Alarm
Neapolitan Trilogy: It's Now or Never (Di Capua/Schroeder/Gold)/Mo ...
Turandot/Nessun Dorma
Christus Redemptor
Ann Evening's Pastorale

Album Details

Choirs Include the Morriston Orpheus Choir, the Pontadrddulais Male Voice Choir, the Caerphilly Male Voice Choir, the Cwrt-y-gollen Choir, the Treorchy Male Choir and the Lucknow Male Voice Choir.

Beethoven - Die Symphonien (Symphonies 1-9) / Abbado, Berlin Philharmonic

Average customer rating:

Great LIVE performances
Don't miss this set!
Gee. I thought I knew something about music.
Dear Beethoven Fan, I Urge You, DO NOT Buy This Abbado Cycle! Here are the Reasons...
Two prestigious cycles from Abbado and Rattle--which to choose?

Beethoven - Die Symphonien (Symphonies 1-9) / Abbado, Berlin Philharmonic
Ludwig van Beethoven , Claudio Abbado , and Berlin Philharmonic
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Bach - Brandenburg Concertos / Il Giardino armonico
Puccini - La Boheme / Mirella Freni, Gianni Raimondi, Adriana Martino, Rolando Panerai, Herbert von Karajan
Grieg: Peer Gynt
Copland: Appalachian Spring/Fanfare For The Common Man/El Salón México/Danzón Cubano
Rite of Spring / Firebird Suite

ASIN: B00004YZ33
Release Date: 2000-11-21

Tracks:

Sym No.1 in C, Op.21: 1. Adagio Molto - Allegro Con Brio
Sym No.1 in C, Op.21: 2. Andante Cantabile Con Moto
Sym No.1 in C, Op.21: 3. Menuetto. Allegro Molto E Vivace - Trio
Sym No.1 in C, Op.21: 4. Finale. Adagio - Allegro Molto E Vivace
Sym No.2 in D, Op.36: 1. Adagio - Allegro Con Brio
Sym No.2 in D, Op.36: 2. Larghetto
Sym No.2 in D, Op.36: 3. Scherzo. Allegro - Trio
Sym No.2 in D, Op.36: 4. Allegro Molto

Tracks:

Sym No.3 in E flat, Op.55 'Eroica': 1. Allegro Con Brio
Sym No.3 in E flat, Op.55 'Eroica': 2. Marcia Funebre. Adagio Assai
Sym No.3 in E flat, Op.55 'Eroica': 3. Scherzo. Allegro Vivace - Trio
Sym No.3 in E flat, Op.55 'Eroica': 4. Finale. Allegro Molto - Poco Andante - Presto
Sym No.4 in B flat, Op.60: 1. Adagio - Allegro Vivace
Sym No.4 in B flat, Op.60: 2. Adagio
Sym No.4 in B flat, Op.60: 3. Allegro Molto E Vivace - Trio. Un Poco Meno Allegro
Sym No.4 in B flat, Op.60: 4. Allegro Ma Non Troppo

Tracks:

Sym No.5 in c, Op.67: 1. Allegro
Sym No.5 in c, Op.67: 2. Andante Con Moto
Sym No.5 in c, Op.67: 3. Allegro
Sym No.5 in c, Op.67: 4. Allegro - Presto
Sym No.6 in F, Op.68 'Pastorale': 1. Pleasant, Cheerful Feelings Awakened...
Sym No.6 in F, Op.68 'Pastorale': 2. Scene By The Brook: Andante Molto Moto
Sym No.6 in F, Op.68 'Pastorale': 3. Merry Gathering Of Country Folk: Allegro
Sym No.6 in F, Op.68 'Pastorale': 4. Thunderstorm: Allegro
Sym No.6 in F, Op.68 'Pastorale': 5. Shepherd's Song: Happy And Thankful Feelings...

Tracks:

Sym No.7 in A, Op.92: 1. Poco Sostenuto - Vivace
Sym No.7 in A, Op.92: 2. Allegretto
Sym No.7 in A, Op.92: 3. Presto
Sym No.7 in A, Op.92: 4. Allegro Con Brio
Sym No.8 in F, Op.93: 1. Allegro Vivace E Con Brio
Sym No.8 in F, Op.93: 2. Allegretto Scherzando
Sym No.8 in F, Op.93: 3. Tempo Di Menuetto
Sym No.8 in F, Op.93: 4. Allegro Vivace

Tracks:

Sym No.9 in d, Op.125: 1. Allegro Ma Non Troppo E Un Poco Maestoso - Karita Mattila/Violeta Urmana/Thomas Moser/Thomas Quasthoff/Swedish Radio Chor/Eric Ericson Chm Chor
Sym No.9 in d, Op.125: 2. Molto Vivace - Presto - Karita Mattila/Violeta Urmana/Thomas Moser/Thomas Quasthoff/Swedish Radio Chor/Eric Ericson Chm Chor
Sym No.9 in d, Op.125: 3. Adagio Molto E Cantabile - Andante Moderato - Karita Mattila/Violeta Urmana/Thomas Moser/Thomas Quasthoff/Swedish Radio Chor/Eric Ericson Chm Chor
Sym No.9 in d, Op.125: 4. Presto - Allegro Assai - Karita Mattila/Violeta Urmana/Thomas Moser/Thomas Quasthoff/Swedish Radio Chor/Eric Ericson Chm Chor
Sym No.9 in d, Op.125: Presto - 'O Freunde, Nicht Diese Tone!' - Allegro Assai - Allegro Assai... - Karita Mattila/Violeta Urmana/Thomas Moser/Thomas Quasthoff/Swedish Radio Chor/Eric Ericson Chm Chor

Amazon.com

Beyond argument, Claudio Abaddo's second Beethoven cycle puts his previous DG traversals of the nine symphonies in the shade. His Berlin Philharmonic musicians, for starters, play with more precision, fire, suppleness, and ensemble sophistication than the Vienna Philharmonic did for Abaddo's live 1980s DG cycle. More significant, Abaddo's interpretations turn nearly 180 degrees from a soft-grained, middle-of-the-road vantage point toward the fleet tempos and tart sonorities favored by such "historically informed" Beethovenians as Charles Mackerras, Nicholas Harnoncourt, and David Zinman. Like Zinman, Abaddo makes use of the much-discussed Barenreiter edition, featuring Jonathan Del Mar's textual revisions based on original sources. One might characterize Abaddo's remakes as the Zinman with better playing.

