Joseph Schmidt

On this CD:

1. Martha, opera Ach, so fromm
Composed by Friedrich von Flotow
Performed by Joseph Schmidt

2. L'elisir d'amore, opera Una furtiva lagrima
Composed by Gaetano Donizetti
Performed by Joseph Schmidt

3. Il Trovatore, opera Di quella pira
Composed by Giuseppe Verdi
Performed by Joseph Schmidt

4. Pagliacci, opera Jetzt spielen-Hüll dich in Tand nur
Composed by Ruggiero Leoncavallo
Performed by Joseph Schmidt

5. Turandot, opera Nessun Dorma
Composed by Giacomo Puccini
Performed by Joseph Schmidt

6. La bohème, opera Kokett ist dieses Mäadchen
Composed by Giacomo Puccini
Performed by Berlin Symphony Orchestra with Joseph Schmidt
Conducted by Frieder Weissmann

7. La fanciulla del West (The Girl of the Golden West), opera Für sie, für sie allein-Lasset sie glauben, daß ich in die Welt zog
Composed by Giacomo Puccini
Performed by Joseph Schmidt
Conducted by Frieder Weissmann

8. Tosca, opera E lucevan le stelle
Composed by Giacomo Puccini
Performed by Joseph Schmidt
Conducted by Frieder Weissmann

9. Die tote Stadt (The Dead City), opera, Op. 12 Glück, das mir verblieb
Composed by Erich Wolfgang Korngold
Performed by Joseph Schmidt

10. L' Africaine, grand opera in 5 acts Land so wunderbar
Composed by Giacomo Meyerbeer
Performed by Joseph Schmidt

11. Le Postillon de Lonjumeau, opera Freunde, vernehmet die Geschichte
Composed by Adolphe Adam
Performed by Joseph Schmidt

12. Le Cid, opera Ach, alles sinkt hinab
Composed by Jules Massenet
Performed by Joseph Schmidt

13. Tausend und eine Nacht (A Thousand and One Nights), operetta ( Strauss' works arr. by Reitterer) Launisches Glück
Composed by Johann II Strauss
Performed by Joseph Schmidt
Conducted by Frieder Weissmann

14. Der Zigeunerbaron (The Gypsy Baron), operetta (RV 511) Als flotter Geist-Ja, das alles auf Ehr
Composed by Johann II Strauss
Performed by Joseph Schmidt

15. Zigeunerliebe, operetta Ich bin ein Zigeunerkind
Composed by Franz Lehar
Performed by Joseph Schmidt

16. Mattinata, song for voice & piano (or orchestra)
Composed by Ruggiero Leoncavallo
Performed by Joseph Schmidt
Conducted by Otto Dobrindt

17. La danza. Tarantella Napolitana ("Già la luna è in mezzo al mare"), for voice & piano (Soirées musicales)
Composed by Gioachino Rossini
Performed by Joseph Schmidt
Conducted by Otto Dobrindt

18. O Sole Mio for voice & piano (or orchestra)
Composed by Eduardo di Capua
Performed by Joseph Schmidt

19. El Trust de los Tenorios, zarzuela Española (Jota)
Composed by Jose Serrano
Performed by Joseph Schmidt

20. La Paloma: for voice & piano (or orchestra)
Composed by Sebastian Iradier
Performed by Joseph Schmidt

21. Ein Stern fällt vom Himmel, film score Wo beim Wein ein Walzer klingt
Composed by Hans May
Performed by Joseph Schmidt
Conducted by Felix Gunther

22. Ein Lied geht um die Welt Ein Lied geht um die Welt
Composed by Hans May
Performed by Joseph Schmidt

Joseph Schmidt, Music, Adolphe Adam, Eduardo di Capua, Gaetano Donizetti, Friedrich von Flotow, Sebastian Iradier, Erich Wolfgang Korngold, Franz Lehar, Ruggero Leoncavallo, Jules Massenet, Hans May, Giacomo Meyerbeer, Giacomo Puccini, Gioachino Rossini, Jose Serrano, Johann II Strauss, Giuseppe Verdi, Felix Gunther, Frieder Weissmann, Otto Dobrindt, Berliner Sinfonie-Orchester, Orchester der Städtischen Bühnen Frankfurt am Main, Joseph Schmidt, 20th/21st Century Music for Voice and Keyboard, Art Song (General), Classical, Film, Film Music, French Romantic Opera, German/Austrian 20th/21st Century Opera, German/Austrian Operetta, German/Austrian Romantic Opera, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Solo Voice(s) and Orchestra, Spanish/Latin American/Italian Operetta (Zarzuela), Vocal

Korngold/ Schmidt: Music for Strings & Piano Left Hand
Average customer rating:

good music

Terrific!

NOVEL AND WELL DONE!

Worthy and Long Overdue!

