Strauss: Don Quixote; Tod und Verklärung

On this CD:

1. Tod und Verklärung (Death and Transfiguration), tone poem for orchestra, Op. 24
Composed by Richard Strauss
Performed by Munich Philharmonic Orchestra
Conducted by Hans Knappertsbusch

2. Don Quixote, fantastic variations for cello & orchestra, Op. 35
Composed by Richard Strauss
Performed by Munich Philharmonic Orchestra with Fritz Kiskalt
Conducted by Hans Knappertsbusch

Tracks:

Horn Concerto No. 1 In E Flat Major, Op. 11: I: Allegro
Horn Concerto No. 1 In E Flat Major, Op. 11: II: Andante
Horn Concerto No. 1 In E Flat Major, Op. 11: III: Allegro
Horn Concerto No. 2 In E Flat Major: I: Allegro
Horn Concerto No. 2 In E Flat Major: II: Andante con moto
Horn Concerto No. 2 In E Flat Major: III: Rondo (Allegro molto)
Oboe Concerto In D Major: I: Allegro moderato
Oboe Concerto In D Major: II: Andante
Oboe Concerto In D Major: III: Vivace
Duett-Concertino: I; Allegro moderato
Duett-Concertino: II: Andante
Duett-Concertino: III: Rondo (Allegro ma non troppo)

Tracks:

Burleske
Parergon zur Sinfonia Domestica, Op. 73
Panathenaenzug, Op. 74

Tracks:

Till Eulenspiegels lustige Streiche, Op. 28
Don Juan, Op. 20
Ein Heldenleben, Op. 40: The Hero
Ein Heldenleben, Op. 40: The Hero's Adversaries
Ein Heldenleben, Op. 40: The Hero's Wife
Ein Heldenleben, Op. 40: Certainty Of Victory
Ein Heldenleben, Op. 40: The Hero's Battlefield
Ein Heldenleben, Op. 40: War Fanfares
Ein Heldenleben, Op. 40: The Hero's Work Of Peace
Ein Heldenleben, Op. 40: The Hero's Withdrawl From The World
Ein Heldenleben, Op. 40: Renunciation

Tracks:

Violin Concerto in D minor, Op. 8: I: Allegro
Violin Concerto in D minor, Op. 8: II: Lento
Violin Concerto in D minor, Op. 8: III: Rondo
Sinfonia Domestica, Op. 53: Bewegt - Thema I - Thema II - Thema III
Sinfonia Domestica, Op. 53: Scherzo (Munter)
Sinfonia Domestica, Op. 53: Wiegenlied - Massig langsam
Sinfonia Domestica, Op. 53: Adagio - (Langsam)
Sinfonia Domestica, Op. 53: Finale (Sehr lebhaft)

Tracks:

Also sprach Zarathustra, Op. 30
Tod und Verklarung, Op. 24
Der Rosenkavalier, Op. 59

Tracks:

Salome, Op. 54: Dance Of The Seven Veils
Le Bourgeois Gentilhomme - Suite, Op. 60: Overture
Le Bourgeois Gentilhomme - Suite, Op. 60: Jourdain - Minuet
Le Bourgeois Gentilhomme - Suite, Op. 60: The Fencing Master
Le Bourgeois Gentilhomme - Suite, Op. 60: Entrance and Dance of the Tailors
Le Bourgeois Gentilhomme - Suite, Op. 60: Minuet of Lully
Le Bourgeois Gentilhomme - Suite, Op. 60: Courante
Le Bourgeois Gentilhomme - Suite, Op. 60: Entry Of Cleonte
Le Bourgeois Gentilhomme - Suite, Op. 60: Intermezzo (Prelude To Act 2)
Le Bourgeois Gentilhomme - Suite, Op. 60: The Dinner
Schlagobers, Op. 70: Waltz
Josephslegende, Op. 63: Symphonic Fragment

Tracks:

Metamorphosen: Study For 23 Solo Strings
Eine Alpensinfonie, Op. 64: Night
Eine Alpensinfonie, Op. 64: Sunrise
Eine Alpensinfonie, Op. 64: The Ascent
Eine Alpensinfonie, Op. 64: Entering The Forest
Eine Alpensinfonie, Op. 64: Strolling By The Stream
Eine Alpensinfonie, Op. 64: By The Waterfall
Eine Alpensinfonie, Op. 64: Apparition
Eine Alpensinfonie, Op. 64: In Flowery Meadows
Eine Alpensinfonie, Op. 64: In A Mountain Pasture
Eine Alpensinfonie, Op. 64: Lost In The Thickets And Undergrowth
Eine Alpensinfonie, Op. 64: On The Glacier
Eine Alpensinfonie, Op. 64: Dangerous Moments
Eine Alpensinfonie, Op. 64: On The Summit
Eine Alpensinfonie, Op. 64: Vision
Eine Alpensinfonie, Op. 64: Mists Rise Up
Eine Alpensinfonie, Op. 64: The Sun Grows Dark
Eine Alpensinfonie, Op. 64: Elegy
Eine Alpensinfonie, Op. 64: Quiet Before The Storm
Eine Alpensinfonie, Op. 64: A Thunderstorm - Descent
Eine Alpensinfonie, Op. 64: Sunset
Eine Alpensinfonie, Op. 64: Conclusion
Eine Alpensinfonie, Op. 64: Night