Symphonies One and Two are cases in point. Both are jam-packed with crisp, fleet articulation and pungent accents. In similar fashion, the Third symphony's radical classicism hits home in a lean, driving performance redolent of the like-minded Kleiber-Concertgebouw and digital Karajan-Berlin recordings of the Eroica. Clarity, however, is often sacrificed for speed in the Fourth. If Abbado's new Fifth lacks the elemental thrust and surging bass line distinguishing Carlos Kleiber's and Gunter Wand's powerful readings, one hears important lines that often get lost in the mix, such as the cellos' countermelody underneath the finale's second theme.

The remaining symphonies boast reams of prodigious, effortless orchestral execution, but they often fall short in dynamic thrust, dramatic momentum, and even humor when appropriate. The finale of the Seventh, for instance, goes too fast for the swirling music to really take shape, and ditto for the wacky last movement of the Eighth. Abaddo's excellent live Berlin Ninth on Sony is hardly superseded by the present lightweight, ill-balanced traversal, although Thomas Quasthoff's riveting declamation in the finale is gorgeous and meaningful. DG's excellent packaging includes an interview with the conductor and informative annotations. All told, an uneven cycle as a whole, but its finest moments easily stand among the best modern Beethoven symphony recordings. --Jed Distler

Customer Reviews:

Great LIVE performances.......2007-04-19

I have this cycle on DVD and just noticed today that the audio cycle has been posted at Rhapsody and I am now listening to the first symphony.

One of the reveiws below gave the set a single star and blasted it for poor sound quality. HEY BUD, maybe it is your 2 dollar boom box and not the cds! The DVDs have a nice documentary with Abbado. He said their is not a mutt in the whole litter of the 9 symphonies(to paraphrase). Not one of these performances by Abbado & the BPO is a pound puppy! You may be able to get the DVDs for roughly the same as the cds at Amazon.

The Amazon review plus reviews posted by patrons go into issues like the faster tempos, the critical edition of the musical score employed, etc. I will not beat this horse any longer but will simply note that the playing and conducting is superb and the recorded sound is awesome.

There must be one or two dozen great Beethoven 9 cycles available! I just saw at Rhapsody that the MN Symphony Orchestra has Beethoven symphonies posted and almost screamed , "can't you folks find something else to record?" This charge can also be made of Abbado and the BPO. The BPO must have close to a dozen Beethoven Symphony cycles recorded since 1960! Even so, I am very happy that they decided to crank up the band one more time! You would think that by now the BPO would sound like the Beach Boys singing "good vibrations" for the 200th time! But nothing could be further from the truth. The playing is vigorous and fresh.

Don't miss this set!.......2006-10-17

This is brilliant Beethoven set for the Twenty First Century, with a far greater understanding of Beethoven's music than Karajan ever managed to produce with this outstanding orchestra. Only the third fails to convince, since it is far away from the standard of the powerful performances we have in Klemperer's or Furtwängler's accounts. Nonetheless, on balance, this is probably the best contemporary set we have, when compared with some of other recent DDD sets (Barenboim, Wand, Zinman). And it is far better than some other, older famous sets as well (e.g., Karajan's overrated 1963 cycle).

Sound quality is outstanding, with presence, clarity, dynamics, and detail.

Finally, soloists in #9 are also excellent: K. Mattila, V. Urmana, T. Moser, T. Quasthoff. In particular, I think Quasthoff is among the very best that we now have on record in the baritone part (together with Talvela, for Schmidt-Isserstadt).

Consequently: strongly recommended.

Gee. I thought I knew something about music........2006-04-30

I studied piano from age 4 to 20, I, believe it or not, received a book of miniscores of the Beethoven symphonies when I was around 10. I learned the pieces like that back of my hand.

Flash forward very many years. I don't do music for a living, but I think I know something about it. I read rave reviews of the new Abbado recordings of the Beethoven symphonies. I thought "what the heck, I'm in NY City, I'll buy them." I come back south, listen to the recordings, and I was thrilled. Overwhelmed.

Well, I'm obviously just a rube, because a recent reviewer has denounced the recordings as both technically and musically inadequate. I can't tell you how much it hurts me to learn that what I thought were definitive readings of these wonderful pieces weren't worth the CDs on which they were printed. Maybe it's time for introspection. Perhaps I really don't understand music.

Or perhaps the reviewer in question is just being contrary. I'm sorry, but anyone who would disparage these recordings really doesn't understand music. Both the interpretation and the recording are wonderful. While I might have a quibble or two about no. 9, nos. 1-8 more than make up for it.

If you can afford these recordings, buy them.

Dear Beethoven Fan, I Urge You, DO NOT Buy This Abbado Cycle! Here are the Reasons..........2006-03-29

I know this recent Abbado cycle with the Berlin Philharmonic looks like a tempting proposition, but don't make the mistake of buying this thing! I bought part of it separately and I listened to the rest of the symphonies I didn't buy and I must tell everyone to beware the very poor recording quality that this set offers. You would think that such an expensive set would have great sound, right? Well, you would be severely wrong to think that the imbeciles at Deutsche Grammophon could actually provide a decent digital recording!