Korngold/ Schmidt: Music for Strings & Piano Left Hand

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Korngold: Symphony in F sharp; Einfache Lieder; Mariettas Lied

Korngold: Piano Concerto, Op. 17; Marx: Romantisches Klavierkonzert

ASIN: B000006O66
Release Date: 1998-05-19

Tracks:

Suite for 2 Violins, Cello & Piano Left Hand, OP. 23: Praludium und Fuge - Kraftig und bestimmt
Suite for 2 Violins, Cello & Piano Left Hand, OP. 23: Walzer - Nicht schnell, anmutig
Suite for 2 Violins, Cello & Piano Left Hand, OP. 23: Groteske - Molgich rasch
Suite for 2 Violins, Cello & Piano Left Hand, OP. 23: Lied - Schilt und innig - Nicht zu langsam
Suite for 2 Violins, Cello & Piano Left Hand, OP. 23: Rondo - Finale (Variationen) - Schnell, heftig
Quintet in G Major for 2 Violins, Viola, Cello & Piano Left Hand: Lebhaft, docht nicht schnell
Quintet in G Major for 2 Violins, Viola, Cello & Piano Left Hand: Adagio
Quintet in G Major for 2 Violins, Viola, Cello & Piano Left Hand: Sehr ruhig
Quintet in G Major for 2 Violins, Viola, Cello & Piano Left Hand: Sehr lebhaft

Customer Reviews:

good music.......2007-03-22

A good registration for good music...If you like classical music, but not so classical and also not so modern, this is good for you

Terrific!.......2006-10-19

Comparatively rarely heard, beautiful chamber works, an array of great artists, probably definitive interpretations and one of Sony's best-sounding modern recordings. Quite honestly, I'd ordered this for two reasons only: I'm becoming (or already have been?) a Leon Fleisher completist, plus could not believe Sony (not always my favourite classical record company and/or licence owner when it comes to their policy regarding all the hidden treasures in their back catalogue - not least Fleisher's!) would even have bothered recording and marketing this repertoire unless these were real gems - which is precisely what they are!

Greetings from Switzerland, David.

NOVEL AND WELL DONE!.......2000-12-09

Here's a fine coupling of two rather rare chamber works, tailored by two rather curious late-Romantic composers for the rather iconoclastic and fascinating left-handed pianist, Paul Wittgenstein. (1882-1961).

Erich Wolfgang Korngold (1897-1957) wrote three works for Wittgenstein: the present Suite, Op. 23, the youthful Piano Quintet, Op. 15 and the uncanny Piano Concerto, Op. 17. They are all quite good.

The Suite, Op. 23 is a brilliantly-conceived "amalgam" of five movements, held together by the centrally-located "Groteske," aptly-named. Not one movement flags, or fails to hold our interest. Korngold consistently touches or amuses or bedazzles. He has a naturally tuneful bent and a mischievous quirkiness that are memorable, indeed. His penchant for invention, as well, is truly admirable.

Franz Schmidt (1874-1939), in his Piano Quintet, is equally intriguing and melodious. Most noteworthy is the particularly gorgeous Adagio. Schmidt, on the surface, may appear to be the more "conventional" composer (afterall, he is Korngold's senior by twenty years), but appearances are deceiving; his music is just as forward-looking and memorably-cast as his youthful contemporary.

Kudos to the stellar ensemble involved--- and especially to pianist Fleisher, whose playing is exceptional. The sound picture is warm and intimate; every trill, every low cello note, every piano cascade is captured realistically intact.

These may be arcane compositions for most, but they are most certainly attractive and accessible.

[Running time: 75:10]

Worthy and Long Overdue!.......2000-05-03

The gem of this recording is Korngold's Cello Concerto, given a serious and exciting rendition by soloist Peter Dixon and the BBC Philharmonic. Korngold's "Deception" concerto is arguably the greatest work composed for film ever. The concerto is hauntingly beautiful, and deserves its place in the classical music reportoire in its own right. Unfortunately, the "Deception" concerto has remained little known, perhaps because of its unusual length and the fact that is film music, and film music for an unfairly neglected film at that! This wonderful recording of Korngold's concerto should bring it to an overdue prominence. The other works on this recording are equally well performed. However, I suspect that they will appeal mainly to those who have a special interest in Korngold's music, as do I. These other orchestral works will prove especially interesting for those who love Korngold's film scores and who will be able to trace roots of these film scores in works like the Piano Concerto in C sharp. However, the work that will have broadest appeal will be the "Deception" concerto. This recording alone is well worth the price of this CD.

Average customer rating:

An excellent compilation of beautiful choral music
Good disc

Unforgettable Sacred Classics

Manufacturer: Classics for Pleasur
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000J84H
Release Date: 1999-05-18

Tracks:

Canata No. 147: Jesus bleibet meine Freude (Jesu, Joy Of Man's Desiring)
Messiah: I Know That My Redeemer Liveth
Cantata No.140 (Sleepers, Wake!): Zion hort die Wachter singen
Stabat Mater: Cujus animam
Solemn Vespers: Laudate Dominium
harm. Bach O sacred head, sore wounded (English Hymnal 102)
Panis angelicus
The Creation: The Heavens Are Telling
Elijah: O rest in the lord
Ave verum corpus
Petite Messe solennelle: Gloria In Excelsis Deo
Othello: Ave Maria
Ave verum corpus, Op. 2 No. 1
Requiem: Ingemisco
St. Cecilia Mass: Sanctus
Requiem in D Minor: Lacrimosa
Requiem Op. 48: Pie Jesu
Messiah: For Unto Us A Child Is Born

Customer Reviews:

An excellent compilation of beautiful choral music.......2006-12-01

This is a really good album as a taster for choral music for those who perhaps are new to the genre.

I will readily admit that I am no classical music expert and so was a little unsure what to choose. I was particularly aiming for an album with Mozart's "Laudate Dominum" on it - a piece that I love - and had already picked up two albums where the soprano on the song was far too warbly. "Sacred", however, seems to have chosen the less warbly/operatic and perhaps purer-sounding singers and it has worked really well for me.

