Women Composers & the men i their lives

On this CD:

1. Sonata for harpsichord in A major
Composed by Maria Anna Martinez
Performed by Leanne Rees

2. Keyboard Sonata in D major, H. 16/37
Composed by Franz Joseph Haydn
Performed by Leanne Rees

3. Sonata movement for piano in E major
Composed by Fanny Mendelssohn
Performed by Leanne Rees

4. Rondo capriccioso, for piano in E major, Op. 14
Composed by Felix Mendelssohn
Performed by Leanne Rees

5. Notturno for piano
Composed by Clara Wieck Schumann
Performed by Leanne Rees

6. Rhapsody for piano in G minor, Op. 79/2
Composed by Johannes Brahms
Performed by Leanne Rees

7. Etude for piano
Composed by Ralph Graves
Performed by Leanne Rees

8. Fantasy for Piano
Composed by Emma Lou Diemer
Performed by Leanne Rees

9. Funky Tango, for piano
Composed by Leanne Rees
Performed by Leanne Rees

Tracks:

The Blue Danube - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Anna Polka - (French Polka) - J. STRAUS SR./STRAUSS*J. JR.
Morning Papers - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
At The Hunt - (Polka) - J. STRAUS SR./STRAUSS*J. JR.
Light of Heart - (Fast Polka) - J. STRAUS SR./STRAUSS*J. JR.
Wine, Women And Song - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Pleasure - Train - (Fast Polka) - J. STRAUS SR./STRAUSS*J. JR.
Vienna Bonbons - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Perpetual Motion - J. STRAUS SR./STRAUSS*J. JR.
Accelarations - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.
Pizzicato - Polka - (Johann And Josef Strauss) - J. STRAUS SR./STRAUSS*J. JR.
Tales From The Vienna Woods - (Waltz) - J. STRAUS SR./STRAUSS*J. JR.

Tracks:

The Emperor Waltz - Vienna Philharmonic Orchestra
Thunder and Lightning - (Fast Polka) - Vienna Philharmonic Orchestra
Die Fledermaus: Overture - Vienna Philharmonic Orchestra
Voices of Spring - (Waltz) - Vienna Philharmonic Orchestra
Prince Methusalem: Bandit Gallop - (From 'Prince Methusalem') - Vienna Philharmonic Orchestra
Artist's Life - (Waltz) - Vienna Philharmonic Orchestra
Persian March - Vienna Philharmonic Orchestra
Roses from the South - (Waltz) - Vienna Philharmonic Orchestra
Eljen a Magyar! - (Fast Hungarian Polka) - Vienna Philharmonic Orchestra
Chit-Chat Polka - Vienna Philharmonic Orchestra
Vienna Blood - Vienna Philharmonic Orchestra
Radetzky-March - (Johann Strauss, Father) - Vienna Philharmonic Orchestra

Customer Reviews:

Repackaged New Year's Concert 1984 with VPO, etc........2005-02-23

If I'm not mistaken, most of the pieces were recorded originally live during a 1984 New Year's Concert conducted by Lorin Maazel with the Vienna Philharmonic playing in its grand concert hall, the Musikverein. Maazel and the Vienna Philharmonic have had a longstanding relationship dating from the 1960's, and without question, this CD does rank among my favorite New Year's Concert performances (However, the most mesmerizing ones I've heard have been those with the late Carlos Kleiber and Nikolaus Harnoncourt conducting.) for the superb quality of the Vienna Philharmonic's playing. Maazel leads the Vienna Philharmonic Orchestra in some of the most popular works composed by the Strauss family, most notably Johann II Strauss' Tales from the Vienna Woods Waltz, Emperor Waltz, Pizzicato Polka, Blue Danube Waltz and his father's Radetzky March, which traditionally closes out the annual New Year's Concert. Fans of the Strauss family, Vienna Philharmonic and Lorin Maazel, will not be disappointed with this excellent two CD compilation.

I am glad I bought this one.......2003-04-25

I listen to this cd to relax and it is so soothing. It starts with The blue Danube, which is my favorite. But the rest of the songs do not disapoint.

Great Music as usual.......2002-10-08

This is great recording,
I enjoy listening to it
veru much. This is a
compilation of all the
favorite waltzes by
the Strauss family, that
one might hear at a
New Year's eve concert
of the Vienna Philharmonic...
All waltzes and Polkas are
favorites of audiences everywhere
in the world...

A gem!.......2001-10-29

Who else knows Strauss better than Viennese? I attest that no other orchestra in the world plays Strauss better than the Vienna Philharmonic. Their light sound is exactly what the composer wanted, and it really makes other clumsy, heavy attempts by some other orchestras like Berlin and Chicago seem pathetic.

As far as the content of these CDs go, they are fantastic. They have every waltz, march, and polko of Strauss II that you could possibly want, as well as a nice addition of "Radetzky March" by the composer's father. If you are looking for a Johann Strauss Jr. CD, get this one!

Amazing truly Amazing.......2000-05-09

This 2 CD is amazing. It is great for plane rides and other things. I always listen to it at work. Allmost every song on this CD is beautiful and graceful. The blue danube is a classic and my personal favorite song on this album. Some of the songs are okay but none are bad. Overall this is an amazing 2 CD collection and it is worth every cent of your money . . .

Average customer rating:

An underrated musical
Wonderful Lesser Known Gem
Keep Working!!!
a good, if obscure CD
off the beaten path

Working (Original 1978 Broadway Cast)

Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Studs Terkel's Working (Broadway Theatre Archive)
The Baker's Wife (Members of the 1976 Original Cast)
Working: Vocal Selections
The 25th Annual Putnam County Spelling Bee (2005 Original Broadway Cast)
The Drowsy Chaperone (2006 Original Broadway Cast)

ASIN: B00005LZSR
Release Date: 2001-07-10

Tracks:

All The Livelong Day (Schwartz)
Lovin' Al (Grant)
The Mason (Carnelia)
Neat to Be a Newsboy (Schwarz)
Nobody Tells Me How (Rodgers-Birkenhead)
Un mejor Dia Vendra (Taylor-Daniele-Landers)
Just A Housewife (Carnelia)
Millwork (Taylor)
If I Could've Been (Grant)
Joe (Carnelia)
It's an Art (Schwartz)
Brother Trucker (Taylor)
Fathers & Sons (Schwartz)
Cleanin' Women (Grant)
Something to Point To (Carnelia)
I'm Just Movin' (Schwartz) (from the L.A. Theatre Works complete recording of the 1999 revised version)
Hots Michael at the Piano (Carnelia) (previously unreleased demo recording performed by the composer)
The Mason (Carnelia) (previously unreleased demo recording performed by the composer)
Joe (Carnelia) (previously unreleased demo recording performed by the composer)
Lovin' Al (Grant) (previously unreleased demo recording performed by the composer)
Fathers & Sons (Schwartz) (performed by the composer)

Amazon.com

The original 1978 Broadway cast recording of Stephen Schwartz's Working has long been awaited on CD, and this great-sounding 2001 release proves it was worth the wait. Surely one of the more unlikely sources for a musical was Studs Terkel's 1972 book that compiled interviews of American working people discussing their jobs and what they liked and disliked about them. Schwartz transformed these interviews into a series of songs written by himself, Craig Carnelia, Mary Rodgers and Susan Birkenhead, Micki Grant, and pop singer James Taylor, and accordingly the variety of songs is as great as the variety of the workers featured. There's the lyric beauty of "The Mason," the rueful "Just a Housewife," the retiree's wry "Joe," the waitress's lilting "It's an Art," Taylor's pop-country "Brother Trucker," and the powerful emotion of "Fathers and Sons," realized by a compelling cast that features David Patrick Kelly, Joe Mantegna, Bob Gunton, and Lynne Thigpen, among others.

Six bonus tracks include a new version of the grocery checker song written for the 1999 L.A. Theatreworks production, Carnelia and Grant performing their own songs (unfortunately, Grant's track comes from a poor-quality audio source), and Schwartz's moving performance of "Fathers and Sons" from 1999's The Stephen Schwartz Album. Also welcome are 2001 notes from Schwartz paired with 1978 notes from Terkel, and a detailed listing of the composers and performers of each song. Working was filmed for American Playhouse in 1982. --David Horiuchi

Customer Reviews:

An underrated musical.......2006-03-16

This musical seems to be very underrated, because it isn't done in a traditional style. There is no set storyline or characters. It is essentially a grouping of songs about different people and the work they do in their lives. Some of the songs are very powerful, like "Millworker", and some are just fun, like "Lovin' Al". Some songs date the recording, as songs like "Brother Trucker", while good, have a bit of a synthesized 70's feel. The majority of the songs are more traditional.

I saw this show done by my high school years ago, so maybe it holds a bit of nostalgia for me, but it is definitely worth checking out.

Wonderful Lesser Known Gem.......2005-12-26

I have never seen Working, but would love to, and I would love to perform it so as to revive interest in it. I found out about this recording from an online site, and I fell in love with it. It's a very modern style musical although from 1978. Were it on Broadway today, it would still be revelent to today's working class. My favorite number probably has to be "It's An Art", just because of its sheer fun. I could listen to that song all day and never get bored with it. I do, however, find "Brother Trucker" to be a bit tiring, and "Neat To Be A Newsboy" is just plain old, outdated, and ANNOYING! Other than that, wonderful ablum for an almost forgetten show.

Keep Working!!!.......2004-06-12

I had the privilege of seeing a production of this wonderful musical at L.A. Valley College in May 2004. I quickly fell in love with the songs and the entire premise of the musical. Now, with this CD, I can finally sing along to all the brilliant songs over and over again, belting them out like there is no tomorrow.

What makes Working so special is that anyone can relate to the lyrics, they are powerful, beautiful, touching, and extremely real. Anyone who has ever worked a day in their life will feel the lyrics hit close to home. Whether you're a housewife, a valet parker, a fireman, a millworker, a teacher, a cleaning woman, or even a hooker, this musical has a place for you, no matter what job you do.The emotion, sincerity, and love expressed in the songs are amazing, and they are all extremely unique and a pure joy to listen to.

All the songs are fantastic but the stand-outs have to be "All the Live Long Day," "Just a Housewife," "If I Could've Been," "It's An Art," "Father's and Sons," "Cleaning Women," and "Something to Point to." I also have a soft spot for "Brother Trucker" and "I'm Just Movin" from the 1999 revival, which I am so grateful is included in this CD. This is a terrific, feel-great album everyone should listen to. Give Working a chance, it's worth it.

a good, if obscure CD.......2003-09-26

i admit that this is an obscure musical, but nevertheless i found myself in a production of WORKING as Grace, the millworker. upon listening to the cd, i found that each song characterized the character well. the newsboy song is NOT annoying and my favourite songs are "its an art", "cleaning women", "if i could've been" and "lovin al". I would only recommend this CD for a real musical theatre afficionado, as those who don't appreciate the beauty of a musical won't understand these songs.

off the beaten path.......2003-07-10

I had never heard of this show until I stage managed a musical revue that included "If I Could've Been." That song grew on me, and I finally had to check out the rest of the soundtrack. All of the music on this CD is fantastic, and the lyrics feel sincere, creating beautiful moments for each character. Stephen Schwartz's best decision with this show was collaborating, allowing different composers to bring their own talents and specialties to the music, thus making it more real and less "Broadway." My only criticism is that the liner notes are slim.

György Ligeti Edition 2: A Cappella Choral Works - London Sinfonietta Voices

Average customer rating:

Surprising Variety in Modern A Capepella Choral works
Mostly unlistenable....
a handful of great Ligeti works.
brilliant choral music
Exquisite use of the voice

György Ligeti Edition 2: A Cappella Choral Works - London Sinfonietta Voices

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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György Ligeti Edition 4: Vocal Works (Madrigals, Mysteries, Aventures, Songs) - The King's Singers / Philharmonia Orchestra / Esa-Pekka Salonen
György Ligeti Edition 1: String Quartets and Duets - Arditti String Quartet
György Ligeti Edition 3: Works for Piano (Etudes, Musica Ricercata) - Pierre-Laurent Aimard
György Ligeti Edition 6: Keyboard Works (Piano, Harpsichord, Organ) - Irina Kataeva / Pierre-Laurent Aimard / Elisabeth Chojnacka / Zsigmond Szathmáry
Ligeti: Mechanical Music

ASIN: B0000029OX
Release Date: 1997-01-21

Tracks:

A Cappella Choral Works: Night
A Cappella Choral Works: Morning
A Cappella Choral Works: Far from home 1
A Cappella Choral Works: Far from home 2
A Cappella Choral Works: Far from home 3
A Cappella Choral Works: Far from home 4
A Cappella Choral Works: Solitude
A Cappella Choral Works: Two Canons 1
A Cappella Choral Works: Two Canons 2
A Cappella Choral Works: Kings of Bethlehem
A Cappella Choral Works: The Fugitive
A Cappella Choral Works: Lux aeterna
A Cappella Choral Works: Wedding Song
A Cappella Choral Works: Songs from Inaktelke 1
A Cappella Choral Works: Songs from Inaktelke 2
A Cappella Choral Works: Songs from Inaktelke 3
A Cappella Choral Works: Songs from Inaktelke 4
A Cappella Choral Works: Songs from Matraszentimre 1
A Cappella Choral Works: Songs from Matraszentimre 2
A Cappella Choral Works: Songs from Matraszentimre 3
A Cappella Choral Works: Songs from Matraszentimre 4
A Cappella Choral Works: Widow Papai
A Cappella Choral Works: Three phantasies after Hrlin 1
A Cappella Choral Works: Three phantasies after Hrlin 2
A Cappella Choral Works: Three phantasies after Hrlin 3
A Cappella Choral Works: Hungarian Etudes 1
A Cappella Choral Works: Hungarian Etudes 2
A Cappella Choral Works: Hungarian Etudes 3
A Cappella Choral Works: Heigh, Youth! 1
A Cappella Choral Works: Heigh, Youth! 2
A Cappella Choral Works: Easter
A Cappella Choral Works: Hortobagy 1
A Cappella Choral Works: Hortobagy 2
A Cappella Choral Works: Hortobagy 3
A Cappella Choral Works: From a high mountain rock
A Cappella Choral Works: Double-Dance from Kallo 1
A Cappella Choral Works: Double-Dance from Kallo 2

Amazon.com essential recording

A vast audience received its first exposure to the music of György Ligeti through Stanley Kubrick's use of his haunting "Lux Aeterna" (despite the composer's lack of consent) in the film 2001: A Space Odyssey. This collection--part of Sony's invaluable Ligeti edition--places "Lux aeterna" in the context of Ligeti's other a cappella choral works, which together provide an overview of the evolving phases of one of the 20th century's most intriguing composers. In his booklet notes to the disc, Ligeti recalls the influence of Bartók and Kodály on his early folkloric compositions, from arrangements of traditional material to free, polyrhythmically inflected inventions on Hungarian folk texts, a format that allowed him some degree of experimental freedom from the strictures of "socialist realism" before he fled the Hungarian Communist regime. The breakthrough "Lux aeterna" is a classic example of Ligeti's trademark technique of "micropolyphony," enveloping the listener in mesmerizingly dense textures of cloudlike harmonies. From Ligeti's late period comes a triptych of "Hölderlin Phantasies." Their 16-voice polyphony transcends the simplistic distinction between tonality and atonality to explore "new kinds of half diatonic, half chromatic harmonies." The resulting sound world of fragmentary, dislocated epiphanies mirrors the unfathomable richness of the great visionary poet to uncanny effect. Throughout, the acoustical balance and conviction of the London Sinfonietta Voices give vivid shape to Ligeti's genius. -Thomas May

Customer Reviews:

Surprising Variety in Modern A Capepella Choral works.......2006-08-24

This 'A Cappella Choral Works', the second volume in a collection of Gyorgy Ligeti compositions contains one of the pieces of music which contributed to making '2001, A Space Odyessy' such a profoundly interesting film. This piece, 'Lux aeterna' which is the textbook example of 'SciFi' music, is very different from many of the other pieces on this recording. In fact, one is really impressed by the wide variety of styles, where you have some peasant songs which sound a lot like sea chantys and other pieces which are definitely liturgical. One can certainly thank Stanley Kubrick for bringing Ligeti to our attention.

Mostly unlistenable...........2006-08-23

Not even good for background music/noise as the voices get really loud in certain parts and almost silent.

I bought this CD and am returning it. It's just more & more of the sameness throughout the whole CD.

I realize that Ligeti is avant garde but I heard that if you like Gregorian chant (which I do) this CD is similar. I don't think it is. It's very disquieting and full of tension (great, if that's the mood you're looking for).

a handful of great Ligeti works........2004-09-06

As a compilation, musically speaking, Edition 2 is probably my least favorite of the Sony Ligeti Edition collection. Many of the pieces come from traditional Hungarian sources, conceived while Ligeti was still in his early years. They are pretty, but also pretty straightforward and conventional, and other than their simple pleasantness and occasionally yummy dissonances, they aren't really mindblowing like the best Ligeti. They are often very beautiful though. However, Edition 2 DOES feature one of the most harrowing, apocalyptic compositions of 20th century Western music, _Lux aeterna_. The profound tension in the quiet web of micropolyphonic voices is just devastating. Also great are the other later pieces, _Drei Phantasien nach Friedrich Holderlin_, three wild polyphony pieces from German literature, and _Magyar Etudok_, three very complex Hungarian etudes for 16 voices. Those pieces are all outstanding but honestly I think everything I've heard by Ligeti is worth hearing. Check out Ligeti edition 4 for more vocal works, some of which are the best of Ligeti's works.

brilliant choral music.......2003-07-21

This cd is beautiful to listen to.From Ejszaka to Kallai Ketto
is brilliant. Ligeti choral works is the first cd have got choral music on it and i love it.Now im going to get the other two cds in the ligeti edition.
(the vocal works & le grand marabre)

Exquisite use of the voice.......2002-07-11

Bringing Ligeti's works to a wider public was one of the great services Stanley Kubrick performed for the world when Lux aeterna was included in the soundtrack for 2001: a Space Odyssey.

This album is a collection of a cappella choral works and which highlights Ligeti's great talent and skill in the use of the voice as a musical instrument. He, together with Yoko Ono, have excelled in this field though from different, sometimes conflicting directions.

When I listen to this I revel in it's glory. The sounds are ethereal and atmospheric, ghostly and angelic in a way that no-one but the composer can make them sound. I never want those sounds to end and in a way it is like having a sort of dependence.

I could go on and on and on about this but I had better stop. This is one essentila component of anyone's classical music collection yet it really defies categorisation. This is timeless, awesome music, not just for a generation but for a world. Lest Zeus strike me with a thunderbolt, these voices are sweeter and more angelic than the voices of the angels themselves.

Tracks:

Roses From The South Op.388
The United Millions Op.443
Where The Lemon Trees Blossom Op.364
Artist's Life Op.316
Treasure Waltz (From The Gypsy Baron) Op.418

Tracks:

Emperor Waltz Op.437
Tritsch, Tratsch Polka Op.214
Wine, Woman And Song Op.333
Eljen A Magyar Op.332
Morning Papers Op.279
Persian March Op.289
On The Beautiful Blue Danube Op.314

Customer Reviews:

Waltz CD review.......2007-05-06

The CD was delivered on time and was exactly as advertised ... good.

Average customer rating:

Fabulous bargain, but Berg needs texts!
Superb Berg performances ... good value!
Real Estate Saver
Best Set; Good Price...
Excellent collection

Alban Berg Collection / Various (Coll)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Complete Webern
Arnold Schoenberg: Serenade/Five Pieces For Orchestra
Schoenberg: Piano Concerto
Arnold Schoenberg: Chamber Music for Strings
Schönberg: Das Chorwerk

ASIN: B0000B09Z4
Release Date: 2004-03-09

Customer Reviews:

Fabulous bargain, but Berg needs texts!.......2006-02-05

This is a great set for anyone who wishes to be immersed in Alban Berg's lurid, hothouse, hallucinogenic world. Both performances and sound quality are mostly excellent: No record company has ever made as great a commitment to Berg as Deutsche Grammophon. Based on the performances alone, this deserves six stars.

But the budget price comes with a catch: No texts or librettos. (There are at least scene synopses for "Wozzeck" and "Lulu.") With some composers, this wouldn't be a serious problem, but Berg was one of the greatest control freaks in music history. Without knowing exactly where each word is placed, listeners who don't understand German will miss an important facet of this intricately multi-layered music.

Superb Berg performances ... good value!.......2006-01-05

This might be the best box set I own. First of all you get what is most likely the best available versions of the Violin Concerto,Wozzeck,Lulu (3 act ver.),Lulu suite,7 Early Songs with van Otter,Der Wein and much more. The only real sub-par performance on it is the Piano Sonata op1 with Barenboim which can be found in many other recordings for a decent price. So, if you are new to Berg and you buy this, you are getting really an outstanding set of recordings which are top of the heap with great conductors and orchestras.

Real Estate Saver.......2004-10-04

This little box is an elegant, SPACE-SAVING means of acquiring classic performances (all of them stellar) from the DG catalog of Berg's major works, including two by my adored Lasalle Quartet that I believe have recently gone OOP. The set contains eight CD's housed in somewhat hard-to-remove cardboard sleeves that clearly identify the contents therein, and includes a booklet which, despite not containing lyrics for any of the vocal works, is very informative. The lack of libretti is possibly less an issue in the case of Wozzeck; chances are that listeners already own at least one other recording and so can refer to its libretto. Lulu, however, is more problematic because more listeners probably opt to purchase this "complete/d" performance over all others and may even be purchasing this set on that basis.
Not being particularly fond of lieder in general, I feel less qualified to make an educated call as to who might own which recordings of the songs other than to remark that I already own this recording of Op. 2 (which, of course includes the lyrics). In fact, as is the case with a previous reviewer, I already own a number of recordings from this set (which I received as a gift). No matter, it's still worth owning, and I agree with yet another reviewer's suggestion to grab it while it's available. True, one might prefer different performances here or there but honestly, this affords the best way of acquiring everything in one fell swoop, and there's not a clinker in the whole set.
In that vein, I might suggest that fans of the VC seek out Szeryng's performance with Kubelik, now available remastered on DG Eloquence at budget price. It's much less emotional than Mutter's beautiful reading but I find this proves an enhancement rather than a detraction; I also feel that Kubelik, possibly due to his Austro-Hungarian upbringing, ultimately has a better grasp of this repertoire than Levine (although I love his OOP Lulu Suite/Wozzeck excerpts on Sony and Mahler 4 on RCA).

Best Set; Good Price..........2004-05-11

This is a really nice set at a good price. It features all DG's Berg recordings--which really are about the best around. This "Collectors' Edition" is certain to disappear soon and increase in value.

Excellent collection.......2004-04-06

This is a must have for any collectors, 20th Century Music admirers.

This is 8-CD set and includes the complete works of Berg on acclaimed performances.

Especially, the stars of this set (for me):
Wozzeck (Hildegard Behrens, Wiener Philharmoniker, Abbado)

Lulu, complete opera in 3 act (Teresa Stratas, Franz Mazura, Yvonne Minton, Jules Bastin, Robert Tear, Opera National de Paris, Pierre Boulez!!)

Lulu-Suite (London SO, Abbado)

Three Pieces for Orchestra (London SO, Abbado)

Piano Sonata (Daniel Barenboim)

Alban Berg's musical language is difficult to understand (at least in first listening), but when listening more times, we notice that, actually in his music, there is a very mystic or impressive and lyric atmosphere. So, I think that he is a "Romantic" modern. Just, he expressed these lyric atmospheres with realist and striking language. Still, he was used 12-tone system, but he was not forget tonality and used the both styles (even so he used jazz passages, especially in Lulu). In other words: Berg is one of the most famous and important composers and he impressed the composers came after him (ex. Shostakovich, Britten, Henze)

Amazon.com

This disc of works by Arvo Pärt fascinates from start to finish, and it is the recording debut of all three compositions. The first, "Pilgrim's Song," composed by Pärt for a recently deceased friend, is a movingly sad setting of Psalm 121--"I will lift up mine eyes unto the hills..."--consisting alternately of strings accompanying a men's choir intoning the same note for most of the piece, and sections for strings alone, which are far more wandering and searching. The second piece, for string orchestra alone, is similar: a melodic line ambles through the piece, while on top of it are somewhat more jagged interjections by higher strings with an oriental flavor. The effect is of never-ending melody. The last and longest work, scored for full orchestra, women's choir, and solo soprano, are translations into Spanish of two more psalms. This is a troubled work depicting the soul suffering, praying, and questioning God until it comes to terms. The large orchestra allows Pärt to color the text brilliantly, with occasional ferocious dissonances, and the chorus and soloist have some very difficult, high-flying music to sing. The performances are all first-rate. This is a disc to return to over and over again, with new discoveries and new subtleties awaiting at every turn. --Robert Levine

Customer Reviews:

Lacklustre transitional efforts.......2007-06-20

Over the last decade Estonian composer Arvo Part's music has begun to depart from the tranquility and crystalline tones of his "tintinnabuli" style towards a mix of the pure and the "dissonant". This ECM disc marks the first appearance on record of these new pieces, but I found the music fairly uninteresting.

"Como cierva sedienta" for women's choir and orchestra (1998) is by far the largest piece here. A massive five-movement setting of Psalm 42 in the Spanish translation ("As the deer thirsts..."), the piece differs from earlier Part pieces for orchestra and choir ("Misere", "Litany") by supplementing fairly basic choral writing with a new interest in strange orchestral sonorities. Many of the sounds produced here by the instrumentalists will seem strange indeed to those used to Part's "holy minimalism". However, though some of the sounds themselves are fresh, I find much of the work to be meandering, limiting my enjoyment heavily. Furthermore, the version for choir and orchestra is much less moving than that for soprano and orchestra, a concert of which can be seen on the Arvo Part: 24 Preludes for a Fugue DVD.

"Orient & Occident" for string orchestra is even stranger. While "Como cierva sedienta" is, in spite of its new sonorities, an explicitly religious piece as is typical for the Orthodox convert Part, this work for strings brings in Eastern stylings. As hinted by the title, the work contrasts two strands, one traditional Western scales and the other microtonal writing that gives the music a picante feel. While this is for me the most likeable of the three pieces here, ultimately I felt that there was little substance behind the gimmick.

Though "Wallfahrtslied" (Pilgrim Song) for male voices and orchestra was written back in 1984, it fits in better with the two new works than it would with other Part pieces from the 80s. The vocal writing here, Psalm 121, lasts only a couple of minutes, and for most of the piece's nine minutes the music wanders with a mood of uncertainty, confusion, and not a little anxiety. While writing the piece may have been therapeutic for Part--it is dedicated to the memory of a friend--this is certainly one of the least remarkable pieces from that period.

Though it's nice to see Part diversifying, as tintinnabuli could certainly get stale, these transitional works are uneven to say the least. If you are a total Part newbie, get Tabula Rasa, while if you want to check out his current line of work, Lamentate is better. ORIENT OCCIDENT can be left to those building a full Part collection.

Colliding contrasts and colliding styles..........2006-05-21

Arvo Part has become famous for his religiously meditative and atmospheric music. These deceptively sparse compositions create musical structures rather than melodic narratives. They sometimes even require a new way of listening. Beginning in 1977 his compositions primarily utilized a triadic technique known as "tintinnabulation". Pieces such as "Alina", "Fratres", and "Tabula Rasa" resonate with harmonics that exude a deep and longing spirituality.

But previous to 1977, Part was heavily involved in the atonal movement of the 1950s and 1960s. Heavy dissonance, clashing chromaticism, and experimental tonality permeated these early works. The grinding "Collage Sur BACH", from 1964, sounds light years away from 1977's airy "Tabula Rasa". Those who appreciate Pärt's more ethereal work might recoil at the bold experimentalism prevalent in these compositions.

Which leads to a surprise for listeners of Part's more recent music. He seems to have begun reexploring his roots. The pieces on this CD, as well as "Miserere" and 2002's "Lamentate", contain flashes of brash dissonance and atonality. Part seems to be attempting an integration of his stormy early compostional style with his more delicate post-1977 style.

This CD contains excellent examples of this seemingly new experimentalism. 1984's "Wallfahrtslied/Pilgrim's Song" revels in contrasts. The strings grope, pine, and search for something ineffable. Their melodic structures never really resolve. Suddenly a reticent choir appears and moans Psalm 121. Then the strings reappear with more intensity. Creshendoes reach higher in extent and in volume. The Psalm apparently evoked more questions than answers. Then, following a refrain of this pattern, the strings completely take over and slowly wind down into silence. Whether the piece ends in acceptance or resignation remains a matter of interpretation. Maybe the question merely gets subverted by the continuing process of everyday living, and so fades off. Structually, the piece is infused with a mourning "why?" That Part wrote it for a deceased friend shouldn't come as a surprise. It seems to grapple with unanswerable questions. Elements of Part's early and late periods mingle throughout the song's almost nine minutes. The strings flail, sometimes dissonantly, and the choir maintains a fairly steady late Part tone. Blended together they create something new.

"Orient & Occident" sounds nothing like the tintinnambulatory Part. Two distinct but similar styles merge and compete for hegemony. Sometimes they meld beautifully into one another, but sometimes they butt heads. A contest between quarter tones styles, slides, no slides, and half tone styles ensues. It makes for a very interesting juxtaposition.

The final piece, "Como Cierva Sedienta", puts Psalms 42-43 to music, but this time in Spanish. Its moods fluctuate from streaming explosions to penetrating calm, somewhat similiar to the earlier "Miserere". An all higher range woman's choir provides the vocals, giving the piece an ethereal, ghostly quality even when the pace intensifies. At some thirty minutes, this song occupies the largest part of the disc. And, similar to the other pieces, it only sounds like the 1977 Pärt to a degree.

Part has obviously expanded and evolved his style in these compositions. He has definitely not stagnated. And though pure tintinnambulation served him for a time, he couldn't stay there forever. On "Orient Occident" he takes this now world famous style and begins to really stretch it into something new without completely abandoning it.

Masterpiece.......2006-03-13

The music contained in this disc is not *exactly* what one would expect from Arvo Part, in the sense that is diverges only slightly from his familiar style. Yet, it is Arvo Part at its best. I'm not a musicologist, but I feel that Como Sierva Sedienta is one of his most important works ever. It is a piece of awesome beauty and power for female chorus and orchestra based on the 42nd and 43rd psalms. Words cannot begin to describe it.

I cannot recommend it highly enough.

Musical Greek Vase.......2004-09-23

If you examine the figures on a Greek vase, you will notice an interesting effect. The figures, for instance, runners, will vary slightly from each other, giving an impression of motion. Identical figures would be static and artificial, while too much variation would result in simply a collection of unrelated runners in different poses. "Orient & Occident" is the musical equivalent of this technique, giving the impression of forward movement in what is essentially a static form without conventional development. At the same time, some notes have the uncanny quality of sounding as if they are being played on Asian instruments -- altogether a remarkable and memorable piece.

Fantastic.......2004-01-23

This is a fantastic recording of three works by the great Estonian composer Arvo Part. A previous reviewer was right to say that these works seem to point to Part's earlier, more dissonant, works; but they also are relevant in comparison to his contemporary (and future?) works. The unison choral writing simultaneously points to early "choral" church music, with a contemplative and reverent quality relating those early works with his own spiritually evocative recent work. The dissonance pointed out is not out of place in Part's music, only set aside for a while to be taken back up with a renewed sensitivity for it's place in his compositional technique.
Also, I just have to remark on an earlier post: If there were only two composers, neither Beethoven nor Part would make the cut. Limited to "Art" music in the Western tradition, Bach would be one, and I'm unsure of the other... it's neither of them, however.

Average customer rating:

Superb collection
Boskovsky and the Strauss Family of Vienna.
Strauss's Lover Must Own!!!!!

Strauss: Waltzes, Polkas & Marches

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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Grieg: Complete Music with Orchestra
Schubert: The String Quartets
Lehár: Waltzes
Liszt: Piano Works
Wagner: Lohengrin

ASIN: B0000042GN
Release Date: 1997-11-11

Tracks:

Walzer, Op. 314: An der schonen, blauen Donau
Polka schnell, Op. 373: Auf der Jagd
Walzer, Op. 410: Fuhlingsstimmen
Pizzicato-polka
Op. 335: Egyptischer Marsch
Op. 214: Tritsch-Tratsch-Polka
Op. 173: Dynamiden-Waltzer
Polka-Mazurka, Op. 144: Die Schwatzerin
Walzer, Op. 270: Carnavals Botschafter
Op. 117: Annen-Polka
Walzer, Op. 75: Fesche Geister
Polka schnell, Op. 278: Jokey Polka
Walzer, Op. 235: Spharenklange
Polka francaise, Op. 269: Feuerfest
Op. 29a: Wettrennen-Galop

Tracks:

Walzer, Op. 325: Geschichten aus dem Wienerwald
Polka schnell, Op. 240: Eingesendet
Op. 228: Radetzky-Marsch
Op. 269: Demolirer-Polka
Walzer, Op. 367: Du und Du
Polka-Mazurka, Op.129: Brennende Liebe
Op. 433: Spanischer Marsch
Polka schnell, op.45: Bahn frei!
Walzer, Op.258: Aquarellen
Polka schnell, Op.393: St|rmisch in Lieb' und Tanz
Polka-Mazurka, Op.166: Frauenherz
Op. 411: Lagunen-Walzer
Polka francaise, Op. 235: Piefke un Pufke
Freuet euch des Lebens Walzer, op.340
Musikalischer Scherz, Op.257: Perpetuum mobile

Tracks:

Walzer, Op. 333: Wien, Weiss und Gesang
Polka francaise, Op. 336: Im Krapfenwaldl
Walzer, Op. 346: Tausend und ein Nacht
Op. 156: Napoleon Marsch
Walzer, Op. 364: Wo die Citronen blueh'n!
Polka-Mazurka, Op. 204: Die Libelle
Polka francaise, Op. 57: Moulinet
Walzer, Op. 443: Seid umschlungen, Millionen
Polka schnell, Op. 413: So angstlich sind wir nicht
Polka-Mazurka, Op. 315: Lob der frauen
Op. 43: Explosions Polka
Walzer, Op. 184: Transactionen
Polka francaise, Op. 281: Heiterer Mut
Op. 42: Sperl Galopp

Tracks:

Walzer, Op. 354: Wiener Blut
Op. 211: Champagner-Polka
Walzer, Op. 307: Wiener Bonbons
Op. 449: Neue Pizzicato-Polka
Walzer, Op. 114: Liebeslieder
Ungarische Polka schnell, Op. 332: Eljen a Magyar
Walzer, Op. 316: Krleben
Op. 378: Banditen-Galopp
Op. 426: Russischer Marsch
Polka schnell, Op. 324: Unter Donner und Blitz
Walzer, Op. 279: Morgenbler
Polka schnell, Op. 133: Auf Ferienreisen
Walzer, Op. 164: Dorfschwalben aus terreich
Op. 126: Kaiser Franz Joseph I. Rettungs-Jubel-Marsch

Tracks:

Walzer, Op. 388: Rosen aus dem S
Polka schnell, Op. 281: Vergnzug
Op. 437: Kaiserwalzer
Polka schnell, Op. 319: Leichtes Blut
Walzer, Op. 154: Loreley-Rhein-Kle
Polka, Op. 291: 'S gibt nur a Kaiserstadt, 's gibt nur a Wien !
Walzer, Op. 143: Schneeglhen
Polka-Mazurka, Op. 282: Die Emancipirte
Polka schnell, Op. 259: Mit Extrapost
Walzer, Op. 234: Accelerationen
Polka Francaise, Op. 372: Bitte Sch
Op. 289: Persischer Marsch
Walzer, Op. 212: Delirien
Op. 365: Tik-Tak-Polka

Tracks:

Op. 363: Fledermaus-Quadrille - Various Artists
Polka, Op. 271: Ohne Sorgen - Various Artists
Walzer, Op. 263: Mein Lebenslauf ist Lieb und Lust - Various Artists
Op. 236: Orpheus-Quadrille - Various Artists
Polka, Op. 230: Im Fluge - Various Artists
Walzer, Op. 361: Bei uns z'Haus - Various Artists
Schutzen-Quadrille - Various Artists
Polka, Op. 241: Extempore - Various Artists
Walzer, Op. 390: Nordseebilder - Various Artists
Polka, Op. 241: Freikugeln - Various Artists
Walzer, Op. 101: Mephistos Hollenrufe - Various Artists
Marsch, Op. 478: Aufs Korn - Various Artists
Walzer, Op. 329: Erinnerung an Covent-Garden - Various Artists
Op. 152: Rudolfsheimer-Polka - Various Artists

Amazon.com

Boskovsky's encyclopedic collection with the Vienna Philharmonic, recorded between 1957 and 1976, is as close to definitive as one is likely to get. There was a special camaraderie between Boskovsky and the Philharmonic--he was a member of the orchestra's violin section for 37 years and conducted their New Year's Day concerts from 1955 until 1979. There was also a special empathy that these performers, as custodians of a tradition going back to its origins, felt for the music of the Strauss family. It comes across quite wonderfully on these mid-price CDs, which have been painstakingly remastered for an edition every collector should have. --Ted Libbey

Customer Reviews:

Superb collection.......2006-03-07

If you love or are just curious about the music of Vienna's Strauss family, this is the box set for you. You need look no further. Willi Boskovsky and the Vienna Philharmonic set the standards for the performance of these sublime waltzes, polkas and marches. The sound is fine, too, even though the recordings are not new. This is, quite simply, a magnificent set. I cannot recommend it highly enough.

Boskovsky and the Strauss Family of Vienna........2003-06-12

A long series of Strauss music recordings conducted by Willi Boskovsky provides the contents of this slender, super-compact box of 6 CDs. Those who collected the original issues should check the contents before jettisoning them, because not everything has been reissued here. I especially regret that the vocal version of "An der schönen blauen Donau" has been omitted.

No combination has ever excelled Willi Boskovsky and the Vienna Philharmonic Orchestra in performing this repertoire. Although the waltzes, polkas, quadrilles, marches and overtures were performed over and over again by these musicians, there is never a hint of workaday routine or staleness to be heard here. Everything seems to unfold naturally. Each item's inherent character is displayed. Tiny nuances and felicities of phrasing and a balance that favors the melody and reduces the accompaniment make these performances inimitable. The performance of "Morgenblätter" seems to provide a tad more excitement and impact than the other 85 items.

The recordings were made between 1960 and 1976. They are studio recordings, not deriving from the famous New Year concerts, and all but the few items from the very earliest year provide excellent sound.

Strauss's Lover Must Own!!!!!.......2001-10-09

Budget Price..... Recording and sound are good to excellence .... Let's enjoy and touch the spirits of Vienna now.....

Average customer rating:

happiness takes place in small piano tunes
Cacaphonic Harmonious

Gurdjieff's Music for the Movements

Manufacturer: Channel Crossings
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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ASIN: B00003CK7L
Release Date: 1999-12-14

Customer Reviews:

happiness takes place in small piano tunes.......2001-07-24

these short piano pieces are simple, but absolutely not boring. gurdjieff and de hartmann wrote some of the most thoughtful and sincere music you'll ever hear. I found this CD over a year ago and it's one I return to over and over again.

Cacaphonic Harmonious.......2001-07-15

Truly an exposition of beautiful "objective" listening. This music will not put you to sleep. Transitions are abrupt and engaging throughout the score's entirity. I play the music whenever I find myself searching for something to do or am bored. This music will consume all negativity and poke the listner to begin a stirring sensation in their own mentation. The music is not sophisticated or eligant by no means, but has a way about it which will intrige one to listen again and again.

Average customer rating:

outstanding
Can hold its own with the best (if it isn't the best)
A Nice Imitation But Not The Real Thing
Outstanding
Great!

Mahler: Symphony No. 3 in D minor
Gustav Mahler , Esa-Pekka Salonen , Anna Larsson , The Paulist Boy Choristers of California , Women of the Los Angeles Master Chorale , and Los Angeles Philharmonic
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mahler: Symphony No. 7
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Mahler: Symphony No.3

ASIN: B0000062D6
Release Date: 1998-03-17

Tracks:

Symphony No. 3 In D Minor: Part One, Movement One: Kraftig. Entschieden
Symphony No. 3 In D Minor: Part One, Movement One: Langsam. Schwer
Symphony No. 3 In D Minor: Part One, Movement One: Tempo I
Symphony No. 3 In D Minor: Part One, Movement One: A Tempo
Symphony No. 3 In D Minor: Part One, Movement One: Immer Dasselbe Tempo (Marsch) Nicht Eilen
Symphony No. 3 In D Minor: Part One, Movement One: Tempo Primo. Wie Zu Anfang
Symphony No. 3 In D Minor: Part One, Movement One: Tempo I
Symphony No. 3 In D Minor: Part Two, Movement Two: Tempo Di Menuetto. Sehr Massig
Symphony No. 3 In D Minor: Part Two, Movement Two: A Tempo
Symphony No. 3 In D Minor: Part Two, Movement Two: Ganz Plotzlich Gemachlich. Tempo Di Menuetto
Symphony No. 3 In D Minor: Part Two, Movement Three: Comodo - Scherzando. Ohne Hast.
Symphony No. 3 In D Minor: Part Two, Movement Three: Wieder Sehr Gemachlich, Wie Zu Anfang
Symphony No. 3 In D Minor: Part Two, Movement Three: Sehr Gemachlich
Symphony No. 3 In D Minor: Part Two, Movement Three: Tempo I
Symphony No. 3 In D Minor: Part Two, Movement Three: Wieder Sehr Gemachlich, Beinahe Langsam

Tracks:

Symphony No. 3 In D Minor: Part Two, Movement Four: Sehr Langsam. Misterioso. Durchaus
Symphony No. 3 In D Minor: Part Two, Movement Four: Tempo I
Symphony No. 3 In D Minor: Part Two, Movement Five: Lustig Im Tempo Und Keck Im Ausdruck
Symphony No. 3 In D Minor: Part Two, Movement Six: Langsam. Ruhevoll. Empfunden.
Symphony No. 3 In D Minor: Part Two, Movement Six: Nicht Mehr So Breit
Symphony No. 3 In D Minor: Part Two, Movement Six: Tempo I. Ruhevoll!
Symphony No. 3 In D Minor: Part Two, Movement Six: A Tempo (Etwas Bewegter)
Symphony No. 3 In D Minor: Part Two, Movement Six: Tempo I
Symphony No. 3 In D Minor: Part Two, Movement Six: Langsam. Tempo I

Amazon.com essential recording

Finnish conductor Esa-Pekka Salonen is one of the few indisputably great masters of his trade. Thank God he's young and healthy, with a long career in front of him. He is currently presiding over what I have no doubt will later be regarded as a sort of "golden age" in Los Angeles. The orchestra has never sounded better--in fact, the playing on this disc is so staggeringly fine that you're simply not conscious of it at all. Salonen's interpretation is equally persuasive. It's so natural that it actually makes the work--the longest symphony in the repertoire--seem short. Because he makes everything sound so easy, he has been criticized for a certain emotional coolness. Humbug! Check out the end of the first movement for the most exciting and passionate five minutes of music you're ever likely to hear. Greatness, folks, pure and simple. -- David Hurwitz

Customer Reviews:

outstanding.......2004-12-23

The LA plays a stupendous rendition of this thorny piece. This is Mahler's longest work, but the unity of the performance is evident throughout. The ending of the first movement is breathless. The orchestra rushes headlong to the end of the movement, but it is not out of control, and loses none of the articulation, it's just plain exciting!

Can hold its own with the best (if it isn't the best).......2003-08-31

By any standards, this is an uncommonly beautiful and deeply satisfying account of this difficult, potentially disjointed piece. Several factors contribute to this. A notable one is Salonen's refusal to linger over passages that betray their limited staying power under the baton of more indulgent conductors. Thus, the post horn serenade in the third movement for once doesn't outstay its welcome. The bizarre juggernaut of the first movement is also kept moving along at an energetic marching tempo, its paragraphs joined by clearly articulated drum solo's instead of the usual vague rumblings that made you suspect the composer simply didn't know how to get from A to B. The final pages of this movement are indeed 'drängend', as Mahler requests, and to spectacular effect! In the second and third movement Salonen may at times be a bit too flexible with his tempi, inserting a few big ritenuto's where none are asked for, or defying the ones Mahler wants, playing them a bar later or earlier or not at all. Instances of this are to be found in the second movement especially. Nevertheless the fairy tale atmosphere of these pieces is realised to perfection. The post horn sounds duly distant, and the enlarged final ff return of its theme in the horns is magical, replete with rippling harps and quivering strings, truly otherworldly!
The Zarathustra song may be a bit too brisk for some, but it works nevertheless - even though Anna Larssons's (beautiful) singing is not at all 'durchaus leise'. The fifth movement is fresh, lightweight and folksy as it should be (the boy choir may be a bit polished or even timid to some tastes, but to me seems far preferable to Bernstein's bellowing NY street gang on DG). And the adagio really leaves almost nothing to be desired: it unfolds with all the unhurried majesty it requires and in this even more than in other movements one is stunned at the sublime playing of the LA Orchestra. The combination of precision with beauty of tone and occasional individual touches of phrasing and expression is indeed breathtaking!
There is an unfortunate and unnecessary letdown right at the end, though. I'm at a loss to understand what prompted the folly of reinforcing the final five timpani strokes with loud thwacks on the bass drum. This peculiar retouching of Mahler's score seems out of character with this conductor, and the cheaply sensational effect it achieves certainly doesn't match the composer's demand for a 'noble, saturated tone, not brute force'. Salonen demonstrates that he DOES know what Mahler meant even in the final chord, which is not extremely loud, but notated as a mix of f and ff levels, and duly rendered that way.
To top it all off, the recorded sound is very pleasing indeed. It is not extremely detailed, but has the atmosphere of a real-life concert, with woodwinds somewhat recessed, lower dynamic levels up to mf or even f sounding fairly mild, but with louder passages opening up impressively. In this, it is similar to the Inbal recording on Denon, though it sounds less distant and miniaturised than that. Incidentally, it also shares with that recording (and very few others) a clearly articulated, realistic sounding bass drum. All bass lines are marvellously sonorous for that matter, and a further help to textural clarity is the left-right division of first and second violins (which is what Mahler would have expected!).
On the whole, this is a very strong contender in a field without clear first choices. I long cherished the Haitink version from Berlin, but on recent rehearing it struck me as rather unvaried and severe (and I was surprised to note several wrong entries). Yet, I will keep listening to it for Jard van Nes's singing alone - her astounding rendering of the fourth movement has never been equalled by another singer. Bernstein on DG offers what is probably the best version ever of the first movement, but the rest is crude and uniformly loud, making it the most disappointing issue in his last Mahler-cycle. Inbal is quite good, though his orchestra is not up to the standards set by others. Older recordings tend to sacrifice too much of the work to inadequate recording technique - and this is a hifi symphony if ever there was one! I am curious about the recent Boulez, and am eagerly looking forward to Chailly's Concertgebouw recording, due to be issued soon by Decca. Until then, I will be listening to Salonen a lot!

A Nice Imitation But Not The Real Thing.......2002-10-18

As Mahler gets recorded again and again the newer performances get duller and duller. The passion and sympathy of a Bernstein, Schuricht, Horenstein or Mitropoulos (to name but a few) becomes an even more distant memory. Techincally Salonen has his orchestra well drilled but the passion he puts into his efforts sadly come over as a mere facde. The rather opaque recording made in the Chandler Pavillion
does little to help matters. With so many other finer performances available for less this present issue is hardly viable.

Outstanding.......2002-05-02

Last month I had the pleasure to attend Mr. Salonen conducting Mahler's Das Klagendelied, and was so moved by his performance of a work by my favorite composer, that I sought-out this recording.

Mahler's 3rd Symphony is a complex piece, which along with his 2nd Symphony, transports the listener through a journey of discovery and change. The music begins in both pieces with a dark mood, and remains true to it throughout. This is not a light work for a casual listener, but rather heavy, dark and powerful music which both demands and rewards attention.

Salonen's performance here is beyond reproach, and has replaced Jascha Horenstein's early 1980s recording as my favorite Mahler's 3rd. Now if only Sony Classical would release that March, 2002 performance of "Das Klagende Lied".

Great!.......2002-04-09

This is in my opinion the best Mahler no.3 so far

(Abbados Mahler no.3 togheter with his Berliners, also including Anna Larsson, is on its way and probably will challenge this).

I usually go for Boulez, Chaillys and Abbados Mahler records and like them all very much but this was an unexcpected nice surprise to me because it is so good and Salonen match these guys here more than well. LA plays wonderful and Anna Larsson has a beutiful contraalto voice.

Something importent for me about Mahler is his combination of modernism and intimate classical late romantiscm and Salonen succeeds very well here about this, like those conductors mentioned above.

Anyway... this Salonen/LA version stands for itself and probably, in the long run, is going to be rememered as one of the classic versions of this symphony.

Great sound too.

Tracks:

Clarinet Concerto
Goodbye 'In Memory Of Benny'
Sonata for Clarinet: Grazioso
Sonata for Clarinet: Andantino: Vivace e leggiero
West Side - Variants
Promenade (Walking The Dog)
Bess, You Is My Woman Now
Short Story
Three Preludes: Prelude No. 1: Allegro ben ritmato e deciso
Three Preludes: Prelude No. 2: Andante con moto e poco rubato
Three Preludes: Prelude No. 3: Allegro ben ritmato e deciso

Customer Reviews:

Reference Recording.......2005-12-01

Richard Stoltzman and Michael Tilson Thomas made an outstanding team for this recording. Stoltzman's tone is often the object of debate, but in this album, it works wonderfully. The jazz influences in all of these pieces call for a brighter, and (for lack of a better word) looser sound, which Stoltzman can pull off with flair. He does an excellent job of making the opening section of the Copland silky and dream-like. The bravado and virtuosity in the cadenza are fitting, as is the occasional stretch or pause. It sounds almost improvised, which is what Copland was going for in this very difficult section. The orchestra (directed by Tilson Thomas) is also excellent - sparkling one moment, incisive the next.

The rest of the album is a collection of pieces by other American composers of the 20th century. "Goodbye" is an emotional memorial of Benny Goodman, the Bernstein "Sonata" is an interesting expansion of the work for clarinet and piano. Look out for the opening of "West Side"... it has startled me more than once when I wasn't paying attention! And the "Three Preludes" at the end are, again, an interesting expansion of the work for piano.

I can't say that I've heard a better performance of the Copland, so this album is worth it just for that. But, the other pieces are fun to listen to as well and nicely round out this album.

Music Track:

Music Track

music track

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