The sound as you will instantly notice is recorded at a very low level. It is very distant, like the equivalent of listening to your neighbor play music through their apartment wall and you strain to hear the details. Ok, so it's not that bad, but it is still awful! I turn up the sound really loud and still get a very rounded, small, constricted experience. I know I'm not deaf, I just put on Karajan or Bernstein or Gardiner or damn near anyone and hear the full impact of this music so much more clearly. I recently reviewed Simon Rattle's Vienna Philharmonic Beethoven cycle, ( see my review ), I thought Rattle's cycle was very poorly recorded but Abbado's is just as lousy.

Do not be confused that because the BPO play in a chamber-scaled ensemble for several of the symphonies that the recorded sound should be so low. Gardiner and Harnoncourt play with small orchestras and sound much more powerful.

Ok, so you're saying, the sound is awful, but are the interpretations worth persevering for? Quite simply put, NO!
Claudio Abbado has been studying Beethoven for many years, he recorded the symphonies in the 1980's and since then he's been conserving his energy for something new and radical?! I wish. The only new thing Abbado brings to this cycle is lighter textures, crisper ensemble and faster tempos. That's it, no revelations. The period instrument movement was way ahead of him. The performances are shockingly polite, sedate and boring.

I applaud the Berlin Philharmonic for their wonderful playing but isn't there something more about Beethoven than wonderful playing? How about drama, power, passion, a sense of adventure? You don't find that in this Abbado cycle, but you will find a polite and delicate ensemble. It's true that Abbado once in a while struts his stuff, like the finale of the 7th symphony for instance is taken at a very hectic tempo but the effect is muted by the distant sound.

I listened to the Eroica and felt absolutely nothing! Listening to Abbado's vapid Ninth might make you hate classical music. John Elliot Gardiner is quite vapid too for instance, but at least he's gutsy and fun.

Do you enjoy dinner parties with friends and need some inoffensive background music for the occasion? This Abbado cycle will be perfect for that.

Do you actually want to hear the rage, the power, the beauty, the passion of Beethoven, one of the greatest musical minds that ever lived?

Try the following performances. Karajan in Symphonies 1 and 2 from the 1960's cycle on Hybrid SACD. The digital Karajan Gold performance for the Eroica. Furtwangler's insane Symphony 4 on Music and Arts. Karajan's massive 5th from 1962, on Hybrid SACD. For the Pastoral, try Karl Bohm or Bruno Walter. For a truly devastating 7th, Furtwangler on Music and Arts. Karajan Gold again for a thrilling 8th, and last but not least, listen to the magnificient Solti Ninth with the Chicago Symphony Orchestra from 1972 if you like slow speeds, available in the Solti Collection or the hair-raising Gunther Wand record on RCA if you like fast intensity. For a historical Ninth Symphony, Furtwangler is the man to go to, in 1942 or 1951.

Any one of those recordings is an 'event', an experience to cherish. I will not however be cherishing Claudio Abbado's Beethoven cycle, it's disposable. If you want to hear Abbado and the BPO in full glory and great sound, try out their great Brahms symphonies, recorded more than a decade and a half ago. At least you'll know they can be great together in something!

Two prestigious cycles from Abbado and Rattle--which to choose?.......2005-09-24

The recording industry is in such bad shape now that only the most super of superstar conductors can release a complete set of Beethoven symphonies. EMI opted for Simon Rattle with the Vienna Phil. while DG bet on Abbado with the Berlin Phil. Both conductors declared that they had totally rethought these works, which is code for "I have something to offer beyond Karajan."

They do, in a way. Both sets feature faster tempos, leaner ensembles, a less grand approach, and diminished heroism and Romanticism. If that is how you like modern Beethoven--not lean to the bone like Gardiner, Norrington, and other "authentic" conductors but not fat and sluggish like Barneboim and other traditionalists--then to my ears Abbado and Rattle come out about neck and neck.

In neither case do I hear best-of-class readings of any symphony, and the rethinking often slides by without making a strong impression in the absence of total commitment, which is what Klemperer, Furtwangler, Toscanini, and Karajan brought to Beethoven, each in a different way. Rattle and Abbado have superficially jazzed up the symphonies, but they almost make me want to mourn the end of Beethoven as a living force rather than just a museum piece. Of the two, Rattle will revert to the old ways more often--the Adagio to his Ninth, for example, has no period flavor at all.

The fact that these two conductors seem about equal suprised me, though, because Rattle has studiously avoided Beethoven almost his entire career while Abbado has been devoted to him for decades. Rattle's live concert performance of Fidelio with substandard singers was no great shakes, but Abbado has yet to hit one out of the park, either, having turned in a disappointing live Beethoven Ninth on Sony, some quite lackluster symphonies with the vienna Phil. when he was much younger, and a so-so set of concerti with Pollini.

The reviewer below compalins bitterly about the unsatisfactory sonics on the Abbado set. It was also my experience that DG didn't do as good a job as they might have, but unfortunately EMI gives Rattle somewhat tight, boxy, shrill sound as well.

If I had to, I would choose the Abbado set since Rattle is just starting out. It makes an impact when two high-profile ocnductors basically declare that period proponents like Norrington, Harnoncourt, and Gardiner were right. But I don't expect to return to either cycle very often.

Carmina Burana & Great Classical Marches (Box Set)

Average customer rating:

Carmina Burana...