Yes, it's got most of the 'famous' songs that one would expect - "I Know That My Redeemer Liveth" by Handel, the Mozart, Franck's Panis Angelicus and other well-known songs (including the Lloyd's Bank advert song "Zion hört die Wächter singen" by J S Bach) - and there are no great surprises in terms of the way the songs are performed but it's not an album aiming to be different. It's a compilation pure and simple - no two singers are the same, there are choirboys and female and male soloists and others - and is a very good way to get hold of some enjoyable music by different composers to give you an idea where to look if you want to delve further into this genre of music.

Good disc.......2003-03-20

Nice to chill out to, and I've even fallen asleep to it a few times!

Fritz Wunderlich sings Beethoven, Haydn, R. Strauss

Average customer rating:

A great voice from the past silenced too soon

Fritz Wunderlich sings Beethoven, Haydn, R. Strauss

Manufacturer: Polygram Int'l
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Binding: Audio CD

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ASIN: B00000E3M3
Release Date: 1988-04-14

Tracks:

Auf Dem Hugel Size Ich Spahend, An Die Ferne Geliebte Op. 98, Ludwig Van Beethoven
Wo Di Berge So Blau, An Die Ferne Gelibte, Op. 98, Ludwig Van Beethoven
Leichte Segler In Den Hohen, An Die Ferne Gelibte, Op. 98, Ludwig Van Beethoven
Diese Wolken In Den Hohen, An Die Ferne Geliebte, Op. 98, Ludwig Van Beethoven
Es Kehret Der Maien, Es Bluhet Die Au, An Die Ferne Geliebte, Op. 98, Ludwig Van Beethoven
Nimm Sie Hin Den, Diese Lieder, An Die Ferne Geliebte, Op. 98, Ludwig Van Beethoven
Fleiss Leise, Mein Bachlein, Schottische Und Walisische Volkslieder, Juseph Haydn
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Ich Stehe Auf Der Heide, Schottishe Und Walisische Volkslieder, Joseph Haydn
Es Widen Meine Schafe, Schottishe Und Walisische Volkslieder, Joseph Haydn
Im Schlummern, Schottische Und Walisische Volkslieder, Joseph Haydn
Mein Susses Liebschen, Schottische Und Walisische Volkslieder, Joseph Haydn
Rose Rot, Rose Weiss, Schottische Und Walisische Volkslieder
Heimliche Aufforderung Op. 27 No. 3, Richard Strauss
Ich Tragemeine Minne, Op. 32 No. 1, Richard Strauss
Standchen, Op. 17 No. 2, Richard Strauss
Morgen, Op. 27 No. 4, Richard Strauss
Zueignung, Op. 10 No. 1, Richard Strauss

Customer Reviews:

A great voice from the past silenced too soon.......2006-05-24

Here is a selection of popular lieder by Fritz Wunderlich, who died tragically at age 36, silencing one of the century's great voices. Surely no accounting of great artists who died before their maturity could be complete without Wunderlich's name.

Here he displays the wonderful timbre, range and sensitivity in his voice, which was conspicuously consistent across the range, regardless of the music he was interpreting or the venue in which he performed. The character of his voicing, enunciation and the structure of his tone and vibrato are virtually without fault throughout this recording, made in the studio with both accompanist and orchestra in 1963, three years before his untimely death.

I bought this to hear his interpretation of Beethoven's only song cycle, "To the Distant Beloved." The notes to this issue concentrate on the music-drama inherent in the songs. I wouldn't call this accounting of the Beethoven as dramatic as singers perform today. It is miles ahead of the inadequate concert performance recorded a year or two back by Goerne and Brendel but, in terms of drama, Wunderlich's work is neither as dramatic or episodic as recordings by Stephen Genz and Thomas Allen.

However, no singer quite has Wunderlich's instrument, a firm, supple and sensitive voice that adjusts to any music and any situation. It is also a bit unfair to compare the baritones above to Wunderlich's tenor.

I found equal pleasure in his renditions of Haydn's lesser known and lesser quality songs and the group of orchestral Strauss lied performed on this disk. Wunderlich performs the Strauss with far more drama and flair than the Beethoven, where he seems almost an introverted lost sould seeking lost love.

All told, this is a treasurable tome from one of the great singers in history in good mid-1960s sound that has dimension, quality and depth. The soloist may be a bit more forward than we epxect in the period-influenced new century but this is no matter. Here is an exhibition of singing that is above criticism and beyond approach. Even the greatest singers in history would weep gladly upon hearing this CD. So will you.

Average customer rating:

MAGIC, like the bullets!

Weber: Der Freischütz

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Weber - Der Freischutz

ASIN: B000005GUL
Release Date: 1993-01-12

Tracks:

Ov
First Act, No.1: Intro: 'Viktoria! Viktoria! Der Meister Soll Leben'
First Act, No.1: Peasants' March
First Act, No.1: 'Schau Der Herr Mich An Als Konig!'
First Act, No.1: Dialogue
First Act, No.2: Trio With Chor: 'Oh, Diese Sonne Furchtbar Steigt Sie Empor!'
First Act, No.2: Dialogue
First Act, No.3: Bohemian Waltz
First Act, No.3: Scene And Aria: 'Nein, Langer Trag' Ich Nicht Die Qualen-Durch Die Walder...
First Act, No.3: Dialogue
First Act, No.4: Song: 'Hier Im Ird'schen Jammertal'
First Act, No.4: Dialogue
First Act, No.5: Finale I: 'Schweig, Schweig, Damit Dich Niemand Warnt!'
Second Act, No.6: Duet: 'Schelm, Halt Fest!'
Second Act, No.6: Dialogue
Second Act, No.7: Arietta: 'Kommt Ein Schlanker Bursch Gegangen'
Second Act, No.7: Dialogue
Second Act, No.8: Scene And Aria: 'Wie Nahte Mir Der Schlummer-Leise, Leise, Fromme Weise!'

Tracks:

Second Act, No.8: Dialogue
Second Act, No.9: Trio: 'Wie? Was? Entsetzen!'
Second Act, No.10: Finale II (Die Wolfsschlucht): 'Milch Des Mondes Fiel Auf's Kraut! 'Du Weisst...
Third Act, No.11: Entre-Akt
Third Act, No.11: Dialogue
Third Act, No.12: Cavatina: 'Und Ob Die Wolke Sie Verhulle'
Third Act, No.12: Dialogue
Third Act, No.13: Romance And Aria: 'Einst Traumte Meiner Sel'gen Base-Trube Augen'
Third Act, No.13: Dialogue
Third Act, No.14: Chor: 'Wir WInden Dir Den Jungfernkranz'
Third Act, No.14: Dialogue & Uberleitung
Third Act, No.15: Huntsmen's Chor: 'Was Gleicht Wohl Auf Erden Dem Jagervergnugen?'
Third Act, No.15: Dialogue
Third Act, No.16: Finale III: 'Schaut, O Schaut! Er Traf Die Eigne Braut!'

Customer Reviews:

MAGIC, like the bullets!.......2007-06-07

OK, folks. I will herewith give you a piece of very great information to give your opera collection a "step up"!

Already read other opinions and reviews of "Der Freischutz"?

Well, FORGET Eric and Carlos Kleiber, Davis, Furtwangler, Heger, Sawallisch.....hold on to Kubelik, and definately rush out and grab a copy of this fabulous recording with Keilberth at the helm! Wow! First Place is not an option for this recording...it's an inevitable necessity!

All soloists in this effort shine like the stars. Particularly the lovely (as always) Elisabeth Grummer...my God this lady was wonderful, and is, I am sure, greatly missed by all the great German opera houses today. Hermann Prey...truly one of the greatest German tenors of the recent past. Is there anything that this man could not sing and truly make it his own!? Gottlob Frick...just look at his output in the realm of "German" operatic recordings! Truly the man stands at the top of the pile, approached perhaps most closely by George London. Joseph Keilberth...what was it that this man had! And how wonderful that he is having a golden rebirth with the release of his truly stupendous "Ring" this past year, and the re-issue of so many of his truly benchmark recordings! Let's not kid ourselves, this man ranked up there with Knappertsbusch.

As in so many cases, we owe EMI many thanks for the foresight to preserve these artists' efforts for us to enjoy forever. There are MANY good recordings of "Der Freischutz", and a FEW great recordings of it, and ONE top-notch (Kubelik) recording of the work. Then, there is this recording...the SUPREME testament to Carl Maria von Weber's great masterpiece!

As I said in the title of this review, this is the MAGIC recording of this wonderful work, concerning magic bullets, and redemption, the First great example of German national opera.......carried on later, of course, by the supreme master, Richard Wagner.

Pick up this recording, and allow it's supreme greatness to wash over you, and delight your heart with the lovely efforts of all the participants...a benchmark, desert island disc. Do Enjoy! ~operabruin

Mahler I: Complete Recordings on Deutsche Grammophon

Average customer rating:

The First Third Of Bernstein's Deutsche Grammophon Mahler Recordings
The opening third of Bernstein's second Mahler cycle, with some great performances
Mahler. Bernstein. A Match Made in Heaven and Hell

Mahler I: Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000ASAEMG
Release Date: 2005-11-08

Customer Reviews:

The First Third Of Bernstein's Deutsche Grammophon Mahler Recordings.......2007-06-22

Artistically, Leonard Bernstein's Deutsche Grammophon Mahler Symphony cycle (One which he did not live to record, so Deutsche Grammophon included a 1970s recording that he had made.) is a mixed blessing, but one which still deserves ample attention from fans of Mahler's symphonic music and others since he had a well-deserved reputation for being one of the foremost champions of Mahler, especially in the late 1950s and 1960s. Sonically, Deutsche Grammophon's 1980s cycle has much to admire, especially since many of the recordings were made during live concert performances. This still expensive box set is part one of a three-part repackaging by Deutsche Grammophon of the entire set of Bernstein's Mahler recordings, featuring Mahler's first four symphonies and two of his orchestral song cycles.

My personal favorites within this box set includes Bernstein's excellent performances of the Mahler 1st Symphony, which is replete with elegant playing from the winds and horns of the Royal Concertgebouw Orchestra, and one that is not marked by "mannered" interpretations, with the possible exception of Bernstein's glacially slow tempi for the "slow" movement. Overall the Amsterdam-based orchestra - one of several with whom Bernstein would have an artistically fertile relationship at the end of his career - gives one of the finest accounts of this symphony that I've heard. Another personal favorite is Bernstein's fine account of the Mahler 2nd "Resurrection" Symphony performed exquisitely by the New York Philharmonic Orchestra with Christa Ludwig and Barbara Hendricks as vocal soloists; this remains among the best recordings of this symphony ever made, even with newer, sonically improved renditions from the likes of Abbado and Chailly among others.

The opening third of Bernstein's second Mahler cycle, with some great performances.......2006-06-28

The reviewer below insults Bernstein's stature by calling him an 'old geezer'--the conductor was in his sixties during his second Mahler cycle, the last recordings made as he turned seventy. DG has divided its famous Bernstein Mahler recordings into three box sets, of which this is the first. It contains some performances that stand among the best ever made.

Among these the critical favorites have always included Sym. #1, which is a splashy, propulsive reading that contains every ounce of color and drama the composer put in. Sym. #2, a remake with the same NY Phil. that first recorded the work under Bernstein two decades before, is also a signature work for the conductor, and although the earlier version sounds fresher and has more interesting details, the remake is a titanic reading with the finale rising to apocalyptic intensity. (I was amused that The Gramophone reviewer missed Simnon Rattle's "magnificent studied caution.")

Bernstein's earlier version of Sym. #3 from 1961 is justly famous. It rehabilitated a work that hadn't been touched on records even by great Mahler champions like Walter, Klemperer, and Mitropoulos, and on its own merits was a stunning interpretation. So is the remake with the same NY Phil., and even if it can't quite recapture the sublime earlier account, DG's sonics are better--this holds true for almost all the recodings in the second cycle, even though they were caught under live concert conditions.

Sym. #4 had the reputation of being a weak link in the earlier cycle, and it's certainly true that Reri Grist's soprano is unusually light and rather quavery. But that aside, the earlier Fourth was remarkably fresh and engaging. This later Fourth, with the controversial choice of a boy soprano for the finale, is more studied and manipulted. Some critics prefer it, but I don't, and the boy soprano, Helmut Wittek, is clearly not the equal of an adult singer.

The rest of the set is taken up with two song cycles, Lieder eines Fahrenden Gesellen and Des Knaben Wunderhorn. Thomas Hampson is outstanding in the earlier cycle, although I feel that Bernstein's fiery conducting pulls the songs into a realm of intensity where the singer has a hard time going. The Wunderhorn cycle is a major disappointment. Lucia Popp's voice had matured into a dark, throaty, wobble-afflicted sound I don't like. Andreas Schmidt is virtuosic in his control, but he is often let down by Bernstein's insistence on extremely slow speeds. Critics who ovelook these flaws have given more praise than I can msuter. Bernstein's earlier version with Walter Berry and Christa Ludwig is much better.

DG has been stingy about allowing their treasury of Bernstein Mahler recordings on to budget lines, and by dividing it into thirds, they still ask a high price for the whole thing. But the good news is that each part of the trilogy is fairly inexpensive on the used market.

Mahler. Bernstein. A Match Made in Heaven and Hell.......2005-12-19

This six CD set is a re-release of symphonies 1-4, Das Knaben Wunderhorn and the Wayfaring Lad song cycles. All these recordings are from the famous or infamous 1980's DG Mahler cycle from Bernstein. This was his second go around for this repertoire, after his successful cycle with the NYPO from the 60's. Those earlier records were a lot less fussy and self conscious than these here. They were brimming with a youthful vitality, these are more studied reflections of an old geezer. However, the sound on these CDs is much better since it's digital.

For the performances themselves, they're pretty good. Symphony 1 is well played, powerful, performed by the Concertgebouw Orchestra. The second movement is too slow, other than that, it's good overall. Not as exciting as the famous Kubelik record but if you need a digital rendition, Bernstein fills that bill nicely. The Resurrection Symphony here is with the New York Philharmonic and has a truly cataclysmic final chorus, but the rest of it is taken at a very slack tempo, ( 94 minute span for a 82 minutes work? Yikes! ) The 3rd symphony ( also NYPO ) is very well done despite Bernstein's erroneous tempos. It's painfully slow at times. This symphony in particular is just not great music, self-indulgent to the point of no return and lacking true symphonic architecture, ( Mahler nuts can stone me if they want! ), except for the heavenly last movement. That final, glorious adagio is pulled to 28 minutes by Bernstein! A normal performance typically takes 23-24 minutes. In spite of this, it's hypnotic and Bernstein makes the climaxes resound quite forcefully.

The 4th Symphony, ( Concertgebouw Orchestra ) , is beautiful, but nothing special, I would stick with Goerge Szell on this one. I've never cared for this Mahler work anyway. Bernstein uses a boy soprano in the last movement. The song cycles included here I haven't ventured to explore thouroughly, Bernstein always did well in that aspect of Mahler, I'm sure he doesn't dissapoint.

The Mahlerian sensibility, anguish, despair, schmaltz, sentimentality, religiosity, all of that struck a deep chord in Leonard Bernstein whose own view of art was forever tinged with Late Romantic passion and grandiosity. While Mahler could bring out the best in Lenny, it always did bring out the worst as well. These performances are about as far away as you can get from the lucid clarity and emotional coolness of Pierre Boulez. In kitsch, Bernstein is unsurpassed. If you want to hear Bernstein's greatest performance in the music of his idol, you should buy the 9th symphony he recorded at the helm ( the only time ) of Karajan's Berlin Philharmonic. That's a great performance, sentimental but has a ring of truth and beauty about it.

