Hindemith: Requiem

On this CD:

1. When lilacs last in the dooryard bloom'd (Requiem for those we love), for mezzo, baritone, chorus & orchestra
Composed by Paul Hindemith
Performed by Vienna Symphony Orchestra with Hans Braun, Elisabeth Hongen
Conducted by Paul Hindemith

Amazon.com

Hindemith was the greatest German composer of the post-War period, and the last in that great line that began with Bach and extended through the Classical and Romantic periods. His orchestral music is varied and generally extremely approachable, and the percentage of major works is very high. Nobilissima visione, Symphonic Metamorphoses, Mathis der Maler, Symphony in E-flat, and Concert Music for Strings and Brass are all popular masterpieces, while works such as the Symphonic Dances, Symphonia Serena, and Harmony of the World Symphony deserve the same accolades. This set, excellently performed and recorded by a selection of fine Australian orchestras, really deserves the widest circulation among fans of listenable contemporary classical music. --David Hurwitz

Customer Reviews:

Great performances of a great composer.......2006-08-23

While Hindemith will never be known for changing the way the world hears music, he will always be recognized as composing well-crafted minor masterpieces, even if they can be a little formulaic and his sense of melody was a little warped. All six discs in this set have gems that should be heard more often in the concert halls and recorded more. In particular, the Concerto for Orchestra on Disc 6 is fantastic -- with its addictive and fun themes and transparent structure, it was the only work I listened to for about a month. Of the rarer works recorded here, his Symphony Serena on Disc 5 is a little tougher to like, but is really quite good, while his Symphony in E flat on Disc 4 is nothing short of amazing. The Philharmonic Concerto, a set of variations on a strange but catchy theme that only Hindemith could write, also really shines in this set.

Of his more well known -- if you can call any Hindemith "well known" -- works, the recordings are a mixed bag. His Concert Music for Strings and Brass on Disc 3 have a wonderful fullness in the lower brass that I haven't heard in other performances. But the Mathis der Maler Symphony and Nobilissima Visione are both so-so and a little dull. And the performance of Symphonic Metamorphosis here is just outright terrible and a big disappointment, full of mistakes and uneven tempos.

But that's ok. Because you can get good recordings of his better-known works elsewhere. But because his lesser works are presented here in such convincing performances, this set is a must buy for anyone exploring Hindemith! The other 2 box sets on CPO that round out his complete orchestral works are just as good, if not even better. All are highly recommended.

Hindemith, Hindemith, Hindemith!!!!!.......2005-05-15

Wow, this box set is phenomenal. First off, HIndemith is one of the most underappreciated and underrated composers of the 20th century. In my opinion he is definetly in the top 5 along with Stravinsky, Schoenberg, etc. This box set is simply amazing. Whether it is the sound quality, or the works themselves, they will provide you with hours and hours of great music. Although Hindemith was a 20th century composer, his works are EXTREMELY ACCESSIBLE and have a chromatic-romantic feeling to them. I am a music teacher and I have a huge classical collection and this box set is played more than most else. Also, I would recommend the other two volumes by CPO, they are just as good as this set.

DIDN'T THINK THAT THEY MADE THEM LIKE THIS ANYMORE.......2002-12-08

I listened upstairs in bed, on the couch watching football with the sound off, while typing my uncle William E. Crawford's WWII journals. It doesn't get any better than Paul Hindemith, whether it is band music, symphony, ragtime, or overture.
I confess I sometimes have a love-hate feeling about the role of the Jewish Diaspora musicians and composers. But they do the time to the beat and more. I always go to them for performance. They should teach other Americans to compose and perform.