Carmina Burana & Great Classical Marches (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

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Carmina Burana
Orff: Carmina Burana

ASIN: B00000IGUO
Release Date: 2000-12-06

Tracks:

Fortuna Imperatix Mundi: O Fortuna - Carl Orff
Fortuna Imperatix Mundi: Fortune plango vulnera - Carl Orff
I Primo Vere: Veris leta facies - Carl Orff
I Primo Vere: Omnia Sol temperat - Carl Orff
I Primo Vere: Ecce gratum - Carl Orff
I Primo Vere: Uf dem Anger - Dance - Carl Orff
I Primo Vere: Floret silva - Carl Orff
I Primo Vere: Chramer, gip die varwe mir - Carl Orff
I Primo Vere: Reie - Swaz hie gat umbe - Carl Orff
I Primo Vere: Were diu werlt alle min - Carl Orff
II In Taberna: Estuans interius - Carl Orff
II In Taberna: Olim lacus colueram - Carl Orff
II In Taberna: Ego sum abbas - Carl Orff
II In Taberna: In taberna quando sumus - Carl Orff
III Cour d'amours: Amor volat undique - Carl Orff
III Cour d'amours: Dies, nox et omnia - Carl Orff
III Cour d'amours: Stetit puella - Carl Orff
III Cour d'amours: Circa mea pectora - Carl Orff
III Cour d'amours: Si puer cum puellula - Carl Orff
III Cour d'amours: Veni, veni, venias - Carl Orff
III Cour d'amours: In trutina - Carl Orff
III Cour d'amours: Tempus est iocundum - Carl Orff
III Cour d'amours: Dulcissime - Carl Orff
III Cour d'amours: Ave formosissima - Carl Orff
III Cour d'amours: O Fortuna - Carl Orff

Tracks:

Pomp And Circumstance, Op. 39: Military March No. 1 - Various Artists
Marche Slave, Op. 31 - Various Artists
Marche Hongroise (R koczy-Marsch) 'La Damnation de Faust' - Various Artists
March from Fidelio - Various Artists
Borussia. Tempo de Marcia Trionfale - Various Artists
Coronation March - Various Artists
Pas de Guerriers, Evolution d'Infanterie et Cavalerie - Various Artists
Bombardon-Marsch - Various Artists
R koczy-Marsch - Various Artists
Joyeuse Marche - Various Artists
Hungarian State Orchestra: Festive March For The Goethe Centenary - Various Artists

Customer Reviews:

Carmina Burana..........2006-12-21

It's a decent box set for the price. I'm glad that I finally found a version of Carmina Burana that sounds decent...Four stars...

Furtwangler Conducts Beethoven Symphony 9

Average customer rating:

From The Australian Mercury

Furtwangler Conducts Beethoven Symphony 9

Manufacturer: Music & Arts Programs of America
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Beethoven: Symphonies Nos. 4 & 6 "Pastorale"
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
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ASIN: B00003JAIC
Release Date: 2001-01-01

Customer Reviews:

From The Australian Mercury.......2006-12-27

"Taped at a concert in 1942, this is the great recording of Beethoven's Ninth. The sound is not brilliant but if you have ever heard a more definitive Adagio, please tell me. The metaphysical brilliance of Furtwaengler, one of the most misunderstood great musicians of the 20th century, is evident from the searching opening bars of the first movement."

Complete Beethoven Edition, Vol. 14: Misc. Chamber Works

Average customer rating:

The "Unknown" Beethoven...
Simply Delightful!
Brilliant if sometimes odd rhythm and tempo

Complete Beethoven Edition, Vol. 14: Misc. Chamber Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

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Complete Beethoven Edition Vol. 6 - Piano Works / Demus, Alder, Gilels, Mustonen, Kempff, Barenboim
Complete Beethoven Edition, Vol. 7: Violin Sonatas
Complete Beethoven Edition, Vol. 2: Concertos
Complete Beethoven Edition, Vol. 9: Piano Trios
Complete Beethoven Edition, Vol. 10: String Trios

ASIN: B000001GZH
Release Date: 1997-12-09

Tracks:

No. 1 In E Flat Major: 1. Adagio assai - attacca - Ludwig Van Beethoven
No. 1 In E Flat Major: 2. Allegro con spirito - Ludwig Van Beethoven
No. 1 In E Flat Major: 3. Tema. Cantabile - Variazioni I-VI - Tema. Allegretto - Ludwig Van Beethoven
No. 2 In D Major: 1. Allegro moderato - Ludwig Van Beethoven
No. 2 In D Major: 2. Andante con moto - Ludwig Van Beethoven
No. 2 In D Major: 3. Rondo. Allegro - Ludwig Van Beethoven
No. 3 In C Major: 1. Allegro vivace - Ludwig Van Beethoven
No. 3 In C Major: 2. Adagio con expressione - Ludwig Van Beethoven
No. 3 In C Major: 3. Rondo. Allegro - Ludwig Van Beethoven

Tracks:

Trio For Piano, Flute, And Bassoon In G Major: 1. Allegro - Ludwig Van Beethoven
Trio For Piano, Flute, And Bassoon In G Major: 2. Adagio - Ludwig Van Beethoven
Trio For Piano, Flute, And Bassoon In G Major: 3. Tema andante con Variazioni - Ludwig Van Beethoven
Sonata For Piano And Horn In F Major: 1. Allegro moderato - Ludwig Van Beethoven
Sonata For Piano And Horn In F Major: 2. Poco Adagio, quasi Andante - Ludwig Van Beethoven
Sonata For Piano And Horn In F Major: 3. Rondo. Allegro moderato - Ludwig Van Beethoven
Sextet For 2 Horns, 2 Violins, Viola And Cello In E Flat Major: 1. Allegro con brio - Ludwig Van Beethoven
Sextet For 2 Horns, 2 Violins, Viola And Cello In E Flat Major: 2. Adagio - Ludwig Van Beethoven
Sextet For 2 Horns, 2 Violins, Viola And Cello In E Flat Major: 3. Rondo. Allegro - Ludwig Van Beethoven