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Vocal Music of Lukas Foss

Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Contemporary Folk | Folk | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00005LZQS
Release Date: 2001-06-26

Tracks:

Behold! I Build An House - The Gregg Smith Singers/Gregg Smith/Thomas Schmidt
Adon Olom - The Gregg Smith Singers/Gregg Smith/Thomas Schmidt
Introductions And Good-byes - The Gregg Smith Singers/Gregg Smith
Three Airs On O'Hara's Angel - The Gregg Smith Singers/Gregg Smith/Lukas Foss/David Starobin/Joseph Passaro/Oresta Cybriwsky
'...And Then The Rocks On The Mountains Begin To Shout' - The Gregg Smith Singers/Gregg Smith
De Profundis - The Gregg Smith Singers/Gregg Smith

Average customer rating:

A hard to find romantic selection !

The Romantic Piano Concerto, Volume 7

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

The Romantic Piano Concerto, Volume 4
Early Romantic Piano Concerti
The Romantic Piano Concerto, Volume 1
French Piano Concertos

ASIN: B000001K43
Release Date: 1994-12-12

Tracks:

Concerto No. 1 In C Major, Op. 11: Allegro
Concerto No. 1 In C Major, Op. 11: Adagio
Concerto No. 1 In C Major, Op. 11: Presto
Concerto No. 2 In E-Flat Major, Op. 32: Allegro Moderato
Concerto No. 2 In E-Flat Major, Op. 32: Adagio
Concerto No. 2 In E-Flat Major, Op. 32: Rondo: Presto
Konzertstr Piano And Orchestra In F Minor, Op. 79
Konzertstr Piano And Orchestra, Op. 42

Tracks:

Allegro Con Brio: Concerto No. 1 In D Major
Concerto Da Camera No. 2 In C-sharp Minor
Introduction And Allegro Appassionata In G Major, Op. 92
'Ode To Spring' Op. 76
Totentanz For Piano And Orchestra

Customer Reviews:

A hard to find romantic selection !.......2004-11-22

The elegant style of Weber Piano Concertos reminds me too much to Hummel , Pixis , Thalberg and Moscheles . They are chiefly written in a gallant style , gracefully combined with delicacy , that was the immediate legacy left for the French Revolution , refinement without deepness , the tearful spectacle to induce you to the great music. After you listen these pages you can easy understand why Beethoven decided to write string quartets , because Rossini and the show business were empowering the Great Concert Halls .
Robert Wolkmann Piano Concerto however owns a certain dignity , you feel the composer has something to say and Jerome Rose does the best he can .
Franz Berwald the Swedish composer had a personal style a little affected but with a great sense of musical architecture .
The CD is worthy in the following items . Alkan Concerto de Camera is a very interesting work , the somber style of the composer helps to Mr Ponti for reaching the goal .
And last we come to a great discovery : The almost unknown introduction and allegro of Robert Schumann in the hands of Mr Ponti , is by far more elaborated than Richter cold version or Ashkenazy cerebral approach ; this is a real epitome of the romantic style in the middle of the XIX century , but when you listen Ode to Spring of Joachim Raff you must beware the enormous neglect the people and mostly of the pianists have had with this work . Freshness , innocence and a deep savoir vivre style in the best tradition of the evasive pages in a century where the nationalism was possibly the most employed word.
And finally with the Totentanz of Franz List you just only find in the market one recording evidently superior : Byron Janis in the late fifties , however this is a real effort made for Michael Ponti and considering this may be well the second best recording of this hard to find work , you should sum and the result is positive for you .
This low prize CD will reward you .

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"A Star Falls from Heaven"

Complete EMI Recordings, Vol. 1
Joseph Schmidt
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Complete EMI Recordings, Vol. 2
Joseph Schmidt: A Star Fell from Heaven
Joseph Schmidt sings Arias
Joseph Schmidt: My Song Goes 'Round the World
Auntie Mame

ASIN: B00000DOCE
Release Date: 1993-01-19

Tracks:

Land So Wunderbar (O Paradis)
Ach, So Fromm
Wie Freundlich Strahlt Der Tag - Jungfrau Maria
Selig Sind, Die Verfolgung Leiden
Gluck, Das Mir Verblieb
Freunde, Vernehmet Die Geschichte
Ich Bin Allein - Flieh', Oh Flieh', Holdes Bild (Je Suis Seul - Ah, Fuyez, Douce Image)
Ach! Alles Sinkt Hinab - Du, Den Ich Stets Im Sinn Getragen (Ah, Tout Est Bien Fini - O Souverain, O Juge, O Pere)
Wohin Seid Ihr Entschwunden
Standchen, D. 957 (Leise Flehen Meine Lieder)
Ungeduld, D. 795 (Ich Schnitt' Es Gern In Alle Rinden Ein)
Ja, Du Allein
Was War' Mein Lied, Konnt' Ich's Dir Nicht Singen
Launisches Gluck (Mach' Kein Trubes Gesicht)
Als Flotter Geist - Ja, Das Alles Auf Ehr'
Wenn Nicht Die Hoffnung War'
Ich Bin Ein Zigeunerkind
Wenn Du Treulos Bist
Weisst Du, Was Schon War'
Du Bist Die Welt Fur Mich
Heute Nacht Oder Nie
Buona Notte, Schone Signorina

Tracks:

Una Furtiva Lagrima (Heimlich Aus Ihrem Auge)
La Donna E Mobile (O Wie So Trugerisch)
Einsam Steh' Ich, Verlassen (Deserto Sulla Terra)
Di Quella Pira (Lodern Zum Himmel)
Lodern Zum Himmel (Di Quella Pira)
Jetzt Spielen - Hull' Dich In Tand Nur (Recitar!... - Vesti La Giubba)
Wie Eiskalt Ist Dies Handchen (Che Gelida Manina)
Kokett Ist Dieses Madchen (Mimi E Una Civetta)
Recondita Armonia (Wie Sich Die Bilder Gleichen)
Nur Deinetwegen Wollt' Ich Noch Nicht Sterben (Amaro Sol Per Te M'era Il Morire)
E Lucevan Le Stelle (Und Es Blitzten Die Sterne)
Nun Sind Es Sechs Monat' (Or Son Sei Mesi Che Mio Padre Mori)
Fur Sie, Fur Sie Allein - Lasset Sie Glauben, Dass Ich In Die Welt Zog (Ch'ella Mi Creda Libero)
Non Piangere, Liu (O Weine Nicht, Liu)
Nessun Dorma (Keiner Schlafe)
Espanola (Te Quiero)
Mattinata (Morgenstandchen)
Voga, Voga (Serenata)
L'Ariatella
Funiculi, Funicula
Lolita
O Sole Mio

Customer Reviews:

"A Star Falls from Heaven".......2007-05-02

Before tragically dying so young in a Swiss internment camp where he was waiting the asylum decree with 350 other Jews (he was only 38 years old, yet another innocent victim of the stupidity and monstrosity of the Second World War), Joseph Schmidt's reputation was already established as one of the most loved singers of his generation. Born in Bukovina, a Romanian province rich in Jewish, Ukrainian, German, Polish and gipsy influences, Schmidt was to grow up in a truly cosmopolitan environment. This healthy exposure to different cultures, coupled with his fluency in Hebrew, Romanian, German and French languages only benefited his interpretations later in his career.

His diminutive stature (just under 5 feet - which earned him the nickname "Pocket Caruso"), did not prevent Joseph Schmidt to become hugely popular, captivating audiences worldwide with his incredibly beautiful lyric tenor voice. The 1930s were very generous to Joseph Schmidt: records (many becoming bestsellers of that age), radio broadcasts and movies (of which the most famous becoming "A Star Falls from Heaven" - available in its English version even today, more than 70 years after its original release!), all ensured the creation of a legend. In 1937 Schmidt toured the United States, performed in the Carnegie Hall, and gave concerts during this US tour with other preeminent singers such as Grace Moore and Erna Sack. Throughout Europe his reputation became firmly established, and it is interesting to note that his popularity was at its height in the German speaking countries just when the Nazi Party was taking power and basically banning all Jewish things. It is also very ironic that Hitler's Propaganda Minister, Josef Gobbels, became so enthusiastic after hearing Schmidt singing "My Song" (English title), that he instantly manifested his intention of declaring Schmidt "an honorary Aryan".

With such a short career we are fortunate that Schmidt left behind a relatively rich recorded legacy, and the present collection (coupled with the second volume of his complete EMI recordings), covers most of his best works. Highly recommended to anyone interested in fine singing.

Average customer rating:

Michael Brydenfelt: Trumpet

Manufacturer: Channel Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B0000067SC
Release Date: 1998-03-10

Tracks:

Tpt Con No. 1 in D: Adagio
Tpt Con No. 1 in D: Allegro
Tpt Con No. 1 in D: Grave
Tpt Con No. 1 in D: Allegro
7 Arie Con Tromba Sola: 'Mio Lesoro'-Aria In Forma Di Menuet Alla Francese in D - Michael Brydenfelt/Inger Dam Jensen/Bine Bryndorf
The Magic Flute (K.620): Aria 'Queen Of The Night'
Brandenburg Con No. 2 in F (BWV 1047): Allegro
Brandenburg Con No. 2 in F (BWV 1047): Andante
Brandenburg Con No. 2 in F (BWV 1047): Allegro Assai
Aria 'Trombe D'Ausonia' in D - Michael Brydenfelt/Inger Dam Jensen/Bine Bryndorf
'Alla Tromba Della Fama' in C - Michael Brydenfelt/Inger Dam Jensen/Kim Sjogren/Bine Bryndorf
Tpt Con In E-Flat: Allegro
Tpt Con In E-Flat: Andante
Tpt Con In E-Flat: Allegro

Average customer rating:

Highly recommended

Joseh Haydn: Die Jahreszeiten

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

Classical | Imports | Stores | Music
Similar Items:

Haydn: 6 Great Masses
Haydn: Die Schöpfung (The Creation) / Gardiner, The English Baroque Soloists
Haydn: The Creation / Herbert von Karajan
Corelli: 12 Concerti grossi, op. 6

ASIN: B0000057E0
Release Date: 1992-03-09

Tracks:

Der Fruhling: Nr,1 Einleitung. Largo - Vivace/Rezitativ: 'Seht, Wie Der Strenge
Der Fruhling: Nr.2 Chor: 'Komm, Holder Lenz!'
Der Fruhling: Nr.3 Rezitativ: 'Vom Widder Strahlet Jetzt'
Der Fruhling: Nr.4 Arie: 'Schon Eilet Froh Der Ackermann'
Der Fruhling: Nr.5 Rezitativ: 'Der Landmann Hat Sein Wek Vollbracht'
Der Fruhling: Nr.6 Terzett Und Chor - Bitgesang: 'Sei Nun Gnadig, Milder Himmel!
Der Fruhling: Nr.7 Rezitativ: 'Erhort Ist Unser Flehn'
Der Fruhling: Nr.8 Freudenlied: 'O Wie Lieblich Ist Der Anblick'
Der Sommer: Nr.9 Einleitung. Adagio/Rezitativ: 'In Grauem Schleier Ruckt Heran'
Der Sommer: Nr.10 Arie: 'Der Munt're Hirt Versammelt Nun'/Rezitativ: 'Die Morgen
Der Sommer: Nr.11 Terzett Und Chor: 'Sie Steigt Herauf, Die Sonne'/Heil! O Sonne
Der Sommer: Nr.12 Rezitativ: 'Nun Regt Und Bewegt Sich Alles Umher'/Rezitativ: '
Der Sommer: Nr.13 Kavatine: 'Dem Druck Erlieget Die Natur'
Der Sommer: Nr.14 Rezitativ: ' Willkommen Jezt, O Dunkler Hain'
Der Sommer: Nr.15 Arie: 'Welche Labung Fur Die Sinne!'
Der Sommer: Nr.16 Rezitativ: 'O Seht! Es Steiget In Der Schwulen Luft'
Der Sommer: Nr.17 Chor: 'Ach, Das Ungewitter Naht!'
Der Sommer: Nr.18 Terzett Und Chor: 'Die Dustren Wolken Trennen Siche
Der Herbst: Nr.19 Einleitung. Allegretto/Rezitativ: 'Was Durch Seine Blute'/Rezi
Der Herbst: Nr.20 Terzett Mit Chor: 'So Die Natur Den Fleiss'
Der Herbst: Nr.21 Rezitativ: 'Seht, Wie Zum Haselbusche Dort'
Der Herbst: Nr.22 Duett: Ihr 'Schonen Aus Der Stadt, Kommt Her!'
Der Herbst: Nr.23 Rezitativ: 'Nun Zeiget Das Entblosste Feld'
Der Herbst: Nr.24 Arie: 'Seht Auf Die Breiten Wiessen Hin!'
Der Herbst: Nr.25 Rezitativ: 'Hier Treibt Ein Dichter Kreis'
Der Herbst: Nr.26 Chor Des Landvolks Und Der Jager: 'Hort, Hort Das Laute Geton
Der Herbst: Nr.27 Rezitativ: 'Am Rebenstocke Blinket Jetze'
Der Herbst: Nr.28 Chor: 'Juchhe! Juchhe! Der Wein Ist Da'
Der Winter: Nr.29 Einleitung. Adagio Ma Non Troppo/Rezitativ: 'Nun Senket Sich D
Der Winter: Nr.30 Kavatine: 'Licht Und Leben Sind Geschwachet'
Der Winter: Nr.31 Rezitativ: 'Gefesselt Steht Der Breite See'
Der Winter: Nr.32 Arie: 'Hier Steht Der Wand'rer Nun'
Der Winter: Nr.33 Rezitativ: 'So Wie Er Naht'
Der Winter: Nr.34 Lied Mit Chor: 'Knurre, Schnurre, Knurre'
Der Winter: Nr.35 Rezitativ: 'Abgesponnen Ist Der Flachs'
Der Winter: Nr.36 Lied Mit Chor: 'Ein Madchen, Das Auf Ehre Hielt'
Der Winter: Nr.37 Rezitativ: 'Vom Durren Osten Dringt'
Der Winter: Nr.38 Arie: 'Erblicke Hier, Betorter Mensch'/Rezitativ: 'Die Bleibt
Der Winter: Nr.39 Terzett Und Doppelchor: 'Dann Bricht Der Grosse Morgan An'
Anhang: Der Herbst. Einleitung: Gekurzte Fassung/Rezitativ: 'Was Durch Seine Blu
Anhang: Der Winter. Einleitung: Gekurzte Fassung/Rezitativ: 'Nunsenket Sich Blas

Customer Reviews:

Highly recommended.......2004-05-10

Haydn's "The Seasons" is not nearly as popular as his earlier oratorio "The Creation", but I think that listeners who enjoyed "The Creation" would also like "The Seasons" very much. The general critical consensus seems to be that Haydn was handicapped in writing "The Seasons" by an inferior libretto, but that musically "The Seasons" is at least the equal of the earlier oratorio.

John Eliot Gardiner and his team bring the virtues of authentic performance style to this music: clarity, rhythmic propulsion, and vivid musical timbres. As elsewhere, it's like removing the varnish from an old painting, letting its brilliance shine through.

I have two criticisms. The tenor soloist, Anthony Rolfe-Johnson, has the habit of placing the dynamic peak of each note rather late, so that his singing is like an endless sequence of little crescendos. I find this irritating but not enough to spoil the pleasure in what he's singing. There is also a bit of harshness in the instrumental playing: the brass produce a buzzing sound in forte passages, and the side drum and tambourine in the drinking chorus seem a bit obtrusive.

Everything else is wonderful: the solo singing from Barbara Bonney and Andreas Schmidt, the contributions of the English Baroque Soloists and Monteverdi Choir, and the supremely musical and imaginative direction from Gardiner that has put him at the top of his field.

To sum up, if you enjoy Haydn's music, this is a "don't miss" recording.

Music Track: