Russian Orchestral Masterworks [Box set]
On this CD:
1. Symphony No. 5 in E Minor, Op. 64
Composed by Pyotr Il'yich Tchaikovsky
Performed by London Symphony Orchestra
Conducted by Rafael Fruhbeck de Burgos
2. Serenade for strings (or piano duet), in C major, Op. 48
Composed by Pyotr Il'yich Tchaikovsky
Performed by English String Orchestra
Conducted by William Boughton
3. Scheherazade, symphonic suite for orchestra, Op. 35
Composed by Nikolay Andreyevich Rimsky-Korsakov
Performed by London Philharmonia Orchestra
with Bradley Creswick, George Ives
Conducted by William Boughton
4. Russian Easter Festival Overture (Svetlïy pazdnik), for orchestra, Op. 36
Composed by Nikolay Andreyevich Rimsky-Korsakov
Performed by London Philharmonia Orchestra
Conducted by William Boughton
5. Romeo and Juliet, ballet in 4 acts, Op. 64 Exceprts
Composed by Sergey Prokofiev
Performed by BBC National Orchestra Wales
Conducted by Tadaaki Otaka
6. Romeo and Juliet, fantasy-overture for orchestra in B minor (3 versions)
Composed by Pyotr Il'yich Tchaikovsky
Performed by BBC National Orchestra Wales
Conducted by Tadaaki Otaka
7. Symphony No. 2 in E minor, Op. 27
Composed by Sergey Rachmaninov
Performed by BBC National Orchestra Wales
Conducted by Tadaaki Otaka
8. Vocalise, song for voice & piano, Op. 34/14 No.14, Vocalise
Composed by Sergey Rachmaninov
Performed by BBC National Orchestra Wales
Conducted by Tadaaki Otaka
9. L'oiseau de feu (The Firebird), concert suite for orchestra No. 1
Composed by Igor Stravinsky
Performed by London Symphony Orchestra
Conducted by Gennady Rozhdestvensky
10. Le Sacre du printemps (The Rite of Spring), ballet in 2 parts for orchestra
Composed by Igor Stravinsky
Performed by London Symphony Orchestra
Conducted by Gennady Rozhdestvensky
11. Petrushka, ballet (burlesque) in 4 scenes for orchestra (1911 version)
Composed by Igor Stravinsky
Performed by London Symphony Orchestra
Conducted by Gennady Rozhdestvensky
12. Symphony in Three Movements, for orchestra
Composed by Igor Stravinsky
Performed by London Symphony Orchestra
Conducted by Gennady Rozhdestvensky
13. Piano Concerto No. 1, for piano, trumpet & strings, in C minor, Op. 35
Composed by Dmitry Shostakovich
Performed by English Symphony Orchestra
with Graham Ashton, Martin Jones
Conducted by William Boughton
14. Piano Concerto No. 2, in F major, Op. 102
Composed by Dmitry Shostakovich
Performed by English Symphony Orchestra
Conducted by William Boughton
15. Chamber Symphony, in C minor, Op 110a (arranged by Barshai from the String Quartet No. 8 )
Composed by Dmitry Shostakovich
Performed by English Symphony Orchestra
Conducted by William Boughton
Russian Orchestral Masterworks, Music, George Ives, Sergey Prokofiev, Sergey Rachmaninov, Nikolay Andreyevich Rimsky-Korsakov, Dmitry Shostakovich, Igor Stravinsky, Pyotr Il'yich Tchaikovsky, Gennady Rozhdestvensky, Rafael Frühbeck de Burgos, Tadaaki Otaka, William Boughton, BBC National Orchestra of Wales, English String Orchestra, English Symphony Orchestra, London Symphony Orchestra, Philharmonia Orchestra of London, Martin Jones, Graham Ashton, Bradley Creswick, 20th/21st Century Ballet, 20th/21st Century Symphony, Ballet, Box Sets (Audio Only), Chamber Symphony, Classical, Classical Composers, Classical Music, Concerto, Orchestral, Orchestral & Symphonic, Piano Concerto, Romantic Overture for Orchestra, Romantic Serenade/Cassation/Divertimento, Romantic Symphony, Suite for Orchestra, Symphonic, Transcription for Orchestra
Average customer rating:
- Instruments of the Orchestra - Great Reference Material!
- Beginner or Expert
- Very Informative and Enjoyable
- Frank's view
- Excellent Intro for Those Not Familiar with the Orchestra
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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ASIN: B00006O0NT
Release Date: 2002-12-03 |
Tracks:
- Overture To 'Tannhauser'
- Domna, Pos Vos Ay Chausida
- We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
- Hungarian Dance No.7
- The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
- Violin Concerto In D Major (Adagio)
- But For A Long Time It Was Seen As The Instrument Of The Devil.
- The Soldier's Tale: Triumphal March Of The Devil
- The Manipulative Seductiveness Of The Gypsy Violin.
- Csardas Music
- The Violin And The Initiation Of Nature
- The Four Seasons (Spring, Mvt 1)
- Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
- The Four Seasons (Summer, Mvt 1)
- Like The Devil, The Violin Is A Master Of Disguise.
- Old Viennese Dance No.3 'Schon Rosmarin'
- The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
- Tzigane
- Do We Now Have The True Measure Of This Instrument? Not Just Yet.
- Caprice No.24
- The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
- Variations On A Theme Of Frank Bridge (No.7)
- Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
- Romeo And Juliet: Act IV
- Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
- The Four Seasons (Winter, Mvt 1)
- The Violin Muted
- Clair De Lune
- The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
- Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
- The Pizzicato Violin
- Pizzicato Polka
- In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
- Violin Concerto No.2 In G Minor (Slow Mvt)
- Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
- The Planets (Mars - The Bringer Of War)
- The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
- Hungarian Dance No.4
- Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
- The Four Seasons (Autumn, Mvt 1)
- Now The Same Technique, But The Sound Might Have Come From Another World.
- Bolero
- Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
- Cadenza To The Violin Concerto By Brahms
- Now Compare That With A Real Violin Duet.
- Forty-Four Duos (No. 1: Teasing Song)
- Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
- Forty-Four Duos (No.2: Maypole Dance)
- And Now What May Be The Most Beautiful Accompanied Violin Duet In History
- Concerto In D Minor For Two Violins (Largo)
- The Soul Of The Violin Is In Song; But What About This Weird Passage?
- Violin Concerto No.1 In D Major (Mvt 2)
- The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
- Symphony No.1 'Titan' (Mvt 1, Opening)
- Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
- The Sleeping Beauty (Act II, No.15: Entr'Acte)
- Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
- The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
- Also Sprach Zarathustra (Of The Afterworldsmen)
- Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
- Variations On A Theme Of Frank Bridge (No. 4)
- Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
- Four Sea Interludes (Dawn) From 'Peter Grimes'
- To End This Outing With The Violins, A Charming Little Elfin Dance
- Elfenreigen
Tracks:
- Introduction To The Viola
- Viola Concerto (Mvt 1)
- Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
- Gayane Suite No.1 (Armen's Solo)
- Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
- Passacaglia, Op.33b From 'Peter Grimes'
- The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
- Harold In Italy (Mvt 4)
- The Muted Viola: Intimate, Gentle, Poignant In Dvork
- Cypresses (No.9)
- The Massed Violas Of The Modern Symphony Orchestra In Mahler
- Symphony No.4 (Mvt 3)
- The 'Period' Viola In Bach
- Brandenburg Concerto No.6 (Last Mvt)
- The Cello: A Voice Of Unique Nobility
- Suite No.1 For Unaccompanied Cello (Prelude)
- Brahms And The 'Soul' Of The Cello
- Piano Concerto No.2 In B Flat Major (Mvt 3)
- Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
- Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
- In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
- Symphony No.3 'Eroica' (Finale)
- But The Cello Is Not Condemned To Spend Its Life In The Basement.
- Elfentanz, Op.39
- Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
- The Protecting Veil (Opening)
- A Cello With An Identity-Crisis: The Pizzicato Flamencan
- Flamenco
- Double-Stopping In The Lower Reaches Of The Cello's Range
- Solo Suiet For Cello And Piano (Sardana)
- It's In The Middle Register That The Cello Really Comes Into Its Own.
- Oriental Dance, Op.2 No.2
- It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
- Symphony No.9 (Finale)
- Introduction To The Double-Bass
- The Carnival Of The Animals (The Elephant)
- But The Double-Bass Can Be Intensely Expressive And Graceful.
- Elegy No.1 In D Major
- The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
- Capriccio Di Bravura
- Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
- The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
- Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds
Tracks:
- The Antiquity And Magic Of The Flute
- Prelude A L'Apres-Midi D'Un Faune
- The Versatility And Agility Of The Flute
- Orchestral Suite No.2 In B Minor (Badinerie)
- The Flute In Fifteenth-Century Spain
- Sa'Dawi
- Other Flutes: The Bass And Alto
- Chamber Music No.II
- The Piccolo - Aptly Named
- La Naissance D'Osiris (Mvt 6)
- From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
- Suite No.1 For Small Orchestra (Valse)
- A Variety Of Techniques
- Chamber Music No.II
- Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
- The Nutcracker (Act II, No.2: Scene)
- From The Transverse To The Vertical: The Baroque Recorder
- Recorded Suite In A Minor (Menuet II)
- An Unfamiliar, Early Vision Of The Instrument
- Naelden, Naelden
- The Bachian Oboe
- Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
- Introduction To The Cor Anglais Or 'English Born'
- Symphony No.9 'From The New World' (Mvt 2)
- The Loneliness Of The Cor Anglais
- The Swan Of Tuonela
- The Cor Anglais Joins The French Horn In Haydn.
- Symphony No.22 'The Philosopher' (Opening)
- Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
- Bolero
- The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
- Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
- As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
- Gayane Suite No. 1 (Mvt 5)
- The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
- The Range Of The Normal Clarinet Parts Goes Quite High...
- The Snow Maiden (Scene 5: Melodrama)
- ...And Quite Low.
- Peter And The Wolf (The Cat)
- The Clarinet As Concerto Soloist
- Clarinet Concerto In A Major (Rondo)
- But That's Not The Instrument Mozart Wrote It For; This Is:
- Clarinet Concerto In A Major (Rondo)
- Introduction To The Saxophone
- Hary Janos Suite (Mvt 4)
- The Soprano Saxophone Has Quite A Different Feel To It.
- L'Arlesienne Suite No.1 (Minuet)
- The Little Sopranino Sax Goes Even Higher.
- Bolero
- The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
- Pictures At An Exhibition (The Old Castle)
- The Saxophone Can Be Quite Contagiously Good-Humoured.
- Sax-O-Phun
- The Puffa-Puffa Image Of The Bassoon
- Peter And The Wolf (Grandfather)
- The Bachian Bassoon, In Accompanimental Mode
- Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
- Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
- And Ravel, Also In Spanish Mode, Does Likewise.
- Bolero
- The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
- Symphony No.3 (Opening)
- The Eerie Bassoon In Its Highest Register
- The Rite Of Spring (Opening)
- Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
- The Firebird Suite (1919, Berceuse)
- The Bassoon As Concerto Soloist, Avoiding All Exaggeration
- Bassoon Concerto In G Minor (Finale)
- The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
- Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
- The French Horn Under Its Woodwind Hat
- Wind Quintet, Op.43 (Last Mvt)
- Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
- Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
- The Horn In Harmonious Blend With Strings In Another Quintet
- Horn Quintet, K.407 (Finale)
Tracks:
- The Trumpet As Virtuoso Soloist
- Brandenburg Concerto No.2 (Last Mvt)
- The Special Brillance Of Paired Trumpets
- Concerto In C For Two Trumpets, RV537 (Mvt 1)
- The Ceremonial Trumpet
- Fanfare For The Common Man
- Trumpets And Drums - An Incomparable Alliance
- Messiah (The Trumpet Shall Sound)
- The Versatility Of The Trumpet, From The Most Public To The Most Lonely
- Piano Concerto In F (Slow Mvt)
- The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
- Carmen Suite No.2 (Habanera)
- The Trumpet As The Voice Of Strength And Courage
- Carmet Suite No.2 (Toreador's Song)
- The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
- Billy The Kid
- The Trumpet As Character Actor
- Pictures At An Exhibition (No.6)
- The Trumpet As The Voice Of God
- Mass In B Minor ('Et Exspecto')
- The Birth Of The Trombone
- Aenmerckt Nu Hier
- The Birth Of The Brass As A Family
- Canzon 12 In Double Echo
- The Trombone In The Eighteenth Century
- Trombone Concerto In B Flat Major (Finale)
- The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
- Hosannah
- The Trombones Become Part Of The Orchestra.
- Symphony No.5 (Finale)
- The Wagnerian Trombone:/Overture To 'Tannhauser'
- The Trombone As Caricaturist
- Pulcinella (No.19: Vivo)
- The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
- The Horn And The Hunt
- Horn Concerto No.4 In E Flat, K.495 (Finale)
- The Challenging Horn Of The Baroque
- Abaris Ou Les Boreades (Menuet)
- The Scarcity Of First-Rate Players In Handel's Time
- Walter Music (Minuet 1)
- The Horn As Magician/The Firebird Suite (1919, Finale)
- Horns And The Sound Of Nobility
- Overture To 'Tannhauser' (Opening)
- The Special Sound Of The Horn In Its Higher Register
- Mass In B Minor ('Quoniam Tu Solus Sanctus')
- The Trumpet-Like Sound Of Massed Horns
- Symphony No.3 (Mvt 1, Opening)
- The Tuba - Unfairly Maligned?
- Symphony No.6 (Mvt 3)
- The Tuba Perfectly Cast By Ravel
- Pictures At An Exhibition (Bydlo)
Tracks:
- Introduction. And We Begin With A Bang.
- Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
- At The Opposite Extreme Is The Triangle.
- Piano Concerto No.1 In E Flat (Scherzo)
- Categories Of Percussion: Tuned And Untuned. The Side Drum
- Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
- The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
- The Tambourine. One Of The Oldest Instruments In The World
- Den Hoboecken Dans
- Even Older Is The Originally Oriental Gong.
- Ma Mere L'Oye - Mother Goose (Laideronette)
- No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
- Gymnopedie No.2
- The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
- Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
- More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
- Rodeo (Hoe-Down)
- Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
- Scherzi Musicali (Damigella Tutta Belle)
- A Still Earlier Example From Fifteenth-Century Spain
- Yo M'Enamori D'Un Aire
- The Birth Of The Bongo
- Symphonic Dances From 'West Side Story'
- From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
- Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
- From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
- Onwards To The Tuned Percussion. First, The Timpani
- Also Sprach Zarathustra (Introduction)
- But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
- Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
- Taking Advantage Of Tunability
- Music For Strings, Percussion And Celeste (Mvt 2)
- The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
- Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
- Saint-Saens And The Xylophone
- The Carnival Of The Animals (Fossils)
- Ravel And The Xylophone
- Ma Mere L'Oye - Mother Goose (Laideronette)
- Introducing The Marimba/Carmen Suite (First Intermezzo)
- Introducing The Vibraphone
- The Treasure Of The Sierra Madre (Narange Dolce)
- The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
- Introducing The Hungarian Cimbalom
- Folk Dances
- The Cimbalom And The Symphony Orchestra
- Hary Janos Suite (Mvt 3)
- Introducing The Tubular Bells
- Hary Janos Suite (Viennese Musical Clock)
- A More 'Up-Front' Approach From Rodion Shchedrin
- Carmen Suite (Introduction)
- But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Introducing The Celeste
- The Nutcracker (Dance Of The Sugar Plum Fairy)
- Magic, In The Use Of Collective Percussion
- Miroirs (La Vallee Des Cloches)
- Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
- A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
- The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
- Brandenburg Concerto No.2 (Slow Mvt)
- The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
- Petrushka (Russian Dance)
- The Anti-Romantic Piano As An Integral Part Of The Orchestra
- Music For Strings, Percussion And Celeste (Last Mvt)
Tracks:
- Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
- Symphony No.3 'Organ' (Finale)
- But Things In Handel's Day Were Very Different.
- Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
- The Organ Is Difficult To Classify.
- An Unexpected, Organ-related Guest
- Concerto Pour Zampogna (Last Mvt)
- Peasant-Fancying... And A Touch Of The Roaming Cowboy
- Les Miserables (Drink With Me)
- Outside Artefacts And The Power Of Association
- Mahler's Sleighbells
- Symphony No.4 (Opening)
- A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
- Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
- Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
- Don Quixote (Variation VIII)
- National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
- And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
- And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
- The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
- The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
- The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
- The Sitar Of India/Evening Raga: Bhapoli
- The Accordion For France (Especially Paris)/Paris Canaille
- The Zither For Vienna/The Third Man (Theme)
- The Cimbalom For Hungary/Folk Dances
- The Guitar As An Integral Part Of The Orchestra/Rondena
- There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
- The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
- Nocturnes
- Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
- The Carnival Of The Animals (The Cuckoo)
- The Flute As An All-purpose Aviary
- The Carnival Of The Animals (The Aviary)
- The Oboe As Duck
- Peter And The Wolf (The Duck)
- The Recording Of Reality. Does It Work As Well?
- The Pines Of Rome (The Pines Of The Janiculum)
- The Recording Of Reality Electronically Reborn In New Guises
- Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
- Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
- Symphony No.6 'Pastoral' (Andante Molto Mosso)
- Some Improbable Casting: The Violin As Braying Donkey
- The Carnival Of The Animals (Persons With Long Ears)
- A Truly Orchestral Hee-haw To Be Reckoned With
- Overture To 'A Midsummer Night's Dream'
- A Thunderstorm In A Million
- Symphony No.6 'Pastoral (Allegro-Allegretto)
- the Instrumental Depiction Of A Silent World
- The Carnival Of The Animals (The Aquarium)
- Saint-Saens' Menagerie Takes A Curtain Call.
- The Carnival Of The Animals (Finale)
Tracks:
- The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
- Forty-Four Duos (No.4)
- A Great Contrast, Of Both Pitch And Character: Violin And Viola
- Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
- Arrival Of The Standard String Trio: Violin, Viola, And Cello
- String Trio In B Flat (Menuetto)
- The String Quartet: Two Violins, Viola, And Cello
- String Quartet In F, Op.18 No.1 (Mvt 3)
- The String Quintet - When The Extra Instrument Is A Second Viola
- String Quartet No.5 In D, K.593 (Adagio)
- The String Quintet - When The Extra Instrument Is A Second Cello
- String Quintet In C (Mvt 3)
- The String Sextet: Two Violins, Two Violas, And Two Cellos
- String Sextet In B Flat (Mvt 2)
- The String Octet: The Standard String Quaret Times Two
- Octet In E Flat, Op.20 (Mvt 1)
- Double The String Octet: A Fully Fledged String Orchestra
- String Symphony No.2 (Finale)
- The Massed Strings Of A Symphony Orchestra
- Fantasia On A Theme Of Thomas Tallis
- Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
- Wind Quintet In A Minor, Op.100 No.5 (Theme)
- In The First Variation It's The Horn That Gets The Lion's Share.
- Wind Quintet In A Minor, Variation 1
- In Variation Two The Torch Is Handed To The Bassoon.
- Wind Quintet In A Minor, Variation 2
- In Variation Three The Oboe Leads.
- Wind Quintet In A Minor, Variation 3
- Variation Four: Conversation Before Returning To A Solo-dominated Texture
- Wind Quintet In A Minor, Variation 4
- And Variation Five is Dominated By The Clarinet.
- Wind Quintet In A Minor, Variation 5
- The Next To Be Featured Is The Virtuoso Flute.
- Wind Quintet In A Minor, Variation 6
- Individual Farewells And A Closing Chorus
- Wind Quintet In A Minor, Variation 7
- A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
- Octet In F (Mvt 3)
- The Early Classical Symphony Orchestra Of Haydn And Mozart
- Symphony No.29 In A, K.201 (Finale)
- Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
- Canzon 28
- Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
- Symphony No.5 (Finale)
- From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
- Beethoven Changed The Face Of The Symphony And The Orchestra Forever
- Symphoy No.6 'Tragic' (Mvt 1)
- The Cult Of Orchestral Elephantiasis Reaches Its Peak.
- Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
- When Large Doesn't Necessarily Mean Loud: Debussy
- Images (Gigues)
- A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
- Turangalila Symphony (Chant D'amour 1)
- The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
- Balle De Xerxes (Gavotte En Rondeau)
- Computer And Synthesiser: Friends Or Foes?
- Concerto In D Minor For Two Violins (Largo)
- A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')
Customer Reviews:
Instruments of the Orchestra - Great Reference Material!.......2007-04-04
This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!
Beginner or Expert.......2007-03-12
This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!
Very Informative and Enjoyable.......2006-11-20
Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!
Frank's view.......2006-08-19
This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.
Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08
I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.
The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!
I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
- My 3 yr old loves it!
- My baby loves this CD!
- A Reasonable Collection
|
Classics for Kids (Box Set)
Manufacturer: Delta
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- Classics for Kids
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ASIN: B00000IGUV
Release Date: 2000-11-15 |
Tracks:
- Eine Kleine Nachtmusik: Allegro
- The Nutcracker: Russian Dance
- The Nutcracker: Dance Of The Toy Flutes
- Flight of the Bumblebee
- Cannon in D Major
- Sabre Dance
- Happy Farmer
- Pictures At An Exhibition: Promenade (Excerpts)
- Pictures At An Exhibition: Ballet Of The Chickens In Their Shells
- On The Beautiful Blue Danube (Excerpts)
- Fse
- Trout Quintet In A Major (Theme & Variations) - Schubert
- The Syncopated Clock
- The Typewriter
- Rhapsody in Blue (Excerpts)
- Spring Song In A Major - Mendelssohn
- Lullaby
Tracks:
- Peter And The Wolf - Classics For Kids
- The Toy Symphony - Classics For Kids
Customer Reviews:
My 3 yr old loves it!.......2007-03-17
This is one of my three year old's top requests for listening. She simply loves it; She hums along and can name most of the songs. I am vey pleased.
My baby loves this CD!.......2006-11-05
Of all the many CDs we were given, this is my baby's favorite. Unlike most CDs of classical music for babies, this isn't just smooth, soft music. It does have some of that, but it also has more exciting pieces like the bouncy Nutcracker music, The Flight of the Bumble Bee, and The Sabre Dance. My baby bounces and dances to this music happily. And once she's a bit older, I'm sure she's going to love "Peter the Wolf," narrated by Jack Lemmon.
A Reasonable Collection.......2004-08-11
This is a reasonable selection of works to start with as a child's introduction to Classical music. There are two main flaws - a handful of the pieces are performed rather poorly and the sound quality is muffled. But keeping the intended audience in mind and the price, it's not a bad value.
Average customer rating:
- Unnecessary
- Vanessa-Mae as a Child Prodigy at 12 and 13
- Vanessa-Mae as a Child Prodigy at 12 and 13
- Great early recording
|
The Classical Collection, Part 1 / Vanessa-Mae (3 CD Box Set) (EMI Classics)
Manufacturer: EMI Classics
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Similar Items:
- The Classical Album 1 / Vanessa-Mae
- Choreography
- The Original Four Seasons And The Devil's Trill Sonata / Vanessa-Mae
- Subject to Change
- Classical Album, Vol. 2: China Girl
ASIN: B00004W47H
Release Date: 2000-11-07 |
Tracks:
- Violin Concerto In C Op.48: I. Allegro
- Violin Concerto In C Op.48: II. Andante
- Violin Concerto In C Op.48: III. Vivace Giocoso
- Russian Dance (Swan Lake)
- Violin Concerto In D Op.35: I. Allegro Moderato
- Violin Concerto In D Op.35: II. Canzonetta (Andante)
- Violin Concerto In D Op.35: III. Finale (Allegro Vivacissimo)
Tracks:
- Schon Rosmarin
- Liebesleid
- Liebesfreud
- Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: I. Allegro
- Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: II. Adagio
- Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: III. Allegro
- Violin Concerto In D Op.61: I. Allegro Ma Non Troppo
- Violin Concerto In D Op.61: II. Larghetto
- Violin Concerto In D Op.61: III. Rondo (Allegro)
Tracks:
- ...Inspired By The Classics: Salut D'amour
- ...Inspired By The Classics: Lullaby
- ...Inspired By The Classics: Air On The G String
- ...Inspired by Cinema: My Favourite Things
- ...Inspired by Cinema: The Pink Panther
- ...Inspired by Cinema: Les Parapluies De Cherbourg
- ...Inspired By Pop Culture: One Moment In Time
- ...Inspired By Pop Culture: Yellow Submarine
- ...Inspired By Folk Culture: Frere Jacques
- ...Inspired By Folk Culture: La Campanella
- ...Inspired By Folk Culture: Chinese Folk Tune
- ...Inspired By Folk Culture: Tambourin Chinois
- ...Inspired By Opera: Figaro
- ...Inspired By Opera: Summertime
- ...Inspired By Opera: Concert Fantasy On 'Carmen' Op.25
- ...Inspired By Opera: Fantaisie Brillante On Themes From Gounod's 'Faust' Op.20
Customer Reviews:
Unnecessary.......2001-04-18
While it would be, of course, somewhat unfair to rate this CD recording of some of the world's most famous pieces for virtuoso violin the same way one would for a mature, older artist's recordings, it is horrendous marketing strategy on the part of Sony Classical to release this three CD set on the premise that they are "brilliant," as stated on the back of the CD case. They are anything but, as a quick listen to any one of the three CDs will reveal to the discerning ear.
The first two CDs are mainly concerned with Mae playing the Kabalevsky, the Tchaikovsky Concerto in D, and the Beethoven Concerto in D -- all highly acclaimed pieces aimed at showing off not only the speed, strength, physical and mental endurance of the violinist, but also, certainly, the tone production and "fingers," as Sarah Chang would have liked to put it. Mae fails on almost all the above counts. While she professes to have a high degree of passion for the Tchaikovsky and the Beethoven (Mae gushes about learning them by heart long before her instructor had the chance to teach them to her), the pieces are a great disappointment. The first thing to jarr the ear is her tone (a scratchy, unconfident, and extremely tinny one, at that) and, rather surprising, her lack of capability at pulling off the cadenzas. It is beyond anyone's understanding how the then young Mae's speed and technical accuracy could be so highly acclaimed as they are by some quarters when she falters and stumbles along the notes, mainly in the higher registers. This is most apparent in the extremely poor playing of Sarasate's Carmen Fantasy, where she sometimes lags behind the entire orchestra by a few wrenching notes as she struggles to catch up and keep in tempo.
The pieces on the Virtuoso Album CD aren't worth much -- colourless, soulless renditions of miniatures that have been performed better by countless of other violinists, at every measure of age (Chang does a splendid job of the Carmen Fantasy, and she recorded it in the studios when she was only nine years old).
The only redeeming piece of the entire three CD set I can think of must be the Russian Dance from Swan Lake. Although her bowing is rarely, if ever, confident and full, her thin, wavering vibrato ever used effectively, she opens the piece with a vigour that isn't seen in any other of the pieces.
It is rather unfortunate that Mae has never really progressed far, classically -- a look at her later recordings (the Classical Collection 2) and her live performance at the Royal Albert Hall (where the Shostakovich Piano Trio No. 2, Moses Variation on a G String, and a few others were played) drives the point home painfully. I am a fan, of course, but not one of her classical side -- the techno-pop-fusion music masks her flaws well enough to allow one to forget that one is listening to a very mediocre violinist at work.
Vanessa-Mae as a Child Prodigy at 12 and 13.......2000-11-14
Vanessa-Mae: is the beautiful young Singaporean violinist with her flowing hair, gorgeous figure, pop star clothes, electric violin, laser and light shows, websites, and rock band just a media creation, or is she instead a modern-day Pagannini or Liszt, a true virtuoso with a flair for showmanship? In other words, can she play? This three CD set of her early recordings, made when she was only 12 and 13 years old, answers the question authoritatively. Although there are, of course, some flaws, the fact remains that even at this early age Vanessa-Mae was a stunning performer. At thirteen she played better than many profession musicians have at thirty, myself included. Listen, for example, to the stunning beginning of Sarasate's Concert Fantasy on `Carmen".
There is a certain tension between the interpretations of the soloist and the conductor occasionally, especially when Vanessa-Mae wants to play faster than the conductor will allow. This is in fact my biggest criticism of the recording; but these ego wars are not only the bloodiest but also the most common of musical slaughterhouses, and it is no surprise that such a young performer would get caught up in it. Otherwise, the performance is terrific--intonation is impeccable, interpretation confident. In particular, Vanessa-Mae has a commanding technique in the highest range, where her tone absolutely soars. Only very rarely, and then only at the very end of a rising run, does her intonation slip slightly. And she varies her style appropriately to suit the music--at the time of this recording she'd not yet gotten to playing Vivaldi with a rock band. In Fritz Kreisler's Schon Rosmarin, I can practically see her in a ball gown with her hair up in ringlets, performing this for the Viennese elite at a society soiree. It seems appropriately schmatzy to me, and it provides a link between the Classical and popular sides of Vanessa-Mae featured in this collection.
The set consists of three CDs, the first the Russian Album, the second, the Viennese Album, and the third, the Virtuoso Album. This last title is somewhat curious, as only two-thirds of the way through do the selections take a virtuoso turn. Otherwise, they are pops and light classics that are not at all demanding of the performer. This CD has a theme of inspiration from various sources, and the selections are categorized as "inspired by the classics, inspired by cinema, inspired by pop and folk culture, and inspired by opera" and include such things as arrangements of Brahms Lullaby, Mancini's theme to The Pink Panther, and Richard Rogers' My Favorite Things. Unfortunately, the Beatles also make an appearance--I love the Beatles, but Lennon and McCartney's Yellow Submarine is a testament to the perils of drug use. Whatever fondness society has for this piece--and I know they do, as my 10 year old daughter is learning it on recorder for her music class at school--this affection must come from our memories of youth, the fun of the 70's and the association of the imaginative animation by Peter Maxx of the movie, perhaps even the symbolism, arcane as it may be, of the text. Objectively, though, the tune is as trivial and banal as anything ever written, and here it gets turned into a sort of mini-violin concerto. Call the Blue Meanies and the Apple-Bonkers to put a stop to that!
But the other performances and pieces on this CD more than make up for this miscue. The first CD features Violin Concerti by Kabelevsky and Tchaikovsky, and Beethoven's violin concerto is featured on the second CD with a gorgeous performance. Vanessa-Mae clearly *can* play--she is much more than just a media creation. This collection, a portrait of the artist as a young woman, proves the point admirably.
Vanessa-Mae as a Child Prodigy at 12 and 13.......2000-11-14
Vanessa-Mae: is the beautiful young Singaporean violinist with her flowing hair, gorgeous figure, pop star clothes, electric violin, laser and light shows, websites, and rock band just a media creation, or is she instead a modern-day Pagannini or Liszt, a true virtuoso with a flair for showmanship? In other words, can she play? This three CD set of her early recordings, made when she was only 12 and 13 years old, answers the question authoritatively. Although there are, of course, some flaws, the fact remains that even at this early age Vanessa-Mae was a stunning performer. At thirteen she played better than many profession musicians have at thirty, myself included. Listen, for example, to the stunning beginning of Sarasate's Concert Fantasy on `Carmen".
There is a certain tension between the interpretations of the soloist and the conductor occasionally, especially when Vanessa-Mae wants to play faster than the conductor will allow. This is in fact my biggest criticism of the recording; but these ego wars are not only the bloodiest but also the most common of musical slaughterhouses, and it is no surprise that such a young performer would get caught up in it. Otherwise, the performance is terrific--intonation is impeccable, interpretation confident. In particular, Vanessa-Mae has a commanding technique in the highest range, where her tone absolutely soars. Only very rarely, and then only at the very end of a rising run, does her intonation slip slightly. And she varies her style appropriately to suit the music--at the time of this recording she'd not yet gotten to playing Vivaldi with a rock band. In Fritz Kreisler's Schon Rosmarin, I can practically see her in a ball gown with her hair up in ringlets, performing this for the Viennese elite at a society soiree. It seems appropriately schmatzy to me, and it provides a link between the Classical and popular sides of Vanessa-Mae featured in this collection.
The set consists of three CDs, the first the Russian Album, the second, the Viennese Album, and the third, the Virtuoso Album. This last title is somewhat curious, as only two-thirds of the way through do the selections take a virtuoso turn. Otherwise, they are pops and light classics that are not at all demanding of the performer. This CD has a theme of inspiration from various sources, and the selections are categorized as "inspired by the classics, inspired by cinema, inspired by pop and folk culture, and inspired by opera" and include such things as arrangements of Brahms Lullaby, Mancini's theme to The Pink Panther, and Richard Rogers' My Favorite Things. Unfortunately, the Beatles also make an appearance--I love the Beatles, but Lennon and McCartney's Yellow Submarine is a testament to the perils of drug use. Whatever fondness society has for this piece--and I know they do, as my 10 year old daughter is learning it on recorder for her music class at school--this affection must come from our memories of youth, the fun of the 70's and the association of the imaginative animation by Peter Maxx of the movie, perhaps even the symbolism, arcane as it may be, of the text. Objectively, though, the tune is as trivial and banal as anything ever written, and here it gets turned into a sort of mini-violin concerto. Call the Blue Meanies and the Apple-Bonkers to put a stop to that!
But the other performances and pieces on this CD more than make up for this miscue. The first CD features Violin Concerti by Kabelevsky and Tchaikovsky, and Beethoven's violin concerto is featured on the second CD with a gorgeous performance. Vanessa-Mae clearly *can* play--she is much more than just a media creation. This collection, a portrait of the artist as a young woman, proves the point admirably.
Great early recording.......2000-11-11
I should of course first disclose that I do not know very much about classical music, but as far as I can tell this is a fantastic recording.
This 3-cd set is a reissue of the early classical recordings that Vanessa-Mae made before crossing over into pop. It is a fantastic set because it offers a wide range of music: Tchaaikovsky, Kreisler, Beethoven, Paganini, Sarasate, Bach, Brahms and others. Vanessa-Mae's playing is fantastic throughout. I have always felt that she is a much stronger classical than pop player -- she really does not bring much uniqueness to pop music (just electronic supporting instruments) -- however, her remarkable classical mastery is easily evident even to an inexperienced person like me.
All-in-all, the recording is remarkably mature and holds up well in comparison to VM's later classical recordings. Most highly recommended!
Average customer rating:
- My own life is behind these recordings
- Don't go for broke unless you're a die-hard Stokowski fan
- More Sensational Stokowski
|
Original Masters: Leopold Stokowski: Decca Recordings 1964-1975 [BOX SET]
Manufacturer: Decca
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Binding: Audio CD
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ASIN: B00067R3BQ
Release Date: 2005-02-08 |
Customer Reviews:
My own life is behind these recordings.......2007-06-10
I can assure that one of the reason I love music is due to these recordings of Mr. Stokowsky. My father had the record of Scherezade and, though my father was an ignorant about cultivated music, he knew very well what to appreciate. We never argued when I played Beethoven's first symphony so loud, however, he always did when I played Rolling Stones so loud. I adore that he taught me to appreciate Rimsky-korsakov's music as well as Tchaikovsky's Capriccio Spagnolo so young. He was wise, on his way. I can't help to cry for him, listening to Borodin's Palatsovian dances, because, it is great music, and, having into account that I used to love it by Mr. Stokowsky's work, it doubles my crying and my remembrance. He loved the record so much. I love you, daddy.
Don't go for broke unless you're a die-hard Stokowski fan.......2006-09-22
When Stokowski began to make Phase 4 recordings for Decca in 1964, he was already 82, but he hadn't lost his energy or his tendency to shape music in outlandish ways. I mostly love him, but this box set duplicates recordings that can be found on the Cala label, which has been releasing everything Stokowski in the world, and on Decca single CDs if you go to the used market.
I mention this because the whole box set, Vol. 2 in the Original Masters series, continas some forgettable performances, in particular the rhythmically slack Beethoven Sym. 5 and 7, the over-highlighted Schubert 'Unfinished,' and a live Brahms First that seems manic and forced too much of the time. However, if you think of Stokowski having little to offer in the German classics, here is an exceptional Beethoven Ninth, one of the best things from his late career and wonderful in every way.
Decca knows that the crowd-pleasers are the gaudy, multi-miked Phase 4 versions of Scheherazade, as bombastic as you could imagine, and lots of Russian fare, including Stoki's signature synthesis from Boris Godunov. The 1812 Over., by the way, isn't over the top and yet needed to be. Finally, this German-Russian collection contains a thrilling disc of Wagner excerpts, much of it grossly over-miked, but at its core containing very impressive, vital interpretations.
In all, I'd select the Wagner, the Beethoven Ninth, and the legendary Scheherazade as the best things here. Buy them separately or take the plunge for this whole box, your choice.
More Sensational Stokowski.......2005-06-08
It took me a while to purchase this six-disc set in UNI's "Original Masters" series, but I finally did this past weekend. Classical music fans seem to either love or hate Leopold Stokowski (I, of course, love him), and unfortunately much of "Decca Recordings 1964-75, Volume 2" will be old news to serious devotees of the conductor. While I'm not familiar with the complete Decca back-catalog, at least three full discs worth of material have been previously available in the old "Weekend Classics" series -- Beethoven's 5th & 7th, Beethoven's 9th, and the Wagner selections. (I'm pretty sure the Rimsky-Korsakov material on disc five, and the Tchaikovsky and Mussorgsky pieces on disc six have been issued prior too.) This is good news for those who came to collecting classical CDs late (like me) because while the Wagner is still available individually, the Beethovens have been fetching absurd prices in the Amazon Marketplace. The only material receiving its first international release is contained on disc 3 -- a Schubert "Unfinished" with the London Philharmonic from 1969 and a rousing live performance of the Brahms 1st with the London Symphony on the occasion of the conductor's 60th anniversary leading that body. The original instruments crowd will surely turn up their noses at these legendary performances, but me, I'll just sit back and listen to some more sensational sounding Stokowski.
Average customer rating:
- Listen,Learn, & Grow: Playtime
- Grandkids love it!
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Listen, Learn, & Grow: Playtime
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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ASIN: B00005LMZT
Release Date: 2001-06-19 |
Tracks:
- Solomon: Arrival Of The Queen Of Sheba
- The Four Seasons: Autumn: Allegro
- Symphony No.6 'Pastoral': Allegro Ma Non Troppo
- Symphony No.41 'Jupiter': Menuetto Allegro
- Fair At Sorochintsy: Gopak
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- Carnival Of The Animals: Aquarium
- La Mer: Play Of The Waves
- Humoresque
- Sheep May Safely Graze
- Masques Et Bergamasques: Ouverture
- The Gadfly: Barrel-Organ Waltz
- The Young Person's Guide To The Orchestra: Fugue
- Symphony No.104 'London': Allegro Finale
Tracks:
- Orpheus In The Underworld: Can-Can
- William Tell: Overture
- Four Overtures: Rakoczy March
- Perpetual Motion: A Musical Joke
- Pizzicato Polka
- Minute Waltz
- Concerto For Two Horns: Vivace
- Pomp And Circumstance
- Parade Of The Sandwich Board Men
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- Indian Scenes: On The Jocko
- Lieutenant Kije
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- Radetzky March
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- The Bartered Bride: Dance Of The Comedians
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- Hungarian Rhapsody No.2 In D Minor (Excerpt)
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- Parade Of The Tin Soldiers
- Carnival Of The Animals: Fossils
- Sleeping Beauty: Sleeping Beauty Waltz
- Giselle: Allegro
- Giselle: Gallop
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Customer Reviews:
Listen,Learn, & Grow: Playtime.......2007-05-14
The music is excellent, with high quality sound. Not irritating as some classical music can be. Plus the tempo's are varied which is great depending if you need something fast paced or more slow. Best of all, the kids enjoyed it!
Grandkids love it!.......2007-01-03
How to gently insert a little culture into the grandkids' lives without Mom freaking out.....send this set of CDs for Christmas. Dad's into heavy metal and Mom, although she has a long history of listening to Classical music as a child, is now into Country. Nothing wrong with that, but how are the three little ones going to hear any of the Classics with Grandma living more than 600 miles away? "Play this in the background while they're having creative time," said I, "and see if they don't enjoy it." When I talked with them a week later the 4 year old couldn't wait to tell me how much he liked the "playtime music" I'd sent him. The quality of the recording is good and the variety of rhythms and tempos make it interesting. Yes they're a little trite and you're going to have to explain that the theme to "the Bad News Bears" really is Classical, but that's okay. If they skipped the genius of Mozart as an infant, or even if they teethed to "the Magic Flute", these CDs will give them a taste of a variety of good music and who knows how far into the Classical realm it may send them as they mature?
Average customer rating:
- A good deal, but a little skimpy
|
Masters of Classical Music 6-10
Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD
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ASIN: B000001W10
Release Date: 1990-10-09 |
Tracks:
- Piano Concerto No. 1: Allegro non troppo - Peter Tchaikovsky
- String Serenade: Waltz - Peter Tchaikovsky
- Violin Concerto: Andante - Peter Tchaikovsky
- The Sleeping Beauty: Ballet Suite: Introduction - Peter Tchaikovsky
- The Sleeping Beauty: Ballet Suite: Pas d'action - Adagio - Peter Tchaikovsky
- The Sleeping Beauty: Ballet Suite: Waltz - Peter Tchaikovsky
- Capriccio Italien Op. 45 - Peter Tchaikovsky
- Swan Lake: Ballet Suite: Scene No. 10 - Peter Tchaikovsky
- Swan Lake: Ballet Suite: Waltz - Peter Tchaikovsky
- Eugene Onegin: Polonaise - Peter Tchaikovsky
Tracks:
- The 4 Seasons: Spring: Concerto No. 1 In E Major - Antonio Vivaldi
- Siciliano - Antonio Vivaldi
- Concerto In D Minor: (Allegro assai) Cologne Concerto - Antonio Vivaldi
- The 4 Seasons: Summer: Concerto No. 2 In G Minor - Antonio Vivaldi
- Oboe Sonata In B Flat Major - Antonio Vivaldi
- The 4 Seasons: Autumn: Concerto No. 3 In F Major - Antonio Vivaldi
- Oboe Concerto - Antonio Vivaldi
- Concerto In D Minor: (Largo e spiccato) Cologne Concerto - Antonio Vivaldi
- The 4 Seasons: Winter: Concerto No. 4 In F Minor - Antonio Vivaldi
Tracks:
- Scherzo No 1 In B Minor, Op 20 - Frederic Chopin
- Three Nocturnes, Op. 9: No. 3 In B Major - Frederic Chopin
- Twelve Etudes, Op. 10: No. 5 In G Flat Major - Frederic Chopin
- Twelve Etudes, Op. 25: No. 10 In B Minor - Frederic Chopin
- 24 Preludes, Op. 28: No. 13 In F Sharp Major - Frederic Chopin
- 24 Preludes, Op. 28: No. 14 In E Flat Minor - Frederic Chopin
- 24 Preludes, Op. 28: No. 15 In D Flat Major 'Raindrops' - Frederic Chopin
- 24 Preludes, Op. 28: No. 16 In B Flat Minor - Frederic Chopin
- 24 Preludes, Op. 28: No. 17 In A Flat Major - Frederic Chopin
- 24 Preludes, Op. 28: No. 18 In F Minor - Frederic Chopin
- Scherzo No. 2 In B Flat Minor, Op. 31 - Frederic Chopin
- Waltz In E Flat Major, Op. 18 - Frederic Chopin
- Nocturne In C Sharp Minor, Op. posth. - Frederic Chopin
- Four Mazurkas, Op. 24: No. 3 In A Flat Major - Frederic Chopin
- Four Mazurkas, Op. 24: No. 4 In B Flat Minor - Frederic Chopin
Tracks:
- Ave Maria - Schubert, Franz
- Impromptu In E Flat Major - Schubert, Franz
- Budapest Strings: Standchen - Schubert, Franz
- Trout Quintet: Tema con variazioni - Schubert, Franz
- Entr'acte No.1 From 'Rosamunde' - Schubert, Franz
- Moment Musical In A Flat Major - Schubert, Franz
- Entr'acte No. 2 From 'Rosamunde' - Schubert, Franz
- Moment Musical No. 3 In F Minor - Schubert, Franz
- Ballet Music No.2 From 'Rosamunde' - Schubert, Franz
- Symphony No. 8 In B Minor 'Unfinished': Allegro moderato - Schubert, Franz
Tracks:
- Nabucco: Overture - Giuseppe Verdi
- Nabucco: Va Pensiero, sull'ali Dorate - Giuseppe Verdi
- Aida: Prelude - Giuseppe Verdi
- II Trovatore - Gypsie's Chorus: Vedi! le fosche notturne - Giuseppe Verdi
- Il Ttrovatore - Soldiers' Chorus: II Trovatore: Or co' daddi, ma fra poco - Giuseppe Verdi
- Aroldo: Overture - Giuseppe Verdi
- La Traviata: Prelude - Giuseppe Verdi
- La Traviata: Noi Siamo zingarelle - Giuseppe Verdi
- La Traviata: Libiamo ne' lieti calici - Giuseppe Verdi
- La Traviata: Di Madride noi siam mattadori - Giuseppe Verdi
- La Forza del destino: Overture - Giuseppe Verdi
Customer Reviews:
A good deal, but a little skimpy.......2001-05-25
This is a good deal for 10 cds, but there are nno complete pieces except for the Four Seasons by vivaldi, and some shorter piano works. The recording quality is a little bit less than perfect, and it doesn't have teh full vollume of other cds i have. Overall, I recomend buying it, there are some nice pieces on it.
Average customer rating:
- A little something different
|
Symphonic Magic, Vols. 1-4
Manufacturer: Michelle Records
ProductGroup: Music
Binding: Audio CD
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| Berlioz, Hector
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