Tracks:

Quintet For Piano, Oboe, Clarinet, Horn And Bassoon In E Flat Major: 1. Grave - Allegro, ma non troppo
Quintet For Piano, Oboe, Clarinet, Horn And Bassoon In E Flat Major: 2. Andante cantabile
Quintet For Piano, Oboe, Clarinet, Horn And Bassoon In E Flat Major: 3. Rondo. Allegro, ma non troppo
Serenade For Flute, Violin And Viola In D Major, Op. 25: 1. Entrada. Allegro
Serenade For Flute, Violin And Viola In D Major, Op. 25: 2. Tempo ordinario d'un Minuetto
Serenade For Flute, Violin And Viola In D Major, Op. 25: 3. Allegro molto
Serenade For Flute, Violin And Viola In D Major, Op. 25: 4. Andante con Variazioni
Serenade For Flute, Violin And Viola In D Major, Op. 25: 5. Allegro scherzando e vivace
Serenade For Flute, Violin And Viola In D Major, Op. 25: 6. Adagio - Allegro vivace e disinvolto
Sonatina In C Minor: Adagio
Adagio In E Flat Major: Adagio (ma non troppo)
Sonatine In C Major: Allegro
Variations In D Major

Tracks:

Trio For Piano Clarinet And Cello In B Flat Major: 1. Allegro con brio
Trio For Piano Clarinet And Cello In B Flat Major: 2. Adagio
Trio For Piano Clarinet And Cello In B Flat Major: 3.Tema. 'Pria ch'io l'impegno'. Allegretto - Allegro
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 1. Adagio - Allegro con brio
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major:: 2. Adagio cantabile
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major:: 3. Tempo di Menuetto
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 4. Tema. Andante con Variazioni
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 5. Scherzo. Allegro molto e vivace
Septet For Violin, Viola, Clarinet, Horn, Bassoon, Cello And Double Bass In E Flat Major: 6. Andante con moto alla Marcia - Presto
Fugue For String Quintet In D Major: Allegretto

Tracks:

Quintet For 2 Violins, 2 Violas And Cello In C Major: I. Allegro
Quintet For 2 Violins, 2 Violas And Cello In C Major: II. Adagio molto espressivo
Quintet For 2 Violins, 2 Violas And Cello In C Major: III. Scherzo. Allegro
Quintet For 2 Violins, 2 Violas And Cello In C Major: IV. Presto
Prelude And Fugue For 2 Violins And Cello In E Minor: Praeludium
Prelude And Fugue For 2 Violins And Cello In E Minor: Fuge
Six Minuets For Two Violins And Bass: No. 1 In E Flat Major
Six Minuets For Two Violins And Bass: No. 2 In G Major
Six Minuets For Two Violins And Bass: No. 3 In C Major
Six Minuets For Two Violins And Bass: No. 4 In F Major
Six Minuets For Two Violins And Bass: No. 5 In D Major
Six Minuets For Two Violins And Bass: No. 6 In G Major
Duet For Viola And Cello In E Flat Major: Allegro
Duet For Viola And Cello In E Flat Major: Allegretto
Six Landler For Two Violins And Bass: No. 1 In D Major
Six Landler For Two Violins And Bass: No. 2 In D Major
Six Landler For Two Violins And Bass: No. 3 In D Major
Six Landler For Two Violins And Bass: No. 4 In D Minor
Six Landler For Two Violins And Bass: No. 5 In D Major
Six Landler For Two Violins And Bass: No. 6 In D Major
Duet For Two Violins In A Major
Canon In A Major (Probably For Two Violins)

Tracks:

Six Themes With Variations For Piano And Flute: 1. Air ecossais: 'The Cottage Maid'. Tema. Andantino quasi Allegretto - Var. I-II - Var. III. Allegro - Tempo I
Six Themes With Variations For Piano And Flute: 2. Air ecossais: 'Von edlem Geschlect war Shinkin'. Tema. Allegretto scherzoso - Var. I-II - Var. III. Allegretto-Allegro
Six Themes With Variations For Piano And Flute: 3. Air autrichien: 'A Schusserl und a Reindl'. Tema. Andantino - Var. I-IV - Var. V. Adagio sostenuto, ma non troppo - Var. VI. Andante con moto
Six Themes With Variations For Piano And Flute: 4. Air ecossais: 'The Last Rose Of Summer'. Tema. Andante expressivo assai - Var. I-III
Six Themes With Variations For Piano And Flute: 5. Air ecossais: 'Chiling O'Guiry'. Tema. Allegretto spiritoso - Var. I-II - Var. III. Allegro assai
Six Themes With Variations For Piano And Flute: 6. Air ecossais: 'Paddy Whack'. Tema. Allegretto piu tosto vivace - Var. I-IV
Ten Themes With Variations For Piano And Flute: 1. Air tirolien: 'I bin a Tiroler Bua'. Tema. Moderato - Var. I-III - Var. IV. Allegro
Ten Themes With Variations For Piano And Flute: 2. Air ecossais: 'Bonnie Laddie, Highland Laddie'. Tema. Allegretto, quasi vivace - Var. I-III - Var. IV. Andante mosso, alla Siciliano - Allegro
Ten Themes With Variations For Piano And Flute: 3. Volkslied aus Kleinrussland. Tema. Vivace - Var. I-IV - Var. V. Adagio sostenuto - Tempo I
Ten Themes With Variations For Piano And Flute: Air ecossais: 'St .Patrick's Day'. Tema. Allegretto scherzoso - Var. I - Var. II. Poco adagio - Vivace - Moderato - Tempo I
Ten Themes With Variations For Piano And Flute: 5. Air tirolien: 'A Madel, ja a Madel'. Tema. Moderato - Var. I-II - Var. III. Maestoso - Allegro
Ten Themes With Variations For Piano And Flute: 6. Air ecossais: 'Peggy's Daughter'. Tema. Andante comodo - Var. I-III - Var. IV. Vivace
Ten Themes With Variations For Piano And Flute: 7. Air russe: 'Schone Minka'. Tema. Andante - Var. I-IV - Var. V. Andante moderato - Var. VI. Allegro - Adagio - Andante commodo - Poco vivace
Ten Themes With Variations For Piano And Flute: 8. Air ecossais: 'O Mary At Thy Window Be'. Tema. Andantino quasi Allegretto - Var. I-III - Var. IV. Un poco piu mosso - Allegro assai
Ten Themes With Variations For Piano And Flute: 9. Air ecossais: 'Oh, Thou Art The Lad Of My Heart'. Tema. Allegretto piu tosto vivace - Var. I - Var. II. Cantabile e legato - Var. III - Var. IV. Andante espressivo - Var. V. Vivace
Ten Themes With Variations For Piano And Flute: 10. Air ecossais: 'The Highland Watch'. Tema. Spiritoso e marziale - Var. I-II - Var. III. Piu moto - Var. IV. Adagio espressivo - Var. V. Allegro
Duo For Two Flute In G Major: Allegro con brio
Duo For Two Flute In G Major: Minuetto quasi Allegretto

Customer Reviews:

The "Unknown" Beethoven..........2005-01-03

I think it would not be wrong to say that most casual listeners of classical music know Beethoven mostly by his orchestral works--the symphonies, piano concertos, violin concerto, and overtures. Those who go a little deeper might know him by the piano sonatas, violin sonatas, and string quartets; however, this misses a significant portion of his oeuvre--and a major facet of his ethos and art: specifically, the chamber works and lieder: this is the "unknown" Beethoven.

This collection is absolutely the best, finest, and most excellent presentation of Beethoven's chamber works: the Horn Sonata; the Piano-Wind Quintet; the Serenade for Flute, Violin, and Viola; the Clarinet Trio; the Septet for mixed strings & winds; and the String Quintet.

Plus, some really nice esoterica: the early piano quartets; trio for piano, flute & bassoon; pieces for mandolin & piano; and pieces for flute & piano.

All of these works fall into Beethoven's First Period; yet, they must not be considered "juvenalia": Beethoven was the greatest artist/poet who ever lived, and his genius was manifest from his teenage years.

Simply Delightful!.......2004-12-23

This is a wonderful collection of Beethoven chamber music. The recordings are intimate, the musicianship is superb...the music is timeless. The piano concerti are the real highlights here; I don't think they can be any better, and the other selections are very pleasant. If you like Beethoven chamber music (and I can't imagine NOT liking it), then this set is highly recommended. Every now and then you come across a boxed set of recordings that you can listen to over and over. This is one such set.

Brilliant if sometimes odd rhythm and tempo.......2001-01-10

This CD, part of the magnus opus of Beethoven's works committed to CD is wonderfully brilliant and evocative of the renditions of the early 1950's.

Although there are the rare rhythmic, and very rare tempo peculiarities this must remain as one of the finest renditions of Beethoven's Chamber Works. This is of course to be expected from works produced by DDG.

Tracks:

Violin Concerto In D, Op. 61: 1. Allegro Ma non Troppo (Cadence: F. Kreisler)
Violin Concerto In D, Op. 61: 2. Larghetto
Violin Concerto In D, Op. 61: 3. Rondo (Allegro) (Cadence: F. Kreisler)
Violin Concerto In E Minor, Op. 64: 1. Allegro Molto Appassionato
Violin Concerto In E Minor, Op. 64: 2. Andante
Violin Concerto In E Minor, Op. 64: 3. Allegretto Non Troppo- Allegro Molto Vivace

Amazon.com essential recording

Yehudi Menuhin and Wilhelm Furtwängler, born a generation apart and separated by a world at war, were nonetheless musical and philosophical soulmates. Their recording of the Beethoven Violin Concerto, made seven years after they first met, is one of the treasures of the EMI archive, a testament to a bygone era of spontaneous and deeply subjective music-making. There is a nobility to the reading that has never been equaled, an unforced passion that would be difficult for any of today's musicians to duplicate. The monaural recording is remarkably fine, with satisfying depth and abundant detail. --Ted Libbey

Customer Reviews:

Choosing between two versions from Menuhin and Furtwangler.......2006-01-01

In the Beethoven, reviewers here consistently prefer the live 1947 radio broadcast from the Lucerne Festival over this 1953 studio recording from London. I'm not sure the choice is that clear, however, until one knows the salient details.

Lucerne 1947: Historically, this is a touching momento of Menuhin's decision to appear with Furtwangler soon after the war, at a time when the conductor's de-Nazification was slow and painful. Menuhin's gesture helped to rehabilitate Furtwangler in circles that had condemned him, and this Beethoven concerto performance shows how musically sympathetic the two artists were. Menuhin is placed far forward in Lucerne, his tone bright and at times shrill but nonetheless warm enough to listen to without wincing. His technique is adequate to the piece but no more.

Furtwangler gives almost an identical accompaniment in both recordings, although the Lucerne Festival Orchestra is notably less polished than the Philharmonia in the studio. Sonics are good radio mono. Tempos are the same in both recordings except for the slow movement, which is 2 min. slower in Lucerne. Menuhin opens the finale firmly and in tune.

1953 London: This studio recording is in quite good mono for its day, and the Philharmonia sounds especially warm and inviting. One notes a metallic edge in both orchestra and soloist at loud volumes (I haven't heard the latest remastering, which might have solved this problem). Menuhin's technique is no longer adequate to the part, though his interpretation hasn't changed in six years. He is quite out of tune beginning the finale, with gravelly tone on the G string. In both performances his approach is cautious rather than free and rhapsodic.

Furtwangler's accompaniment has great depth and lyric flow, without the drama he is capable of in Beethoven, however. It's often said that he felt constrained in the studio and freer in concert, but in this case both accounts are quite similar.
After all is said and done, the difference isn't so much interpretive but technical--Menuhin had slipped too far by 1953, at least to this listener.

The final and most important question is whether these are deeply felt and noble performances. Surprisingly, I didn't find them so this time around, but I did ten years ago. Subjectivity plays a crucial part in the role of the listener. I can sympathize with people who feel ennobled by these readings even though they have dimmed for me.

The Mendelssohn concerto from 1953 isn't an afterthought. This was always one of Menuhin's best pieces, and here he preforms it with moderate tempos and the kind of personal expression perfectly matched to Furtwangler's own. There are more mercurial readings but few as emotionally sympathetic.

Menuhin and Furtwangler Play Beethoven and Mendelssohn.......2005-10-11

The thirteenth-century poet Rumi wrote that "the voice of the violin is the sound of the opening gate of paradise." I was swept away by this classic recording of the Beethoven and Mendelssohn violin concertos by Yehudi Menuhin and Wilhelm Furtwangler conducting the Philharmonia Orchestra in the Beethoven and the Berlin Philharmonic in the Mendelsshon. This disk is a reissue on the "Great Recordings of the Century" series. The recordings date from 1953.

Wilhelm Furtwangler was one of the last of the romantic conductors. His tempos in these concertos are deliberate and fluid and the orchestral sound is lush. He recorded the Beethoven concerto with Menuhin in 1947 and again, on the version given here, in 1953. The first version emphasizes the lyrical, gracious character of the work. The version here is more reserved, emphasizing the spiritual, lofty character that many listeners find in the Beethoven violin concerto.

The Beethoven concerto is remarkable for its breadth and spaciousness and for the opportunity it accords for interplay between orchestra and soloist. The orchestral part is unusually detailed and elaborate and much of the violin part, especially in the opening movement, is filigree and embroidery in the highest register of the instrument around the orchestral themes. There are beautiful melodies in this work together with dramatic passages. In the first movement, the new listener should focus on how the opening five-beats of the tympani come to pervade the entire movement. The second movement is a theme and variations with two deeply-moving and reflective interludes for the violin. For many listeners, this movement is the climax of the entire work. The third movement is a lively rondo, more unbuttoned than the first two movements, with a great deal of variety and a lively coda.

Joseph Joachim, the 19th century violinist who championed both the Beethoven and the Mendelssohn concertos, among many others, said in 1906 (celebrating his 75th birthday) that "the greatest, the most uncompromising" of the violin concerto's was Beethoven's but that "the most inward, the heart's jewel" is Mendelssohn's". Furtwangler and Menuin's rendition of this most-frequently played of the violin concertos brought Joachim's words home for me.

Unlike the Beethoven concerto, the soloist is almost always at the center of attention in the Mendelssohn. Menuhin plays with lyricism and passion -- this work is much more than a series of pretty tunes. The orchestral part is detailed and developed, if subordinate to the soloist, and Furtwangler and the Berlin Philharmonic are equal partners to Menuhin's playing. This work is in three connected movements. In the opening, the new listener should focus on the long cadenza for the violin which Mendelssohn places following the development rather than in its usual place before the coda. The transition passages between the first and the second movement and the second and the third also are of great importance in this work. The second movement consists of a long songlike theme and the third movement is a light Mendelssohn scherzo. The performance here brings out the depths of this concerto.

This modestly-priced CD is an ideal way for the new listener to get to know two masterpieces for the violin concerto -- and two of the great works of music. The quotations I used earlier in the review are taken from the discussion of the Beethoven and Mendelssohn concertos in Michal Steinberg's book, "The Concerto: A Listener's Guide." Listeners interested in exploring the concerto literature will enjoy reading Steinberg's book.

Robin Friedman

The best of the romantic view.......2005-05-28

I first encountered this recording in a blue box of LPs imported from Germany by Odeon; simply entitled "Furtwangler", the box contains Beethoven's 3rd and 5th symphonies in the Vienna Philharmonic studio version; the Bayreuth version of the 9th; and the Emperor Concerto with Edwin Fischer and the Violin Concerto with Menuhin, both with the Philharmonia. The set was reprocessed by German Electrola in "Breitklang", which was a "space-opening" technology just this side of fake stereo. For at least a year I listened to the Menuhin record without much feeling one way or the other. Then one day I flipped the "mono" switch on my amplifier. All of a sudden, the fake "noise" that infected Menuhin's tone was gone, and there was his remarkable, sweet, luminous tone, a rare sound that shines from the inside. I was enthralled. I listened spellbound to one of the most personal, communicative renditions of this great piece I'd ever heard.

This is a lovely rendition, a bit more detached than the earlier Luzerne collaboration of these two great artists, perhaps less passionate but with a compensating spiritual depth. Menuhin may not have been the virtuoso he was 7 years earlier, but he still had most of his technique and sound intact. Yes, there are intonation problems, especially in the opening of the first movement. But we are a far distance from the Menuhin who sounded like he was struggling, with persistent intonation, bowing and phrasing problems and a tone which sounded increasing frayed. He might not be here the incandescent light he had been; but he was still a major artist with a deep spiritual insight into this piece and enough technique to bring it off.

Furtwanger, of course, is marvellous. Each phrase is lovingly and plastically molded, the overall structure and balance of the piece is always evident, each part fits inexorably into the whole, and all is at the service of his unique, spiritual (there's that word again) insight. The Philharmonia sounds like his own.