Tracks:

Requiem
Hungarian March/Sym Fantastique
Con
Sym No.9
Prld Act III, Lohengrin/Ride Of The Valkyries/Tannhauser Ov
Bolero
Sym No.3
Sym No.3
Sym No.1 & 2
Sym No.5
William Tell/La Gazza Ladra
Sym No.3
Sym No.6
Firebird Ste/Petrouchka
Russian Easter/Scheherazade
Till Eulenspiegel/Ein Heldenleben/Sprach Zarathustra
Sym No.4 & 7
Mathis Der Maler/Symphonic Metamorphosis

Paul Hindemith: When Lilacs Last in the Dooryard Bloom'd (A Requiem for Those We Love)

Average customer rating:

Amazing
A perfect compostion and recording
What an awesome team=Shaw, Hindemith ++Walt Whitman!
Encountering an old friend
A recording for the ages

Paul Hindemith: When Lilacs Last in the Dooryard Bloom'd (A Requiem for Those We Love)

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Hindemith: Complete String Quartets
Walton: Belshazzar's Feast; Bernstein: Chichester Psalms; Missa Brevis
Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon
Hindemith: Orchestral Works
Dvorak - Stabat Mater / Goerke · M. Simpson · Olsen · N. Berg · Atlanta SO · R. Shaw

ASIN: B000003CTZ
Release Date: 2002-04-23

Tracks:

Prelude
I. When Lilacs Last In The Dooryard Bloom'd
II. Arioso, In The Swamp
III. March, Over The Breast Of Spring
IV. O Western Orb
V. Arioso, Sing On, There In The Swamp
VI. Song, O How Shall I Warble
VII. Introduction And Fugue, Lo! Body And Soul
VIII. Sing On! You Gray-Brown Bird
IX. Death Carol, Come, Lovely And Smoothing Death
X. To The Tally Of My Soul
XI. Finale, Passing The Visions

Amazon.com

Whitman's poem "When Lilacs Last in the Dooryard Bloom'd" was his elegy on the death of Abraham Lincoln. Hindemith's setting, subtitled "A Requiem for Those We Love," dates from 1946. It was conceived as a tribute to FDR and the Americans who fought and died in World War II and perhaps also as a lament for the destruction of German culture. The composer himself--whose music was banned by Hitler's regime thus forcing his emigration from Germany--had both public and private reasons for writing this piece, and the result is extremely moving and approachable. It's a true modern counterpart to Brahms's German Requiem. Robert Shaw commissioned the music and simply "owns" it. This is a definitive performance. --David Hurwitz

Customer Reviews:

Amazing.......2007-02-27

At first I had trouble comprehending this work. But once I became familiar with it I was awestruck.

I am a big Hindemith fan. And this is my favorite work. It tells a wonderful story, about life, yearning, sorrow and grief. And it unravels in the most marvelous way.

If you like Hindemith, add this to your collection and you'll be very happy.

A perfect compostion and recording.......2005-09-18

Robert Shaw was one of the greats of choral music, that goes without saying. Even if some of his recordings sound a bit "dated" to some ears, he was an important pioneer of American music.

The vocalists, Stone and de Gaetani, are without a doubt ideally suited to this work. They clearly grasped the poetry of Whitman and the wonderful music of Hindemith, and wove them into wonderful vocal art.

Hindemith, in my opinion a vastly underrated composer, spreads his wings and shows his overall musical talent in this requiem. Not just as the "German academician", but as a sensitive artist. He combined the genius of the German tradtion he represented as a refugee from Europe with the American genius of Whitman. In doing so, he created powerful art during some of the darkest days of the 20th century.

This recording is highly recommended. I've listened to it dozens of times and it never fails to impact me emotionally.

What an awesome team=Shaw, Hindemith ++Walt Whitman!.......2005-07-16

Altho Mr Shaw invariably knew the Soloists, best-fitted for each of his musical choices; This pair, William Stone/Jan de Gaetani are ideally chosen, awesome singers in their wondrous musical and textual roles! Whenever Shaw employed Stone, such a handsome impressive Basso, it was obvious how closely they related. This fearless bass promptly gave one huge bear hug to Caroline Shaw!

Such over-powering words of Walt Whitman demanded and received descriptive, dramatic settings by Shaw's great Atlanta Chorus, during one inspired period of later-life in Atlanta. I regret in waiting too long the enjoyment of hearing this while writing on my Computer. From an opening 4-tone theme: A up-to C- down to F, followed by E-natural, all of which give extra tension by added, unwavering, underlying C# pedal tone! All together they enhance descriptive sorrow in anguished results of a Choral Masterpience from a wondrous team of Shaw's commissioning of Paul Hindemith to adding the extra-ordinary Requiem text of Walt Whitman!

Hindemith, new resident of the USA knew of Shaw's love for Walt Whitman's Poetry, leading him to Commission Hindemith suggested Whitman Poems nearly in 1945! At that time Hindemith recalled, how he felt like the "Sorcerer's Apprentice" enough that he was caught-up in the "Trinitarian Symbolism" of W.W.'s three themes: 1) "the fallen Star of Abraham Lincoln" (Father Abraham) 2) "the profusion of Lilacs, banking the coffin of Lincoln" (Crucified as the Son) 3) "the beautiful singing Warbler entwined with the chant of my soul." Two Favorite Stanzas, No 6) Song, Oh How Shall I Warble"; No 8) "Oh Sing on! You Gray-Brown Bird" Both are greatly inspired as Symbolic of the Holy Spirit!

All of Walt Whitman's picturesque symbolism was given full sway by Hindemith and Shaw! It is Awesome hearing this carefully crafted Masterpiece after an earlier Columbia recording of N.Y. Philharmonic, Louise Parker, George London + Choral-Master, Hugh Ross. The differences become sparkling with Shaw's Carnegie Hall Preview by the Collegiate Chorale to this one of the ASO in 1990. From one who is grateful for this Love-Feast, Long-Retired Chap Fred W. Hood

Encountering an old friend.......2002-12-21

There have been some exquisite works for large orchestra and chorus composed in the last century, works that compare favorably with the great requiems and oratorios of the past. Evidence: Britten's 'War Requiem', Adams' "Harmonium", Gorecki's Symphony #2, Lauridsen's 'Lux Aeternam'. Not the least among these is the breathtakingly beautiful Hindemith WHEN LILACS LAST IN DOORYARD BLOOM'D based on the poetry of Walt Whitman. This massive yet gentle work is given a definitive performance by Robert Shaw and his Atlanta forces with the incomparable Jan de Gaetani and the fine William Stone bringing all the lonely haunting beauty to Hindemith's score. It is with a bit of sadness to remember that both Shaw and de Gaetani are no longer with us, but that adds to the power of this elegant requiem.

A recording for the ages.......2000-12-20

Robert Shaw knew "Lilacs" better than anyone--not only has he performed it more than anyone else, it was he who commissioned Hindemith to write the work in 1945 following the death of President Roosevelt.

I had the chance to hear Robert Shaw lead the Yale Glee Club in a performance of "Lilacs" in 1996, on the 50th anniversary of the work's completion (Hindemith was a music professor at Yale at the time). I was blown away from the very opening, played over a four-minute pedal point, and held with rapt attention to the very end.

This disk captured all the emotion of that performance; Stone and De Gaetani give extraordinarily warm and expressive performances, and the Atlanta Symphony Chorus, as always, is flawless. Shaw captures all the nuances of the work, from the menacing Orchestral Introduction, to the exquisite "Death Carol" ("Come, lovely and soothing Death"), to the 'sunset'-like finale ("Lilac and star and bird . . .").

Tracks:

Prld - Berlin RSO/Lothar Zagrosek
1. When Lilacs - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe
2. Arioso: In The Swamp - Cornelia Kallisch
3. March: Over The Breast Of The Spring - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe
4. O Western Orb - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe
5. Arioso: Sing On, There In The Swamp - Cornelia Kallisch
6. Song: O How Shall I Warble - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe
7. Intro And Fugue: Lo! Body And Soul! - Rundfunkchor Berlin/Dietrich Knothe
8. Sing On! You Gray-Brown Bird - Cornelia Kallisch/Krister St. Hill
9. Death Carol: Come, Lovely And Soothing Death - Rundfunkchor Berlin/Dietrich Knothe
10. To The Tally Of My Soul - Krister St. Hill/Rundfunkchor Berlin/Dietrich Knothe
11. Finale: Passing The Visions - Krister St. Hill/Cornelia Kallisch/Rundfunkchor Berlin/Dietrich Knothe

Customer Reviews:

A kinder, gentler version of Hindemith's Requiem (English version).......2006-01-10

The best versions of this great choral masterpiece remain Hindemith's own recording with the New York Philharmonic (not yet available on CD) and the Robert Shaw recording with Atlanta forces on Telarc. Neither is likely to be supplanted soon, although some other versions highlight interesting new facets to be found in the work (e.g., the Helmut Koch version -- see my review -- and the Wolfgang Sawallisch iteration). Both Hindemith's and Shaw's versions deliver drama and dynamism in the score in places where (one would presume) their authority should be respected. In this version, however, conductor Lothar Zagrosek evidently has a mind of his own.

Zagrosek re-thinks this work in terms of its presumed purpose. He has smoothed things over, flattened things out, lightened the textures. In some movements, the orchestral texture approaches that of chamber music. This approach works well when the orchestra is supporting the female soloist; otherwise, the results are mixed. The choir sounds excellent when it sings mezzoforte or lower. It often OUGHT to be singing louder than that dynamic, but this adjustment is calculated across-the-board by Zagrosek to achieve his personal vision of the work. Many of the movements run a little slower than usual (with the suprising exception of the fugue's coda, which is arguably the fastest on record).

The work is sung in the original English, and rare is the moment when the German forces give away their native accent (e.g., on the words "of the trees prolific"). This more hushed-version of the Hindemith takes some getting used to -- it's as if it were being bent closer to the mild benignity of the Faure Requiem. At least Zagrosek's vision is coherent over the entire piece, rather than slap-dash.

There are some interesting sidelights. At one time, LP enthusiasts in the '60s and '70s had favorite "reference recordings" to test stereo response. One of the favored tests for bass response was the first movement of this work, as recorded by Hindemith and the NY Phil. The low C# in the contrabass pedal held throughout the entire prelude was THE test case: if it wasn't clear and profoundly deep, your stereo just didn't cut it. Imagine my surprise to find that THIS recording, the "smooth, mellow, kinder-gentler Requiem" of Zagrosek, has the best recording of that C# -- you can easily hear that 5th string of the contrabasses being bowed. Remarkable.

The baritone acquits himself well, often sounding moderately dramatic (not compared to other recordings, but in comparison to the context in this recording). Surely, this approach reveals otherwise hidden beauties in the score. But I'm not sure it's worth the price of what is missing. Although the Hindemith recordings by Wergo are thought by some to be authoritative (due to association with Schott, Hindemith's publisher), this cannot always be assumed to be the case.

The reason I suspect that Zagrosek intentionally down-played this work and re-shaped it (rather than stumbling into this interpretation by neglect or accident) is because his recording, with similar forces, of Hindemith's oratorio, Das Unaufhorliche (also on Wergo), is astonishingly dramatic and powerful. So, Zagrosek COULD extract that from the orchestra and choir if he had wanted to do so. This is a matter of his personal vision being imposed on the music. I don't want to do without the other versions, but for a 3rd or 4th version to own, this is worth looking into. If you're turned off by anything bombastic, THIS version of the Requiem is for you.

Genius.......2001-08-06

Hindemith was a genius, and this is his most inspired work. When the Yale Alumni Chorus sang excerpts on its recent tour of the UK and Russia, grown men weeped. Their rendition, led by David Connell, the brilliant conductor, was astonishingly controllled and precise. This allowed Hindemeth's passion for America to strike its target. In the tradition of William Carlos Williams and Walt Whitman, the simple, direct portraits of American life combine daily events with greatness. Hindemith's brilliance included his recognition of this as the essential character of his adopted homeland. Lincoln's cortege and FDR's. The throbbing pulse of this purple land. Boola.

Average customer rating:

Digital live recording in English of Hindemith's masterpiece

Hindemith: Requiem "For Those We Love"

Manufacturer: Orfeo
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00000598U
Release Date: 1995-05-23

Customer Reviews:

Digital live recording in English of Hindemith's masterpiece.......2006-01-15

This is a live recording, the first inklings of which come from audible coughs near the conclusion of the orchestral prelude. You can also hear the choir rising and re-seating itself (e.g., right before the song, "O How Shall I Warble Myself?")

What counters these circumstances so decisively are the two soloists, Dietrich Fischer-Dieskau and Brigitte Fassbaender. In my other reviews of this work, I've rarely done anything other than note the competence of the mezzo-soprano. But Fassbaender's work here cries out for recognition. The first two Ariosos never sounded better -- here, conductor Sawallisch properly adorns the vocal line, making a gorgeous vocal interpretation even better. Truly revelational, both in execution and emotional depth. Bravo, Brigitte Fassbaender!

Of course, Fischer-Dieskau's voice is instantly recognizable. He brings an appropriate amount of drama to the work with his distinct declamations. Perhaps he doesn't necessarily deliver the deeper anguish that baritone WIlliam Stone achieved under Robert Shaw's baton, but I'm not sure that'd be possible given Fischer-Dieskau's approach. The two baritones' approaches are mutually exclusive -- you can bring out either one or the other aspect of the music, but not both.

As for Sawallisch's interpretation, it got off to a rocky start in the Prelude, where the decision to shape the brass phrases as broad crescendo-decrescendo arches basically buried the end of the phrases in muffled sound against the pedal tone. It comes off poorly, as if the sound were being compressed by the engineer. This might possibly be the worst Prelude recorded, so far as the fortissimo climaxes are concerned (which are problematic to begin with given Hindemith's harmonically thick writing here). The conductor is on more solid ground elsewhere, and the Vienna forces never seem to fail to give him what he's looking for, while the energy of a live recording event is evident on the face of this rendition.

Sawallisch takes the mezzo sequence in "Sing on, you gray-brown bird" faster than most, but it works beautifully because the phrases now seem to breathe correctly -- proving it's not a miscalculation. The duet toward the end is gorgeously sung, with tremendous impact.

The choir has its moments. The feminine voices tend to come off sounding better than the male voices or the combined choral forces, with the exception of the a capella sections of the Death Carol, which come off nicely. This suggests that the actual underlying problem is one of recording balance. The trade-off is energy and intensity versus clarity and balance: you can achieve the latter attributes in a studio, but usually get a clinical, sterile performance in the process. In any event, the balance seems to improve over the duration of the work, and by the Death Carol we seem to have found a happy medium just before the glockenspiel entrance. From there on, the climaxes lack nothing either chorally or orchestrally. Sawallish then ups the drama quotient, giving us one of the most powerful readings of the the Death Carol recorded. Had this CD started out on such a footing, it might have earned all five stars.

Not only do the balances improve during the course of the work, but Fischer-Dieskau, who starts off on an excellent footing, rises to magnificence by the penultimate movement ("To the tally of my soul"). It was a pleasure to hear someone invest Hindemith's words and music with such compelling expression, rather than merely "phoning it in."

If you make this the first recording of the Hindemith work you'll own, it will doubtless prejudice you against the soloists in any other version. But if you later acquire the Shaw version on Telarc, you'll learn that much in the first half of the Requiem CAN be better rendered on all other fronts. But I'm having trouble thinking if any other version has achieved the heights this one has on the second half of the Requiem. I'm inclined to think that this version nails the second half in almost all respects. With gorgeous mezzo movements in the first half, and Fischer-Dieskau redeeming everything he touches with his golden throat, it's hard not to overlook the deficiencies in the early laps. Unfortunately, I have to review the entire Requiem, not its latter half (which is a 5-star powerhouse). Note that audience coughing seems to disappear as the work progresses, becoming all but non-existent a third into the work. So don't let the "live recording" aspect scare you on this one!

Bruckner: Symphony No. 1 in C minor (Vienna edition, Haas, 1891) (recorded 1983) / Hindemith: Pittsburgh Symphony (1958) (recorded 1965)

Average customer rating:

Bruckner: Symphony No. 1 in C minor (Vienna edition, Haas, 1891) (recorded 1983) / Hindemith: Pittsburgh Symphony (1958) (recorded 1965)
Paul Hindemith , Gennadi Rozhdestvensky , and Grand Symphony Orchestra of Radio and Television (U.S.S.R.)
Manufacturer: Russian Revelation
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000006B8R
Release Date: 1998-04-21

Tracks:

Symphony No. 1 in C minor: I Allegro
Symphony No. 1 in C minor: II Adagio
Symphony No. 1 in C minor: III Scherzo
Symphony No. 1 in C minor: III Finale, Bewegt, feurig
Pittsburgh Symphony: I Molto energico
Pittsburgh Symphony: II Slow March - Allegro assai
Pittsburgh Symphony: III Ostinato - Allegro moderato

Deutsche Grammophon Centenary Collection Vol. 1 - The Early Years 1898 - 1947

Average customer rating:

Sorry...I heard only fifth disc in this set.

Deutsche Grammophon Centenary Collection Vol. 1 - The Early Years 1898 - 1947

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

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

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

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

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

Marches | Miscellaneous | Styles | Music

Classical | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Deutsche Grammophon Centenary Collection, 1948-1957 (Box Set)

ASIN: B00000DI2K
Release Date: 1998-11-10

Tracks:

The Voice Of Emile Berliner
'Hail To The Spirit Of Liberty' March
Ave Maria
Othello: Esultate
Othello: Ora e per sempre addio
Ave Maria
Auld lang syne
La Boheme: O soave fanciulla
O Mimi, tu piu non torni
L'Africaine: O paradiso
Una furtiva lagrima
Guitarre Op. 45
Fruhlingsstimmem (Voice of Spring)
Liebesfreud
Liebesleid
Boris Godunov: Proshchay, moy syn (Death of Boris)
Un Ballo in Maschera: Fur dein Gluck (Alla vita che t arride)
Zueignung Op. 10 No. 1
Le Carnaval romain
Hebrides - Overture Op. 26

Tracks:

Coriolan - Overture
German Dance-Deutscher Tanz K. 600 No. 2
Die Walkure: Ride Of The Valkyries-Walkurenritt
Das Herz: Liebesmelodie
Overture To Der Freischutz
Feste romane: Circenses
Overture to Die lustigen Weiber von Windsor (The Merry Wives of Windsor)
Japanische Festmusik Op. 84
Overture To Der Zigeunerbaron (The Gypsy Baron)
Allegro Symphonique

Tracks:

Brandenburg Concerto No. 5: 1. Allegro
Concerto en Re: 1. Toccata
Concerto en Re: 2. Aria I
Concerto en Re: 3. Aria II
Concerto en Re: 4. Capriccio
Piano Concerto No. 2: 3. Andante
Konzert-Rondo K. 382
Cello Concerto Op. 129: 3. Sehr lebhaft
Violin Concerto Op. 47: 3. Allegro, ma non tanto

Tracks:

Trio For Strings-Streichtrio: No. 1, Op. 34: 1. Toccata
Albumblatt
Petite Suite: Menuet
Wachet auf, ruft uns die Stimme, BMV 140
Variations on - Nel cor piu
Aus der Heimat
12 German Dances - Deutsche Tanze, D 790
Symphonic Etudes, Op.13: Thema Andante
Symphonic Etudes, Op.13: Etude 1
Symphonic Etudes, Op.13: Etude 2
Symphonic Etudes, Op.13: Etude 3
Symphonic Etudes, Op.13: Etude 4
Symphonic Etudes, Op.13: Etude 5
Symphonic Etudes, Op.13: Etude 6
Symphonic Etudes, Op.13: Variation 2posth.
Symphonic Etudes, Op.13: Etude 7
Symphonic Etudes, Op.13: Etude 8
Symphonic Etudes, Op.13: Variation 5 posth
Symphonic Etudes, Op.13: Etude 9
Symphonic Etudes, Op.13: Etude 10
Symphonic Etudes, Op.13: Etude 11
Symphonic Etudes, Op.13: Finale: Etude 12
Toccata And Fugue In D Minor, BWV 565: Toccata
Toccata And Fugue In D Minor, BWV 565: Fugue

Tracks:

Requiem K. 626: I. Introitus - Requiem: Adagio
Requiem K. 626: II. Kyrie - Allegro - Adagio
Requiem K. 626: III. Sequenz - No. 1: Dies irae: Allegro assai
Requiem K. 626: III. Sequenz - No. 2: Tuba mirum: Andante
Requiem K. 626: III. Sequenz - No. 3: Rex tremendae
Requiem K. 626: III. Sequenz - No. 4: Recordare
Requiem K. 626: III. Sequenz - No. 5: Confutatis: Andante
Requiem K. 626: III. Sequenz - No. 6: Lacrimosa
Requiem K. 626: IV. Offertorium - No. 1: Domine Jesu: Andante con moto
Requiem K. 626: IV. Offertorium - No. 2: Hostias: Andante - Andante con moto
Requiem K. 626: IV. Offertorium - Adagio - Allegro
Requiem K. 626: IV. Offertorium - VI. Benedictus: Andante - Allegro
Requiem K. 626: IV. Offertorium - VII. Agnus Dei
Requiem K. 626: IV. Offertorium - VIII. Communio: Lux aeterna
St. Matthew Passion (BWV. 244): Wir setzen uns mit Tr nieder
In stiller Nacht - Brahms
Christkindleins Wiegenlied - O Jesulein zart

Amazon.com

Any anthology that explores the dawn of phonograph recordings promises to be rough going: I can't discern anything meaningful from the primitive recordings by the legendary conductor Arthur Nikisch. However, everything is more clear and vivid after the implementation of the microphone in 1926, and this material occupies four of these five CDs. Still, some artists sound a bit inhibited, and it's frustrating that we're often given only one movement from concertos played by pianist Elly Ney and cellist Enrico Mainardi. However, seasoned collectors will find recordings by Victor de Sabata, Paul Van Kempen, and others that they never even knew existed, plus a great, little-known 1943 performance of Schumann's Symphonic Etudes by Geza Anda. The set is crowned by an emphatic, rugged, deeply felt complete 1941 performance of the Mozart Requiem conducted by Bruno Kittl. The clarity of the remasterings is often amazing. --David Patrick Stearns

Customer Reviews:

Sorry...I heard only fifth disc in this set........2000-12-06

I'm very sorry because I bought only fifth disc in this set. So, I don't review all of CDs. Bruno Kittel(1870-1948) was founder and conductor of his chorus-Bruno-Kittel-Chor. It was one of very highest vocal groups in German-speaking countries. They achieved many contributions. In 1928, Bruno-Kittel-Chor recorded first complete SP of Beethoven's Missa solemnis(with Lotte Leonard, Elenor Schlosshauer-Reynolds, Eugen Transky, Wilhelm Guttman and the Berliner Philharmoniker) in Deutsche Grammophon. Its SPs were imported to Japan, sold over 17000 sets. Its restored CD set were issued by Japan Polygram in 1998(I seeked this set so far but I have not this set because it was issued only Japan.). And they sung many times Beethoven's 9th Symphony with Oskar Fried(1929), Wilhelm Furtwangler(1937 and 1942) and many other conductors. In Third Reich, Kittel was premiered some of 'political' works include Christoph Muller's Deutsches Heldenrequiem-offered to Hitler-and participated concerts held by Nazi. For that reason, Kittel was buried in post-war German musical scene and chorus were disorganized. In World War II, they recorded for Deutsche Grammophon-Bach's Matthaus-Passion(1942. except 18 numbers) and Mozart's Requiem(1941)-twice. It's a last recordings they sung. In this fifth CD contains complete Requiem and final chorus in Matthaus-Passion(St.Matthew Passion). When I heard this recording first, very surprised. Part of Introitus' soprano solo part and Offertorium's last refrain, verses related 'Jewish' were erased and replaced other Latin words(Sion->coelis, Jerusalem->hic in terra, Abrahae->Domini). It's a Nazi's sensorship obviously. What a cruel purges! But they performed very humanistic-added Romantic a little-this last work by Mozart. In solo parts, soloists-Tilla Briem, Gertrud Freimuth, Walther Ludwig and Fred Drissen-sung very moved with rich German accents. And choral parts-especially Dies irae and Lacrimosa, they performed with fear and tears probably. And they sung in Kyrie and Communio's difficult fugue part very superbly. Certainly, they are very highest chorus in German. I think it's a best of pre-war and wartime Requiem recording with Bruno Walter's live recording in 1937. But, final chorus in Matthaus-Passion is 'too' romantic performance. Bach's taste disappeared 'perfectly' in this recording. For that reason, this recording is not re-issue by CD present day. And this CD contains other two small choral works sung by Thomanenchor Leipzig-Brahms' In stiller Nacht conducted by Karl Straube(1930) and Anonymous Christkindleins Wiegenlied. Restoration quality is not bad. But scratch noise remained in part(very high in Introitus' opening and some other parts). I think Deutsche Grammophon's staff were restored like a original SP added frequency.

Peter Wispelwey: Hindemith, Sessions, Ligeti...

Average customer rating:

Peter Wispelwey: Hindemith, Sessions, Ligeti...

Manufacturer: Channel Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000003UYY
Release Date: 1995-05-23

Tracks:

Son: Dialogo (Adafio Rubato, Cantabile)
Son: Capriccio (Presto Con Slancio)
Requiem: Introit
Requiem: Kyrie
Requiem: Qui Mariam
Requiem: Lacrimosa
Requiem: Libera Me
Requiem: Lux Aeterna
Son Op.25 No.3: Lebhaft, Sehr Markiert/Mit Festen Bogenstrichen
Son Op.25 No.3: Massig Schnell/Gemachlich/Durchweg Sehr Leise
Son Op.25 No.3: Langsam
Son Op.25 No.3: Lebhafte Viertel/Ohne Jeden Ausdruk Und Stets Pianissimo
Son Solo, Op.25 No.3: Massig Schnell
Six Pieces: Prld (Allegro Energico)
Six Pieces: Dialogue (Andante)
Six Pieces: Scherzo(Allegro)
Six Pieces: Beceuse (Lento E Dolce)
Six Pieces: Capriccio (Con Fantasia)
Six Pieces: Epilogue (Adagio Molto)
La Belle Dame Sans Merci

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Chant - Zang - Singing 1996

Manufacturer: Cypres
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

Classical | Imports | Stores | Music
ASIN: B00002837O
Release Date: 2006-01-01

Average customer rating:

Chant - Zang - Singing 1996

Manufacturer: Cypres
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000003CFK
Release Date: 1996-07-09

Music Track:

Music Track

music track

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