Tracks:

Aus Italien, Op.16: I: Andante
Aus Italien, Op.16: II: Allegro molto con brio
Aus Italien, Op.16: III: Andantino
Aus Italien, Op.16: IV: Finale (Allegro molto)
Macbeth, Op. 23: Symphonic Poem

Tracks:

Don Quixote, Op. 35: Introduktion (Massiges Zeitmass)
Don Quixote, Op. 35: Massig (Don Quixote)
Don Quixote, Op. 35: Maggiore (Sancho Panza)
Don Quixote, Op. 35: Variation I: The adventure with the windmills
Don Quixote, Op. 35: Variation II: The battle with the sheep
Don Quixote, Op. 35: Variation III: Discourse between knight and squire
Don Quixote, Op. 35: Variation IV: The adventure with the pilgrims
Don Quixote, Op. 35: Variation V: The knight's vigil
Don Quixote, Op. 35: Variation VI: The meeting with Dulcinea
Don Quixote, Op. 35: Variation VII: The ride through the air
Don Quixote, Op. 35: Variation VIII: The voyage in the enchanted boat
Don Quixote, Op. 35: Variation IX: The combat with the two magicians
Don Quixote, Op. 35: Variation X: The defeat of Don Quixote
Don Quixote, Op. 35: Finale (Sehr ruhig)
Dance Suite from harpsichord pieces by Francois Couperin: I: Entree and stately round
Dance Suite from harpsichord pieces by Francois Couperin: II: Courante
Dance Suite from harpsichord pieces by Francois Couperin: III: Carillon
Dance Suite from harpsichord pieces by Francois Couperin: IV: Sarabande
Dance Suite from harpsichord pieces by Francois Couperin: V: Gavotte
Dance Suite from harpsichord pieces by Francois Couperin: VI: Tourbillon - Wirbeltanz
Dance Suite from harpsichord pieces by Francois Couperin: VIII: Allemande
Dance Suite from harpsichord pieces by Francois Couperin: VIII: March

Amazon.com essential recording

When it comes to the music of Richard Strauss, none of the world's great orchestras has a more distinguished tradition than the Staatskapelle Dresden. As pit orchestra of the Dresden Court Opera, the Staatskapelle was involved in the premieres, between 1901 and 1911, of Feuersnot, Salome, Elektra, and Der Rosenkavalier; later, with Karl Böhm conducting, its players participated in the premiere of Daphne. Most of Strauss's major tone poems have been in the Dresden orchestra's concert repertory since completion.

Back in the 1970s, EMI was able to capitalize on this association when it reunited the Staatskapelle with Rudolf Kempe--a native of Dresden, one of the master conductors of the 20th century, and an absolutely authoritative Straussian--for an integral recording of Strauss's orchestral works and concertos. The cycle was warmly received when it was originally released on LP, and it has become one of the treasures of the CD catalog since EMI reissued it whole, in three volumes, in 1992. With this latest repackaging, the whole impressive enterprise becomes available in one box.

Across the board, Kempe and the Dresdeners give magnificent readings of the music. Their Zarathustra is imposing and grand; their Heldenleben suitably heroic and quite smashingly played; their Till Eulenspiegel and Don Juan delightfully brisk, characterful, and exultant (the latter is dispatched in a blazing 16:06, and receives as ardent and exhilarating a reading as you are ever likely to encounter on disc). One of the finest of all the offerings is the account of Eine Alpensinfonie, a Kempe favorite and still a sonic knockout after nearly three decades.

The less familiar orchestral works are here, as well, including the early tone poems Aus Italien and Macbeth and the admittedly rather frothy ballet scores Josephslegende and Schlagobers. Of special value are the accounts of all Strauss's concerted works, from the early Violin Concerto (played by Ulf Hoelscher) and Burleske for piano and orchestra (with Malcolm Frager as soloist), through Don Quixote (featuring Paul Tortelier in magisterial form) and the two horn concertos, to the Oboe Concerto of 1946 and the final Duett-Concertino for clarinet and bassoon.

It's hard to imagine any label tackling such a project in today's bottom-line environment, or coming up with such definitive readings from today's performers. All the more reason to celebrate the appearance of this compendium. --Ted Libbey

Customer Reviews:

Outstanding performances.......2007-05-13

Rudolf Kempe's interpretations of Richard Strauss orchestral works (almost complete - one miss the orchestral songs) have been classic recordings since they first appeared on record in the early seventies (1970-75).

Especially fine are his interpretations of the core works, e.g., the symphonic poems Also sprach Zarathustra, Ein Heldenleben, Eine Alpensinfonie, Tod und Verklärung, Don Juan, Till Eulenspiegel, Don Quixote. All these are given first rate interpretations.

Furthermore, you get outstanding interpretations of Strauss' two horn concertos as well, with Peter Damm's superb horn playing, and an outstanding performance of Metamorphosen.

There is simply no rival to this collection of "core works of Richard Strauss".

In addition, this box collects also Strauss less interesting orchestral works - see Amazon's listing above. These minor works receive fine interpretations and performances too, but the main attraction is of course the core works above.

Sound quality is very fine - just excellent analogue stereo - and the orchestra, Staatskapelle Dresden, was one of the top orchestras in the world when these sessions were put on record.

Warmly recommended!

Reviving a Lost Love.......2006-08-07

The highest praise for any conductor must be that he rekindles enthusiasm and love for music that had been recently abandoned. In his autobiography, the conductor Felix Weingartner confesses that he had grown out of touch with Strauss' music; until hearing this set, I had felt the same, with only a few exceptions. But Rudolf Kempe and his really great Staatskapelle Dresden have won me back to Richard's orchestral music. So far, I have only heard part of the set: Zarathustra, Heldenleben, Till, Tod und Verklaerung, Der Buerger als Edelmann, Don Juan, Burleske, and Sinfonia Domestica, but my appetite is whet for more. Because of the refined, subtle, and yet intense conducting of Kempe, what used to strike me as cheap and taudry now strikes me as profound and moving. And the sheer musical skill of Strauss in thematic invention and counterpoint never ceases to amaze. Kempe was truly, in my not so humble opinion, the greatest conductor of the German classics following Furtwaengler; Karajan was empty and shallow by comparison. Kempe brings to this music the same passion and dignity that he brought to Beethoven, Brahms, Wagner, Schumann, and other of "his" composers. To make just one comparison, Reiner's Zarathustra, once hallowed by me as by most listeners, now sounds like overripe, rotting fruit as compared to the passionate yet thoughtful quality that Kempe brings to it. The Staatskapelle Dresden, by the way, sounds like the greatest orchestra in the world, only matched by the Berlin Philharmonic under Kempe or Furtwaengler, an orchestra that produces incidentally beautiful sounds but whose main goal is the projection and characterization of the music. No virtuosity for its own sake, just musicianship, musicianship, and more musicianship. EMI's sound is the very epitome of how to record an orchestra: Impactful, yet smooth and detailed, with natural perspectives and no spotlighting. This set belongs in every music lover's library.

Not for beginners..........2006-07-16

Most boxed sets have their ups and downs because no conductor is equally sympathetic to all of a composer's works. Kempe is no exception to this rule.

The masterpieces, Zarathustra, Heldenleben, and Quixote, are superb here. Kempe clarifies Strauss' complex textures in a way that other conductors like Karajan don't. Most of the time, I prefer to hear these works Karajan's way, but it's nice to hear what Kempe does with them, too. No one does Sinfonia Domestica the way Kempe does it...with such gentleness and humor. I listened to Reiner's recording for years, but I put it up for sale on amazon after I heard the Kempe. With all four of these large tone poems, Kempe and Karajan are all I really need.

The Don Juan is just about the best I've ever heard. It is so vital and exciting! Better than Karajan or any other I know. It is hard to imagine that Macbeth will ever be done better than this either. Macbeth is one of the reasons I own this set, but it's hardly one of Strauss' masterpieces. Speaking of non-masterpieces, I also treasure Kempe's recordings of Strauss' strange works for piano and orchestra. The Burleske has more poetry but less excitement than the classic Byron Janis/Reiner recording.

Kempe's recordings of the Horn Concertos are truly awful. Listen to the weak, watery tones of the first-chair horn player stepping into the solo spotlight. One listen to the mono recordings of Dennis Brain conducted by Sawallisch shows what is missing: bold, ringing tone and lots of excitement. If I only knew Kempe's recordings, I wouldn't even care about these pieces.

The bad news continues with the Oboe Concerto (weak oboist) and the charming Duet Concertino (weak bassoon).

Kempe misses the raucous fun that charges the best recordings of Till Eulenspiegel. This is a limp dishrag of a performance (until the last few minutes). At the very start of the performance, you will hear a familiar sound -- our weak horn player from the concertos playing a solo -- and you will long to stop the CD and reach for a different recording.

Metamorphosen is one of my favorite pieces by Strauss. Kempe, as is his wont, tries mightily to clarify Strauss' dense counterpoint here, and I appreciate the effort. I hear things here that I miss in other recordings. But this reading does not move me the way others have. Ormandy, to name just one. Death and Transfiguration is another one that Ormandy did better. Kempe is too fast at times! Really fast!

My greatest disappointment with this set is a recording that has been acclaimed by many as one of the greatest Strauss recordings ever made...Kempe's take on Eine Alpensinfonie. I have lived for many years with the Karajan recording, and I must say that Kempe misses many of the moments that I have come to treasure in Karajan's version. One example would be those 20 horns playing! Karajan makes this absolutely thrilling, which I'm sure is what Strauss intended. With Kempe, this telling touch by Strauss passes by unremarkably. The slow, quiet passage at the summit lacks magic. The apotheosis at the top of the mountain is certainly thrilling in Kempe's hands, but he misses too much on the way up. By the way, his cowbells sound almost comically bad. He certainly does bring out the beauty of the closing sections of the work, though.

If you are really serious about getting to know Strauss' music, this is a necessary purchase for the rarities that will probably never be done better like the Violin Concerto and the pieces I've already mentioned. If you just want Strauss' most famous works, this is a waste of your money (no matter how cheap it is!)because there's a lot of stuff here that either isn't very good or that you probably won't want to listen to that often. You would be better off buying Karajan's recordings (the 1970s recordings, not the remakes from the 80s) of the big three tone poems and then filling in the smaller ones as your interests dictate. Casual listeners will never need to hear pieces like Macbeth or the piano works that make this set so vital to Strauss-aholics like me!

One of the very best of all EMI sets! The 2nd coming for all Straussians!.......2006-02-10

The great Strauss tone poems soar to the highest level imaginable! With Kempe's genius, the lesser works become great! Kempe resists all temptation to be banal or bombastic. He directs the Staatskappele Dresden with a silken, burnished tone yet with restraint that has a radiant glow that never sacrifices the inherent capacity of the music to thrill, deeply move, or elevate to another plain. Each work played is in itself the guide: conductor and orchestra let the works deliver their own brilliance. The Don Juan and Dead and Transfiguration are soul piercing, along with Ein Heldenleben, and....... The Staatskapelle Dresden has always been an inspired ensemble and in Kempe's hands they are simply put, magnificent, delivering one thrilling performance after another. Like Wagner and Faith, you get Strauss or you don't. If you do get it, this set is beyond self recommendation; Buy this set before it disappears from the shelves. Classical Cd shelves these days have hidden boomerangs. One minute here, next minute.....boing going gone)...! The concert hall may never hear greater performances of Strauss' orchestral works as we hear on these nine disks. The sound is nothing short of a rich, full timber as Kempe leads then with inspired and interpretive genius . This all may sound over the edge but I don't think so and I don't think you will be disappointed. Strauss has been served in splendor by the Dresden musicians under Kempe's baton. [Although in an aside I must say that Raphael Fruhbeck de Burgos and the Tanglewood Music Center Orchestra's performance this past summer of Don Juan and the Rosenkavalier suite were superb.] Then I think of the BSO with Levine...., their Strauss should be something else. Bravo and kudos to all for bringing us this gift. Booklet is very well done with one exception. There is not a word in the booklet about Rudolf Kempe and/or the orchestra itself. 10 stars anyway!!

terrible, awful, hideous, lousy.......2005-04-22

The problem with the "classics" is that too many hacks have hacked them to pieces. My opinion of these recordings, for whatever it is worth, is that they simply do not do justice to Strauss's magnificent music.

There is a reason they are a "bargain". I would avoid this set.
Sometimes a boxed set is a good deal, but this one is not. I find the entire set unspeakably dull and literally unlistenable.

In any event, this is merely my opinion. The majority of the other reviewers think its terrific.

Average customer rating:

To Previn or not to Previn?
Mostly Essential R. Strauss

The Essential Richard Strauss

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B000003D1V
Release Date: 1995-06-20

Tracks:

Don Juan, Op.20 - Rainer Kuchl
Introduction/Variation I/Variation II/Variation III/Variation IV/Variation V/Variation VI/Variation VI/Variation VII/Variation VIII/Variation IX/Variation X/Finale - Rainer Kuchl

Tracks:

Introduction/Of The Dwellers In The World Beyond/Of The Great Yearning/Of Joys And Passions/Funeral Song/Of Science/The Convalescent/Dance Song/Sight Wanderer's Song
Largo/Allegro Molto Agitato/Meno Mosso/Etwas Breiter/Appassionato/Tempo 1. Sehr Breit/Tempo Der Einleitung/Allegro, Molto Agitato/Moderato/Tranquillo - Vienna Philharmonic Orchestra

Tracks:

Nacht/Sonnenaufgang/Der Aufstieg/Eintritt In Den Wald/Wanderung Neben Dem Bache/Am Wasserfall/Erscheinung/Auf Blumigen Wiesen/Auf Der Alm/Durch Dickicht Und Gestrupp Auf Irrwegen/Auf Dem Gletscher/Gefahrvolle Augenblicke/Auf Dem Gipfel/Vision/Nebel....

Tracks:

A Hero's Life: The Hero/The Hero's Adversaries/The Hero's Helpmate/The Hero's Battlefield/The Hero's Works Of Peace/The Hero's Retreat From The World And Fulfillment
Fruhling (Hesse)
September (Hesse)
Beim Schlafengehen (Hesse)
Im Abendrot (Eichendorff)

Customer Reviews:

To Previn or not to Previn?.......2005-10-18

The attraction here is twofold: the magnificent Vienna Philharmonic and the equally magnificent Telarc sound. If both appeal to you so much that you don't need to worry about Previn's conducting, this set is self-recommending. But there are many great recordings of all these Strauss tone poems, along with the Four Last Songs, and therefore the question of whether to buy them in a box set under Andre Previn will be important to many listeners.

Let me give a thumbnail for each work:

Also Sprach Zarathustra (1987): Nobody ever labelled Previn a volatile conductor, and here he is at his most comfortable and middle-of-the-road (his overall timing is almost 35 min. compared to Reiner's 32 min. with the Chicago Sym. on RCA). There are no startling thwacks on the timpani, searing trumpets or ear-floodig organ in the famous opening. Previn quickly finds fairly slow tempos and a relaxed sense of phrasing that diminishes the impact of this work quite a bit. On the other hand, the orchestra is to the manner born in Strauss, and the sonics are big and natural. To find a competitive version of Zarathustra with Vienna, one would have to go back to the Karajan performance on Decca/London from 1959--probably his greatest Strauss CD.

Coupled with he Zarathustra is a fairly lusty Death and Transfiguration (1987)that has a few patches of slack phrasing but is on the whole quite good.

Alpine Symphony (1989): Probably the very best thing in the whole set, this performance is caught in even better sound, more detailed than the Zarathustra. Previn isn't as stirring as Karajan with Berlin (DG) or Blomstedt with San Francisco (Decca), and he doesn't have a great feeling for mountain atmopshere, but in this case the playing by the Vienna Phil. is so glorious that simply staying out of their way, as Previn does, makes for a thrilling musical experience. Karajan excels in this work as an interpreter but is plagued with shrill early digital sound that is improved on the latest reissue by DG without becoming beautiful, as the sound for Previn certainly is.

Ein Heldenleben (1988): The story is getting familiar by now. This is a large-scaled, gorgeously played reading, with Previn supplying a generalized approach. Still, he avoids bombast, and this potentially embarrassing bit of self-glorfication on Struass's part sounds like real music. Previn takes 46 min., in line with Karajan, but of course Karajan finds much more to say.

The coupling is a lovely Four Last Songs with Arleen Auger in radiant voice. Her light lyric soptano probably wouldn't carry over the orchestra in a live setting, unlike Jessye Norman or Kirsten Flagstad, who premiered the work. On a CD that's no problem, and Auger is considerably more human than Janowitz for Karajan and less self-conscious than Renee Fleming. There are lots of great versions of this sublime song cycle; hers is one of the most natural and appealing. Previn takes his time compared to Ackermann or Szell in the two classic Schwarzkopf recordings for EMI, and the engineers sometimes swamp the singer, making it hard to udnerstand her words. But Auger isn't paying that much attention to the poetry anyway, just to producing gorgeous, sensitive sounds. Overall, this CD is almost as satisfying as the one with the Alpine Symphony.

Don Quixote (1990): It's refreshing when conductors pull their cello and viola soloists from the orchestra for this work rather than importing a celebrity cellist who inevitably uses the part of Don Quixote as a personal showpiece. The Vienna Phil., needless to say, is gifted with first-desk musicians who embody every ounce of Viennese style. That's certainly true here. The unanimity between soloists and orchestra is remarkable, and even though Previn makes a warm bath of the accompaniment and misses a lot of Strauss's scene painting, this Don Quixote emerges with genuine feeling, from wistful to satiric, ending in sweet melancholy. If you don't need excitment in this work, Previn's aproach is satisfying.

The coupling here is Don Juan, which starts off terrifically but lapses into Previn's familiar easy-going phrasing and lack of dramatic tension. I would rate this CD behind the Alpine Symphony and Heldenleben. There are much more dynamic readings of both pieces to be had, especially from Karajan, Szell, and Reiner.

I hope this overview wasn't an exercise in futility--Previn doesn't reveal any major triumphs or failures here, and the orchestra and sonics don't change much from year to year. As a Strauss conductor in the mid-price range, Previn is nowhere as bland as Ormandy or Sawallisch, and I prefer him to the brusque Karl Bohm. On the other hand, Haitink is excellent in Strauss, far more imaginative than Previn, and he's given excellent sound by Philips--he's a very good direct competitor if you don't demand the Vienna Phil. In terms of having the best readings all around, Karajan is sitll my favorite by quite a bit, but Telarc's set has its own virtues.

Mostly Essential R. Strauss.......2000-02-19

With the exception of a few other "must have" orchestral pieces, this box set does represent the essential Richard Strauss---as far as orchestral music goes. I wish that Metamorphosis was on this set. Regardless, this box set is a fine set of recordings. Previn is considered by many critics to be one of the best living R. Strauss interpreters. Teamed up with the Vienna Philharmonic, great performances are produced. Listening to Don Juan, it is detectable that he takes the piece a little faster than Herbert von Karajan, but the results are incredible. In this set, Arlene Auger sings the four last songs. I have to wonder if this is her best performance. Her voice is perfect for these songs. Subtle, sublime, full of passion and feeling, and great control. These are the true highlights of the package but by no means the only thing great. It is a highly recommendable compilation. The performances are great, and the sounds is spectacular. All recorded in digital Telarc sound, this set is a welcome addition to anyone's R. Strauss collection.

Richard Strauss: Don Quixote/Tod Und Verklärung

Average customer rating:

Wonderful execution, but the fun got executed, too.
The MET orchestra *****
Beautiful "Death and Transfiguration"!
Tod und Verklarung - Death blow, oh my god!

Richard Strauss: Don Quixote/Tod Und Verklärung

Manufacturer: Deutsche Grammophon / Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000001GRG
Release Date: 1996-08-13

Tracks:

Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Introduktion. Massiges Zeitmass
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Thema. Massig
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation I. Gemachlich
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation II. Kriegerisch
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation III. Massiges Zeitmass
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation IV. Etwas breiter
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation V. Sehr langsam
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation VI. Schnell
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation VII. Ein wenig ruhiger als vorher
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation VIII. Gemachlich
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation IX. Schnell und sturmisch
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Variation X. Viel breiter
Don Quixote, Op. 35 - Fantastic Variations On A Theme Of Knightly Character: Finale. Sehr ruhig
Death And Transfiguration, Op. 24: Tone-Poem For Large Orchestra

Customer Reviews:

Wonderful execution, but the fun got executed, too........2005-12-11

Throughout these two Strauss tone poems from Levine and the MET orchestra (1995) I kept waiting for a sense that the conductor believed in the music. Everything is splendidly played and recorded--it would be hard to ask for more vivid sound or greater impact--but how far can that carry a performance? The Don Quixote is quite humorless, and at just those points where Strauss pours it on (tilting at windmills, maniacally charging a flock of sheep), Levine becomes careful and restrained. This Don doesn't die with unextinguished romance in his soul; he dies with dignity in a nursing home. The solo cello and viola are first-desk players from the orchestra and do not equal the greatest virtuosos (Rostropovich, Du Pre) in excitement and commitment.

Death and Transfiguration needs a lot of conviciton not to sound like metaphysical hokum, and here Levine seems even more concerned to ladle not a drop of vulgarity. But that's like trying to keep your face clean at a pie-eating contest. Without over-indulgnge a lot of Strauss isn't worth playing, and in this CD Levine skirts the very lusciousness that makes Strauss exhilarating. One of his more disappointing CDs.

The MET orchestra *****.......2005-09-16

James Levine and the MET orchestra deliver wonderful performances on this recording. Although there are a lot of recordings of these particular Strauss symphonic works, these hold up nicely against them all. This is a recording that is out-of-print. However; it is just as musical as recordings by Szell and Karajan. The MET is not just a backup band anymore!!

Beautiful "Death and Transfiguration"!.......2001-05-17

James Levine and the MET Orchestra give a performance of Death and Transfiguration that is one of sheer beauty. The last 7-8 minutes are especially ethereal. Perhaps Karajan and Reiner have better known recordings, but this one beats them both (and I'm a BIG Reiner fan.) After hearing Levine's rendition, Karajan's left me flat. The Don Quixote is also exceptional. Great sound in both pieces.

Tod und Verklarung - Death blow, oh my god!.......2000-02-18

Into sixth minute, bang! The bass drum strike will raise you out of the grave (in this case couch).

The whole TUV is of greatest recording repertoir of Strauss. This modern recording has more ambience and subtelty that I missed hearing in Karajan which is the best.

I wonder why I have not heard Levine conducting Mahler's 2nd and 5th? He should. This is a great orchestra.

Tracks:

Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Intro
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Theme: Don Quixote...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var I. The Adventure...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var II. The Battle w. The...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var III. Dialogue Of Knight...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var IV. The Adventure w. The...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var V. The Knight's Vigil
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var VI. The False Dulcinea
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var VII. The Ride Through...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var VIII. The Adventure Of...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var IX. The Combat w. The...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Var X. The Defeat Of Don...
Don Quixote, Op.35 Fantastic Vars On A Theme Of Knightly Character): Finale. The Death Of Don...
Death And Transfiguration, Op.24: Largo (Happy Memories Of Childhood) - Arturo Toscanini/NBCSO
Death And Transfiguration, Op.24: Allegro Molto Agitato (Life And Death Battle) - Arturo Toscanini/NBCSO
Death And Transfiguration, Op.24: Meno Mosso, Ma Sempre Alla Breve (Dreams Of The Dying; Death) - Arturo Toscanini/NBCSO
Death And Transfiguration, Op.24: Moderato (Transfiguration) - Arturo Toscanini/NBCSO

Customer Reviews:

Powerful Strauss performances.......2006-02-07

There's no question that Arturo Toscanini (1867-1957) admired the German composer Richard Strauss (1864-1949). Toscanini often gave powerful performances of Strauss' music and these two performances are excellent examples.

"Death and Transfiguration" was performed with great feeling as Toscanini managed to bring out all of the emotions present in Strauss' music of a dying man who reflects on his life before he finally passes on, presumably to experience the glories of the hereafter. It's questionable as to how religious Strauss may have been; however, when the composer neared the end of his long life, he acknowledged that "Death and Transfiguration" had definitely anticipated what he was going through and hoped to experience very soon.

Both of these recordings were made in Carnegie Hall, which became the permanent home of the NBC Symphony in the fall of 1950, when NBC decided to convert Studio 8-H to a television studio. The few Toscanini concerts that were telecast from Studio 8-H had to be made with cameras, special lighting, and other equipment brought in by NBC's sports department! It's clear that Carnegie Hall has always had superb acoustics and recording engineers preferred to record the NBC Symphony there, rather than 8-H, even when the broadcasts were still taking place in Radio City.

"Death and Transfiguration" is overwhelming in this performance. It surpasses the earlier recording with the Philadelphia Orchestra because the fidelity is so much better. It is also clear that the NBC Symphony played with great precision and power. This was another case where the string section particularly excelled, proving the comments of some listeners of Toscanini's concerts that few recordings could convey the wonderful sounds that Toscanini achieved (possibly because the Maestro had been a cellist).

There are incredible climaxes in the music, sometimes reminding this writer of the legendary report that a broadcast performance of this same music virtually knocked the studio audience out of their seats! At the very end, as if to prove Toscanini's strong involvement in the music, one hears an audible sigh or moan from the Maestro; remarkably, RCA did not eliminate this unexpected sound by having Toscanini redo the section. Actually, Toscanini himself approved this recording.

Toscanini clearly had great success with the delightful musical telling of Cervantes' "Knight of the Woeful Countenance," Don Quixote. This is very challenging music and the NBC Symphony excelled in this performance. The recording benefits, too, from the advanced recording technques developed by RCA in its legendary "New Orthophonic" process, much as Mercury had achieved with its "Living Presence" recordings with Rafael Kubelik, Antal Dorati, and Howard Hanson. There is a clarity in the recording that helps one to appreciate the wonderful playing by the NBC Symphony during its final year of existence.

A Deeply-Moving Account of Valedictory Performances.......1998-09-17

In both cases, Toscanini gives his final thoughts on great Richard Strauss tone poems, with the well- tuned NBC ensemble (playing by now with the panache and elegance of a truly professional orchestra.) Luckily the engineers captured these concerts in Carnegie Hall, since the Maestro's radio program was moved from Studio 8-H to the venerable auditorium in 1950: "Death" dates from 10 March 1952, and "Don" was accomplished on 22 November 1953.

Play this recording "anonymously" for a Toscanini hater, and you will surprise her. Many people claim that the Maestro played everything "fast, fast, and faster!" and was always "as mad as hell". Here, each phrase is cherished and shaped with loving care: the readings are considerably more expansive than those of other conductors (especially Richard Strauss's own interpretations, which are comparatively 'matter of fact'.)

Toscanini broadcasts from the earliest years of the NBC Symphony concerts (released best on the Music & Arts transfers) compete for intensity and spirit: in 1938 the Maestro (a relatively 'young' man of about 71!) drives the ensemble with his inexorable force of will. These RCA recordings, however, have a more autumnal approach, enhanced in spaciousness by the Carnegie Hall acoustic.

"Death" takes a leisurely 24:51; compare this to Steinberg or Bruno Walter at under 22 minutes. The slower tempo allows Toscanini to produce a really wrenching, tortured death struggle, and a luminous and deeply- moving transfiguration.

"Don Quixote" has all the fantasy inherent in the score's magical evocation of the Cervantes novel: for this listener, only the crackling Fournier/Szell stereo recording on Sony Masterworks Heritage offers serious competition to the Toscanini broadcast.

I would have given this release 5 stars if the RCA transfer engineers had been content to use the pristine monaural broadcast tapes. However, engineer David Satz has added some digital stereophonic ambience and phase- shifting in order to simulate two-channel sound; it is noticeably worse in the "Death" tracks, and detracts from the quality of the musical production values. Please play this CD with your preamp switched to L+R MONO mode for best results (headphone listening in 'stereo' is unpleasant due to the addition of the odd, varying digital delays.) Since the vast majority of releases in the RCA / BMG Toscanini Collection are in true mono, one cannot understand the selective decision to alter this, and a few other releases, with phony stereo and echo: the original monaural Red Seal LPs were better.

Tracks:

Don Quixote. Op. 35: Introduction. Massiges Zeitmass
Don Quixote. Op. 35: Variation 1, Gemachlich
Don Quixote. Op. 35: Variation 2, Kriegerisch
Don Quixote. Op. 35: Variation 3, Massiges Zeitmass
Don Quixote. Op. 35: Variation 4, Etwas breiter
Don Quixote. Op. 35: Variation 5, Sehr langsam
Don Quixote. Op. 35: Variation 6, (untitled)
Don Quixote. Op. 35: Variation 7, Ein wenig ruhiger als vorher
Don Quixote. Op. 35: Variation 8, Vorher
Don Quixote. Op. 35: Variation 9, (untitled)
Don Quixote. Op. 35: Variation 10, Viel breiter
Don Quixote. Op. 35: Finale, Sehr ruhig
Don Quixote. Op. 35: Tod und Verklarung (Death & Transfiguration), Op. 24

Customer Reviews:

Fabulous Intensity in these "Purist" Recordings.......1999-07-19

Prepared from "in house" source transcription disks that are nearly 'high fidelity' for their time period, these 1938-9 broadcasts feature the highest possible intensity of playing. Fans of the Toscanini strict style will enjoy this, while those who have been weaned on the self-effacing performances of Richard Strauss, or the richly romantic versions of, say, Karajan or Ormandy, will abhor them. Listeners "in the middle" or who may be curious will, however, be rewarded by investigating these interpretations. In both cases, Toscanini reduced the tension and relaxed his tempi in the "official" RCA Victor recordings of 1952-3 broadcasts, now in the BMG Toscanini Collection: those versions are also treasurable, but Toscanini the "young man" (then an amazingly vigorous fellow of a mere seventy!) is represented here, with the bursting vitality of his earliest years with the NBC Symphony. Orchestral discipline is first-rate; high frequencies are clear and crisp; and detail is extraordinarily transparent (though the sound is "cramped" with little acoustical bloom.)

Customer Reviews:

Superb performances, variable sound.......2004-08-18

These incredibly valuable recordings not only document Richard Strauss' excellence as a conductor, but also reveal some of the ways in which he wanted his music to sound. Strauss, like Toscanini, Walter, Bohm, Reiner and Mengelberg, favored steady tempi and clarity of sound, which is one of several reasons why Strauss admired their conducting as much as they admired him.

The problem here is the very variable sound quality of these archival recordings. "Till Eulenspiegel" is a little thin-sounding, but clear; "Don Juan" is very very dull and boxy; and the "Salome" dances are a bit gritty. Nevertheless, we get a very clear picture of Strauss' tempi and phrasing, and his performances of "Till," "Tod und Verklarung" and especially "Don Quixote" are the very best I have ever heard of these works, the Italian cellist Enrico Mainardi playing extremely well in the latter.

Very highly recommended, then, for what Strauss has to tell us about his music. It's only a shame that they didn't include his own recording of "Also Sprach Zarathustra" as well!

Music Track:

Music Track

music track

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