Rating this performance against the Luzerne version is like rating Furtwangler's late-life VPO/BPO studio recordings of Beethoven symphonies against his war-years radio broadcasts. The latter versions of both are more passionate, white-hot, intense; the former are a bit more removed, not without passion or feeling but with a more balanced perspective. Each version has its place, each offers its own unique insight. Each is worth listening to. Each is, in its own way, an essential recording.

You may hear this piece performed differently; you will never hear it performed better.

Huh?.......2004-12-31

I have more records of Menuhin than you could dream of a music fan! I have every single recording he did from 1928 Ries La Capricciosa to the latest recordings of concerti in the box set Menuhin concerto collection EMI. So I think my judgement is valid, the Lucerne recording on testament I have and I agree it's far better! Go Testament!

Good, but Menuhin was sublime in Lucerne.......2004-08-04

This is certainly a good recording of the Beethoven, and Furt's accompaniment is at times nothing short of stunning. But whereas Menuhin is merely good here, he is absolutely sublime in his earlier recording in Lucerne (also with Furt), which is now available on Testament. The EMI recording is cheapter, obviously, but don't let that mislead you: the Testament would be a bargain at any price.

Average customer rating:

A Vengerov Sampler: Life is just a box of chocolates....
Over hyped former prodigy
vengerov is the best
virtuoso vs. choice of music ?
Definitely a Five-Star Violinist

Maxim Vengerov - The Road I Travel
Pyotr Il'yich Tchaikovsky , Franz Waxman , Johannes Brahms , Wolfgang Amadeus Mozart , Felix Mendelssohn , Ludwig van Beethoven , Jules Massenet , Dmitry Shostakovich , Israel Philharmonic Orchestra , Berlin Philharmonic Orchestra , Leipzig Gewandhaus Orchestra , London Symphony Orchestra , Zubin Mehta , Mstislav Rostropovich , Kurt Masur , Claudio Abbado , Itamar Golan , Maxim Vengerov , and Aleksandr Markovich
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Vengerov
Vengerov and Virtuosi
Virtuoso Vengerov
Brahms: Violin Concerto; Sonata No. 3
Bruch/Mendelssohn: Violin Concertos

ASIN: B000000S9Z
Release Date: 1997-04-01

Tracks:

Souvenir d'un lieu cher, Op. 42: Melodie No. 3
Carmen Fantasie
Violin Sonata No.2 In A Major, Op. 100: Andante tranquillo - Vivace
Violin Concerto In D Major, Op. 35: Canzonetta: Andante
Violin Sonata In B Flat Major: Allegro moderato
Violin Concerto In E Minor, Op. 64: Allegro molto appassionato
Violin Sonata No. 5 In F Major 'Spring' Op. 24: Rondo. Allegro ma non troppa
Meditation from Thais
Violin Concerto No.1 In A Minor, Op. 77: Burlesque -Allegro con brio

Customer Reviews:

A Vengerov Sampler: Life is just a box of chocolates...........2005-08-16

For some reason I have always been averse to recordings of single movements from other disparate recordings which usually makes the spotlighted artist seem a bit crass and commercial. But amazingly enough this THE ROAD I TRAVEL featuring Maxim Vengerov is anything but that! Perhaps it is just that this young violinist weaves such a spell that little tidbits from here and there seem justifiable: then perhaps it is just a forgiving ear that can jump around his 'Road' and share the good memories.

The selections vary from concerto movements from Shostakovich, Mendelssohn, and Tchaikovsky to movements from sonatas by Beethoven and Brahms to oddities like the Franz Waxman 'Carmen Fantasia'. Different conductors and orchestras and pianists partner each excerpt. But it just comes together. This is a fine recording for friends who don't understand the fanaticism of Vengerov's following. It makes a fine calling card for the virtuoso! Grady Harp, August 05

Over hyped former prodigy.......2005-02-10

Maxim is a over hyped former child prodigy. Among his generation, Gil Shaham, Joshua Bell, Kyoko Takezawa, Chee Yun, Christian Tetzlaff's intonation and music are more pleasing to my ears. Why I cannot find Kyoko and Chee Yun's records.

vengerov is the best.......2004-09-02

Wow... I've been a huge fan of Vengerov's for about 6 years now, but he continues to surprise me. When I first heard him play, I thought he was the best romanticist I had ever heard, but he probably wouldn't be good at much else. Then I heard him play unaccompanied Bach on a period instrument, and it was pristine. I had never heard him play any classical music, but thought that there was NO WAY someone could be a master of all three broad musical styles, but once again Vengerov surpasses my EXTREMELY lofty expectations and proves that he is a master of the classical style as well. These recordings of Mozart's sonatas are among the best i've ever heard, in every way. His technical proficiency is beyond reproach, and his style is flawless from beginning to end. This CD makes me want to dust off all of my Mozart sonatas and start playing them again!! I purchased this disc for the sole purpose of hearing Vengerov play Mozart, and I'm thrilled that I did so. This is another new Vengerov purchase that is easily one of my favorite CDs in my collection. I'm beginning to think that he can do no wrong!

virtuoso vs. choice of music ?.......2004-02-12

While the violinist was excellent I thought his choice of music was not. I only recognized two or three of the selections that were offered on this CD. Needless to say I was a bit disappointed that he had not chosen more recognizable selections. Since I purchased this CD because of the "Meditation"piece from "Thais" I suppose I got what I wanted but, nevertheless I am still disappointed in the CD as a whole. I suppose it is alright for someone with more esthetic tastes than mine. As for Vengerov "B R A V O"!!!

Definitely a Five-Star Violinist.......2003-05-30

And this CD is one of his best. Be sure the bass on your system is turned up and get ready to spend one of the most enjoyable hours of your life.

Music Review: