Conducts Sibelius, Berlioz, Liszt, Thomas & Satie

On this CD:

1. Finlandia, tone poem for orchestra, Op. 26
Composed by Jean Sibelius
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

2. The Swan of Tuonela, tone poem for orchestra (Lemminkäinen Suite No. 3), Op. 22/3 No.3: the swan of Tuonela
Composed by Jean Sibelius
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

3. Damnation de Faust, La, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra, ("légende dramatique") H. 111 (Op. 24) Hungarian March
Composed by Hector Berlioz
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

4. Hungarian Rhapsody, for orchestra No. 2 in C-sharp minor (after piano No. 12), S. 359/2 (LW G21/2)
Composed by Franz Liszt
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

5. Mignon, opera in 3 acts Gavotte
Composed by Ambroise Thomas
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

6. Die Walküre (The Valkyrie), opera, WWV 86b The Magic Fire
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

7. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Closing Scene
Composed by Richard Wagner
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

8. The Red Poppy, ballet, Op. 70 Dance of the Russian Sailor
Composed by Reyngol'd Moritsevich Gliere
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

9. Caucasian Sketches, suite for orchestra, Op. 10 Procession of the sardar
Composed by Mikhail Mikhaylovich Ippolitov-Ivanov
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

10. Gymnopedie for piano No.1, for piano Gymnopedies No 01
Composed by Erik Satie
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

11. Gymnopedie for piano No.2, for piano Gymnopedies No 02
Composed by Erik Satie
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

12. Gurrelieder, oratorio for 5 soloists, reciter, chorus, & orchestra Prelude
Composed by Arnold Schoenberg
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

13. Gurrelieder, oratorio for 5 soloists, reciter, chorus, & orchestra Interlude
Composed by Arnold Schoenberg
Performed by Philadelphia Orchestra
Conducted by Leopold Stokowski

Tracks:

'Irlande' , Op. 2: No. 4: La belle Voyageuse
'Irlande' , Op. 2: No. 8: Adieu, Bessy!
'Irlande' , Op. 2: No. 1: LeCoucher du soleil
'Irlande' , Op. 2: No. 7: L' Origine de la harpe
'Irlande' , Op. 2: No. 9: Elegie
Mignonne, WWV57
Tout n'est qu'images fugitives, WWV58
Les deux Grenadiers, WWV 60
Lied des Mephistopheles WWWV15 No. 4
Lied des Mephistopheles WWV15 No. 5
Der Tannenbaum WWV50
Die Vatergruft, G281 - G371
Go Not, Happy Day, G335
Es rauschen die Winde, G294
lhr Auge, G310
Wanderers Nachtlied, G306
Im Rhein, im schonen Strome, G272 - G531 - 2
Es muss ein Wunderbares sein, G314
Vergiftet sind meiner Lieder, G289
La Tombe et la rose, G285 - G539
'Comment,' disaient-ils, G276 - G535
Oh, quand je dors G282

Customer Reviews:

The American Fischer-Dieskau takes a risk, and wins.......2006-07-17

This CD is out of print, and that's no surprise: songs by Berlioz, Wanger, and Liszt are known only to conoissuers. Hampson happens to be that and more. His crusade to bring every variety of classic song to the public parallels Fischer-Dieskau's efforts a generation ago. Like his illustrious predecessor Hampson is a master of many styles, an impeccable technician, and an innatley intelligent artist. One can neer lose by buying his riskier recitals.

This is one of the most difficult to appreciate, I think, becasue except for a melodie or two by Verlioz, nothing here is familiar. The Wanger songs avoid the well-known Wessendonck lieder in favor of light and slight early songs, three of them in French (!) and all so charming the name of Wanger would never occur to an innocent listener.

The heart of the recital are te Liszt songs. Rarely heard in the concert hall (if ever), Liszt's lieder output is very impressive, which is why artists as diverse as Barbara Bonney and Thomas Quasthoff have given us collections like this one. Hampson ofers 12 from a broad span of the composer's long life, and they span many emotions, from the tender to the boldly declamatory. Only the last, "Oh, quand je dors," is likely to be familiar. There is such art in the singing, and in Geoffrey Parsons' accompaniments, that every song here, with the exception of the Berlioz, sounds completely masterful (I don't find that Hampson has the real chanson style).

Since this superb CD sells for pennies on the used market, it's very much worth anyone's time and attention. You'll hear a great singer at the peak of his powers.

Truly, romantically worth it.......2004-07-09

I love Romantic music, poetry and painting. The Lieder sung here by Thomas Hampson have all 3: obviously the music and the poetry, which are wonderful, and the painting is given by Mr Hampson's voice. A more romantic voice I cannot imagine. I listen to it constantly...

romantic indeedý.......1999-09-01

... are the selections presented here. Thomas Hampson's voice appears to have an ideal weight for these intimate delicate songs, his thoughtful detailed reading of them is delightful. Purchasing this CD, I expected a collection of lesser-known lieder, but found instead German and French alternatives to Italian "salon songs" of Bellini, late Rossini, or Donizetti, although written later and most carrying a strong sense of German romanticism, found in the poetry of Goethe, Heine, or Uhland, as well as in the fiction works of E.T.A. Hoffman and his contemporaries. Hugo's stirring verse found its way thrice to this CD.

Hampson's finely crafted presentations remind the listener of Fischer-Dieskau, if missing some the latter's celebrated smoothness of tone. It's hard to believe "Mignonne" was written by Wagner! Most likely, it was one of composer's controversial experiments with French style, and we are lucky to hear it survive the test of time and Wagner "purists". (I do prefer Rienzi to Siegfried, any day though, thus it's a biased opinion, right?) To my great surprise, Liszt's songs vary - some are exciting and melodic ("Go not Happy Day" or "a Tombe et la Rose"), others are more like recitatifs, sung very quietly, with recurring dreamy melancholic quality to them, but with none of Schubert's poignancy or Mahler's edginess.

There is a great deal of harmony between the singer and Geoffrey Parsons' piano. Like Jorg Demus or John Wustman, Parsons does not forcibly take the center stage, yet his accompaniment is always ideally timed and he often engages in sparkling dialogue with the singer (listen to Les deux Grenadiers!)

Indeed a highly enjoyable disc with a few surprises.

Beethoven, Berlioz, Franz, Grieg, Liszt, Loewe, Schumann, Wagner: Songs
Average customer rating:
Beethoven, Berlioz, Franz, Grieg, Liszt, Loewe, Schumann, Wagner: Songs
Thomas Hampson
Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
ASIN: B0000647J7
Release Date: 2002-10-01

Tracks:

Irlande, Op.2: IV: La Belle Voyageuse (Legende Irlandaise)
Irlande, Op.2: VIII: Adieu, Bessy! (Romance)
Irlande, Op.2: I: Le Coucher Du Soleil (Reverie)
Irlande, Op.2: VII: L'Origine De La Harpe (Ballade)
Irlande, Op.2: IX: Elegie
Mignonne
Tout N'est Qu'images Fugitives
Les Deux Grenadiers
Lied Des Mephistopheles No.4 ('Es War Einmal Ein Konig')
Lied Des Mephistopheles No.5 ('Was Machst Du Mir')
Der Tannenbaum
Die Vatergruft
Go Not, Happy Day
Es Rauschen Die Winde
Ihr Auge
Uber Allen Gipfen Ist Ruh (Wanderers Nachtlied)
Im Rhein, Im Schonen Strome
Es Muss Ein Wunderbares Sein
Vergiftet Sind Meine Lieder
La Tombe Et La Rose
'Comment', Disalent-ils
Oh, Quand Je Dors

Tracks:

Nun Holt Mir Eine Kanne Wein, Op.1 No.4
Ihr Auge, Op.1 No.1
Die Susse Dirm' Von Inverness, Op.4 No.2
Findlay
Niemand, Op.2 No.22
Dem Roten Roslein Gleicht Mein Lieb, Op.27 No.2
Hochlanders Abschied, Op.25 No.13
6 Songs: I: Gruss
6 Songs: II: Dereinst, Gedanke Mein
6 Songs: III: Lauf Der Welt
6 Songs: IV: Die Verschwiegene Nachtigall
6 Songs: V: Zur Rosenzeit
6 Songs: VI: Ein Traum
An Die Ferne Geliebte: I: Auf Dem Hugel Sitz' Ich Spahend - II: Wo Die Berge So Blau - III: Leichte Segler In Den Hohen - IV: Diese Wolken In Den Hohen - V: Es Kehret Der Maien - VI: Nimm Sie Hin Denn, Diese Lieder
Dichterliebe: Im Wunderschonen Monat Mai
Dichterliebe: Aus Meinem Tranen Spriessen
Dichterliebe: Die Rose, Die Lillie
Dichterliebe: Wenn Ich Deine Augen Seh'
Dichterliebe: Ich Will Meine Seele Tauchen
Dichterliebe: Im Rhein, Im Heiligen Strome
Dichterliebe: Ich Grolle Nicht
Dichterliebe: Und Wussten's Die Blumen, Die Kleinen
Dichterliebe: Das Ist Ein FlotenUnd Geigen
Dichterliebe: Hor' Ich Das Ledechen Klingen
Dichterliebe: Ein Jungling Liebt Ein Madchen
Dichterliebe: Am Leuchtenden Sommermorgen
Dichterliebe: Ich hab' Im Traum Geweinet
Dichterliebe: Allnachtlich Im Traume
Dichterliebe: Aus Alten Marchen Winkt Es
Dichterliebe: Die Alten, Bosen Lieder

Royal Philharmonic Orchestra: Glinka; Ponchielli; Verdi...

Average customer rating:

Royal Philharmonic Orchestra: Glinka; Ponchielli; Verdi...

Manufacturer: Intersound Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Tracks:

Ov To 'Ruslan And Ludmilla'
La Gioconda: Dance Of The Hours
Prld To Act I 'La Traviata'
Prld To Act III, 'La Traviata'
Ov To 'Mignon'
Invitation To The Dance
Mephisto Waltz No.1
The Damnation Of Faust: Hungarian March

Average customer rating:

Beecham in best sound from 1947-49
Beecham Favorites in Astonishingly Good Sound.
The 'Inimitable Sir Thomas'- in great transfers!

Beecham: The RPO Legacy Vol.5

Manufacturer: Dutton Laboratories
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Octets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00004S7QS
Release Date: 2000-06-13

Customer Reviews:

Beecham in best sound from 1947-49.......2006-03-16

Although the last item on CD 2 of this two-fer dates from 1951, the rest is from a very brief span (1947-49), and as the other reviewers say, it's all in amazingly good sound. Masters from the 78 era have surprising dynamic range and depth; bringing out their full potential requires good surviving sources and expert digital remastering. Dutton is fortunate to supply both here; in fact, these recordings consistently sound as good as Fifties mono.

I am not very sympathetic to Beecham's favored repertoire of light classics doled out in five-minute snippets. There are only a smattering of those here, and these generously filled CDs (75 min. and 76 min. respectively) have room for longer major works. For me the highlights begin with a sparkling Mendelssohn Fair Melusina Over., one of Beecham[s favorites, and a forceful and dramatic Golden Spinning Wheel, one of Dvorak's great late tone poems. This Berlioz King Lear Over. surpasses his live version on BBC Legends, both in sound and performance.

Then therre is his Haydn, one of this conductor's best composers. Although he recorded Haydn symphonies throughout his four-decade career, these readings bring together good sound and best performance. Sym. #40 was a rarity in the 78 era, not that it is common today, and Beecham's reading couldn't be more vivacious and alert. No fear of ponderous slow movements and plodding minuets here. Sym. #102 is much more familiar, of course, but Beecham doesn't seem as excited by it (he frequently appears bored in overly familiar music), so I'd call this second-best, good as it is.

Everything is played by the Royal Phil., newly founded by Beecham in 1947, which was to be his chief vehicle until his death. He recorded with them for little more than a decade, and it's astonishing to think that those years began with 78s and ended with stereo LPs. To be frank, Beecham recorded too many pieces and was over-praised for them, but Dutton has put together a collection that frequently shows Beecham off at his very best or close to it.

Beecham Favorites in Astonishingly Good Sound........2001-01-27

Older collectors will be drawn to this splendid Dutton release because it contains many Beecham recordings appearing for the first time on CD. Younger collectors need not hesitate. Familiar and unfamiliar works can be enjoyed here in astonishingly good sound.

Beecham was never far from insisting that music, first and foremost, had to sound good. He took enormous pains, when recording it, to ensure that the listener heard everything it contained to best advantage. The result sometimes seemed "over spiced", according to his contemporary Sir Adrian Boult. You will certainly savour everything done at the harp in Liszt's "Orpheus", and relish everything done in the percussion department at the beginning of "The Golden Spinning Wheel".

Beecham had loved and lavished care on many of these works for more than forty years when these recordings were made. He was a champion of Haydn symphonies, presenting them in the right spirit rather than the right letter. Listening to the 3rd movement of No 40, with Dennis Brain leading the horn players, you forget that Beecham prepared and conducted Haydn symphonies from old corrupted editions.

A curiosity is the Paisiello overture. You might think that a harmonic structure based almost entirely on only three chords would hold no interest for the listener. Beecham makes it seem enchanting - for six and a half minutes.

Lyndon Jenkins, with access to records of Beecham's concert and recording schedules, provides lively and informative program notes. I was delighted to order and receive this CD recently. [....]

The 'Inimitable Sir Thomas'- in great transfers!.......2000-09-09

When he was captivated by the music he performed, he conveyed that passion with astonishing clarity and elegance-and the music was frequently light or incidental!

The main works on the discs, Haydn Syms, 40 & 102, and the Dvorak Golden Spinning Wheel receive incomparably vibrant performances- The Dvorak ( in spite of a few cuts) is as sensitive as either the Talich or Kubelik performances, and also conveys tremendous enthusiasm from the orchestra. The sound on this piece is really spectacular for its time. The Haydn 102 is 'stately' and elegant, but what crispness of texture & articulation!

The Saint Saens was re-recorded with the RPO in 1957. The later performance is also sparkling and sounds much better. But the earlier one- almost one minute faster- exquisitely conveys the perpetual spinning wheel depicted in the work. It is this thread of sound, articulation, and texture that stays in mind after hearing these discs, and which made Beecham an especially successful recording conductor.