Bartok: Concerto No. 1 for Violin and Orchestra Op. Posth (recorded 24 December 1960); Concerto for Orchestra (recorded 25 February 1972)

On this CD:

1. Violin Concerto (No. 1), for violin & orchestra, Sz. 36, BB 48a
Composed by Bela Bartok
Performed by USSR Symphony Orchestra with David Oistrakh
Conducted by Gennady Rozhdestvensky

2. Concerto for Orchestra, for orchestra, Sz. 116, BB 127
Composed by Bela Bartok

Conducted by David Oistrakh

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Customer Reviews:

Satisfactory all the way.......2002-07-31

Isaac Stern is, arguably, the best interpreter of classical music there is. His fleshy vibrato and excellent phrasing incorporates his feeling into this set. The Brahms is superb as Stern expresses love, grief, confusion, depression, and eventually redemption throughout the CD. His duo with Eugen Istomin of the Beethoven Violin Sonatas are the best in my library. Same with the Schubert with Daniel Barenboim as his accompanist. Bartok could have been brushed up upon. The intonation was just a tad off. The Franck CD is superb. The Bartok is THE main source for this piece because of Stern's collaboration with the actual composer. All in all, this set ends Stern's legacy with his favorite encores; the best played upon them all.

Average customer rating:

A Good Introduction to Opera

The Yellow Guide-Classical Music

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

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

The Yellow Guide: Opera
The #1 Opera Album

ASIN: B00000613R
Release Date: 1998-03-17

Tracks:

Missa Papae Marcelli: Kyrie
L'Orfeo: 'In questo lieto e fortunato giorno' (Act 1)
The Four Seasons: 'Winter' RV 297 (Allegro non molto)
Messiah: 'Hallelujah Chorus'
Suite No. 3 In D Major BWV 1068: Air
String Quartet In C Major Op. 76 no. 3 ('Emperor'): Pocoadagio cantabile
Requiem K 626: 'Lacrimosa'
Symphony No.5 In C Minor Op. 67: 1st movement (Allegro con brio)
Caprice No. 24 In A Minor
William Tell: Overture (Excerpt)
Piano Quintet ('The Trout') D 667: 4th Movement (Adantino)
Symphonie Fantastique Op. 14: 2nd movement ('A Ball')
A Midsummer Night's Dream Op. 61: 'Wedding March'
ude en G Sharp Minor Op. 25 No. 6
Kinderszenen Op. 15: 'Traumerei'

Tracks:

Hungarian Rhapsody No. 6 In D Flat Major S 244
Die Walkure: 'Ride Of The Valkyries' (Act 3)
Nabucco: 'Va pensiero, su'II ali dorate' (Act 3)
The Bartered Bride: Overture - Bedrich Smetana
Te Deum: 1st Movement 'Te Deum' - Anton Bruckner
The Blue Danube Op. 314
Symphony No. 3 In F Major Op. 90: 3rd Movement (Poco allegretto)
Carnival Of The Animals: 'The Swan'
Carmen: 'Habanera'
Pictures At An Exhibition: 'The Great Gate Of Kiev'
Symphony N. 5 In E Minor Op. 64: 3rd Movement (Valse)
Symphony No. 9 In E Minor Op. 95 ('From The New World'): 2nd Movement (Largo) (Exerpts)
Peer Gynt Op. 23: 'In The Hall Of The Mountain King'

Tracks:

Madama Butterfly: Act II: Un bel di vedremo
Symphony No. 5: Fourth Movement: (Adagietto)
Preludes Book II: Feux d'artifice
Also Sprach Zarathoustra Op. 30: Introduction
Valse triste Op. 44: 1
Gymnopedie No. 1
Rhapsody On A Theme Of Paganini Op. 43: Variation No. 18
Pavane pour une Infante defunte
Concerto For Orchestra: Second Movement
The Firebird: Infernal Dance
Lulu Suite: Lied der Lulu
Romeo And Juliet Op. 64: Dance Of The Knights
Cuban Overture
Violin Concerto: First Movement

Amazon.com

This latest compilation release from Deutsche Grammophon, hot on the heels of The Yellow Guide to Opera, consists of not only three CDs, but also a 144-page booklet that provides biographies of 100 composers, a glossary explaining 100 musical terms, and notes on each of the 42 tracks on the discs. Aimed, clearly, at newcomers to classical music, the three discs cover almost five centuries of music, arranged chronologically from the Kyrie of Palestrina's Missa Papae Marcelli to Philip Glass's Violin Concerto. Orchestral, chamber, and vocal are all represented, performed by a roster of celebrated names: the Amadeus Quartet, Martha Argerich, the Vienna Philharmonic, and Herbert von Karajan, to name but a few. All in all, a value-for-your-money way to either become more familiar with classical music or glimpse some of the treasures of the DG archive. --Rebecca Agnew

Customer Reviews:

A Good Introduction to Opera.......2002-01-09

For those persons looking for an introduction to Opera this compilation is an excellent beginning. The recording quality is pretty good overall, and the performances are both interesting and satisfying.

I keep listening to these CD's, and they always sound fresh and fun.

Tracks:

Kolisch Quartet - Kolisch Quartet
Mvt I Massig - Kolisch Quartet
MVT 2 Sehr Rasch - Kolisch Quartet
Mvt 3 Litanei Langsam - Kolisch Quartet
Mvt 4 Entrueckung - Kolisch Quartet
Schoenberg - Kolisch Quartet

Tracks:

Mvt I Moderato - Kolisch Quartet
Mvt 2 Adagio - Kolisch Quartet
Mvt 3 Intermezzo, Allegro Moderato - Kolisch Quartet
Mvt 4 Rondo, Molto Moderato - Kolisch Quartet
Schoenberg Speaks - Kolisch Quartet
Mvt I Allegro Molto Energico - Kolisch Quartet
Mvt 2 Comodo - Kolisch Quartet
Mvt 3 Largo - Kolisch Quartet
Mvt 4 Allegro - Kolisch Quartet

Tracks:

Mvt 1 Moderato - Pro Arte Quartet
Mvt 2 Adagio - Pro Arte Quartet
Mvt 3 Intermezzo - Pro Arte Quartet
Mvt 4 Rondo, Molto Moderato - Pro Arte Quartet
Mvt I Allegro Gioviale - Pro Arte Quartet
Mvt Andante Amoroso - Pro Arte Quartet
Mvt 3 Allegro Misterioso. Trio Estatico - Pro Arte Quartet
Mvt 4 Adagio Appassionato - Pro Arte Quartet
Mvt 5 Presto Delirando Tenebroso - Pro Arte Quartet
Mvt 6 Largo Desolato - Pro Arte Quartet

Tracks:

Mvt 1 Poco Allegro - Pro Arte Quartet
Mvt 2 Adante Grazioso - Pro Arte Quartet
Mvt 3 Finale. Allegro - Pro Arte Quartet
Kolisch Interview - Pro Arte Quartet
Mvt I Temp Di Ciaccona - Pro Arte Quartet
Mvt 2 Fuga. Risoluto, Non Troppo Vivo - Pro Arte Quartet
Mvt 3 Melodia. Adagio - Pro Arte Quartet
Mvt 4 Presto - Pro Arte Quartet

Tracks:

Mvt I Allegro - Pro Arte Quartet Of the University Of Wisconsin
Mvt 2 Adagio Molto - Pro Arte Quartet Of the University Of Wisconsin
Mvt 3 Scherzo - Pro Arte Quartet Of the University Of Wisconsin
Mvt 4 Andante - Pro Arte Quartet Of the University Of Wisconsin
Mvt 5 Finale. Allegro Vivace - Pro Arte Quartet Of the University Of Wisconsin
Schoenberg: Fantasie, Op.47 - Pro Arte Quartet Of the University Of Wisconsin
Mvt I Allegro Molto - Pro Arte Quartet Of the University Of Wisconsin
Mvt 2 Intermezzo. Andantino Grazioso - Pro Arte Quartet Of the University Of Wisconsin
Mvt 3 Andante Con Moto - Pro Arte Quartet Of the University Of Wisconsin
Mvt 4 Allegro/ Presto - Pro Arte Quartet Of the University Of Wisconsin

Tracks:

Mvt I Heftig Bewegt - Pro Arte Quartet Of the University Of Wisconsin
Mvt 2 Sehr Langsam - Pro Arte Quartet Of the University Of Wisconsin
Mvt 3 Sehr Bewegt - Pro Arte Quartet Of the University Of Wisconsin
Mvt 4 Sehr Langsam - Pro Arte Quartet Of the University Of Wisconsin
Mvt 5 in Zarter Bewegung - Pro Arte Quartet Of the University Of Wisconsin
I Massig - Pro Arte Quartet Of the University Of Wisconsin
II Leichtbewegt - Pro Arte Quartet Of the University Of Wisconsin
III Ziemlich Fliessend - Pro Arte Quartet Of the University Of Wisconsin
IV Sehr Langsam - Pro Arte Quartet Of the University Of Wisconsin
V Ausserst Langsam - Pro Arte Quartet Of the University Of Wisconsin
VI Fliessend - Pro Arte Quartet Of the University Of Wisconsin
Mvt ! Adagio - Kolisch Quartet
Mvt 2 Adagio - Kolisch Quartet
Mvt 3 Allegro - Kolisch Quartet
Mvt 4 Andante - Kolisch Quartet
Mvt 5 Menuetto - Kolisch Quartet
Mvt 6 Andante Molto- Allegro - Kolisch Quartet

Customer Reviews:

Historical Documents For Specialists & Collectors.......2005-06-17

This Music & Arts CD set (6 discs for the price of four) contains what can be rightly regarded as "urtext" performances of Schoenberg, Berg, Webern and Bartok. It is in honor of a modern music pioneer, Rudolph Kolisch (1896-1978), the Austrian violinist whose sister was married to Schoenberg. Due to an accident as a boy that cost him about half the middle finger on his left hand, Kolisch became a violinist who bowed with his left hand and played with his right. Obviously he could not play in an orchestra without inflicting damage, so Kolisch dedicated his career to chamber music, primarily of the New Vienna School.

Amazon has only displayed the musical tracks here without identifying the works. There is so much here that I can only address the contents with brief remarks. Despite extremely variable sound, there are some genuine treasures in this set. They will surely appeal to anyone who is interested in the history of performance practice and in hearing how Kolisch and his associates interpreted these works, several of which they premiered. This set comes with a 47 page booklet that includes an appreciation of Kolisch by pianist Russell Sherman (who studied with Schoenberg pupil Eduard Steuermann), an encylopedic and illuminating essay by Tully Potter on the Kolisch Quartet (and the later Pro Arte Quartet led by Kolisch), and extensive notes on the music itself, much of it written by another Schoenberg pupil (conductor Rene Leibowitz).

CDs 1 & 2 contain the first-ever 1936-37 recordings of Schoenberg's four string quartets (composed 1905, 1908, 1927 & 1936) by the Kolisch Quartet (Rudolf Kolisch, Felix Khuner, Eugen Lehner, and Benar Heifetz, with soprano Clemence Gifford in #2). Included are two brief speeches by Schoenberg. These recordings were sponsored by the wealthy film composer Alfred Newman for the purpose of preserving Schoenberg's works and Kolisch's interpretations for posterity. They were issued on private edition 78 rpm discs, and (not mentioned in the notes) they were briefly available on 4 ALCO LPs in the 1950's. I saw that extremely rare set for the first time recently in San Franciso at a collector shop that has a thriving mail-order business overseas. The asking price: $500! So if the music interests you, this M&A set is a genuine bargain! These performances have also been issued on the Swiss CD label Archiphon, but reportedly the transfers are poorly-pitched and overly-filtered.

CD 3 has 1950 recordings of Schoenberg's 3rd Quartet and Berg's Lyric Suite by the Pro Arte Quartet of the Univ. of Wisconsin (Kolisch, Rahier, Milofsky, & Fiedlander) that were once on the Dial LP label.

CD 4 features a "live" 1967 recording of the Schoenberg Violin Concerto with Kolisch and the Wisconsin Festival Orchestra conducted by Leibowitz, an 8 minute interview with Kolisch, and a 1966 live Kolisch performance of the Bartok Sonata for Solo Violin (I regard this disc as an utterly essential item). My other favorites here: Krasner/Mitropoulos (Columbia LP) in the Schoenberg, and Robert Mann's incredible Bartok (available on the internet for $17 from Bartok Records).

CD 5 has a 1945 recording of the Pro Arte Quartet playing Bartok's 5th String Quartet, a 1966 account of the Schoenberg Fantasie (Kolisch with pianist Gunnar Johansen), and the early & unnumbered (1897) Schoenberg String Quartet in D major (Pro Arte Quartet 1952). The latter work is atypical: it sounds very Brahmsian, with a dash of Dvorakian melody tossed in.

CD 6 has three 1950 Pro Arte items that were originally on Dial LPs: Webern's Five Movements for String Quartet op. 5 and Six Bagatelles for String Quartet op. 9, plus a "live" 1940 reading by the Kolisch Quartet & friends of Schubert's Octet. The latter is rather poorly-played and utterly lacks the old world charm of the wonderful Vienna Konzerthaus (Preiser CD).

My own journey to appreciating Schoenberg was a rocky climb. My piano teacher (from age 9 to age 18) regarded Schoenberg as the Devil incarnate who ruined Western music. I also studied viola for a few years with a teacher who held Schoenberg in utter contempt. And my college girlfriend's viola teacher was Robert Gross (a Hindemith pupil), and he was no Schoenberg fan either. But in 1970 I heard Lorin Maazel & the New Philharmonia (on my first visit to Carnegie Hall) perform the Op. 31 Variations for Orchestra, and I was simply astonished at the work's power & genius. In general, I find Berg & Webern easier to listen to, but Schoenberg's music in sympathetic performances is quite simply superb.

Probably the easiest place to start is with Schoenberg's tonal works like Verklarte Nacht (try Stokowski's on a Bridge CD or the original sextet version by the Hollywood Quartet on Testament), his Chamber Symphonies (#1 with Scherchen on Tahra, and #2 with Prausnitz on EMI - see my review of the latter), and Gurrelieder (my favorite is still the old Leibowitz on Preiser CD, despite rough playing & mono sound - its wonderful singers included Richard Lewis and Ethel Semser). Unfortunately, my favorite performance of the marvelous "Pierrot Lunaire" (Semser with Leibowitz) is on a long-gone Westminster LP. The piano works are also very gratifying, especially as done by Steurermann (Columbia LP), Jacobs (Nonesuch CD), and Helffer (a superb Harmonia Mundi 3-CD set that also has piano pieces by Debussy & Bartok).

While the sound of this M&A set is saddled with often noisy originals (the best-sounding items are the ones taken from Dial LPs), the performances here are revelatory. Once heard several times, the Schoenberg string quartets are very nearly as accessible as Bartok's (although the latter's are resolutely tonal, and their over-all superiority is, to my ears, partly a function of greater rhythmic drive & folk music elements). The dreamy and haunting Quartet #2 is unique for its use of a soprano voice (excellently sung here). All in all, I still prefer the greater virtuosity of the Juilliard Quartet's magnificent 1950's set (with soprano Uta Graf) on wonderful-sounding mono Columbia LPs that disgracefully remain in LP limbo. But I DEFINITELY will keep these Kolisch readings. Likewise, I still prefer the Juilliard's recordings of the Bartok Quartets from 1950 (Pearl CD - see my review) & from 1963 (out of print Columbia LPs). The Juilliard's Schoenberg & Bartok cycles strike me as the very finest modern music quartet recordings ever made.

The Berg Lyric Suite here joins the extraordinary 1936 Galimir Quartet's (coupled on a Testament CD with Louis Krasner's greatest-ever Berg Violin Concerto, with the BBC Symphony conducted by Anton Webern) and the mono RCA LP version with the Juilliard as the work's finest-ever accounts. I have never heard Schoenberg's Violin Concerto sound so ingratiatingly like Berg's concerto as it is here with Kolisch & Leibowitz (despite rather poor sound and occasional slips by Kolisch - he was age 70!). And Bartok's solo violin sonata, played with the last mvt. microtone harmonics that were edited out by Menuhin (who commissioned it) is spellbinding, despite some rough playing (it reminds me of Enesco's mesmerizing Bach recorded when he was old and suffering from arthritis). The interview with Kolisch about this last work is fascinating.

If you have difficulty in digesting the 12-tone method, as many people do, here's a simple suggestion: buy or rent the DVD of Nicholas Ray's superb film "Rebel Without A Cause," starring the short-lived James Dean. It's visually brilliant (Ray's use of the color red is downright iconic) and the music, especially in the Planetarium sequence, is utterly riveting. The film's music was composed by Leonard Rosenman (pupil of Schoenberg & Sessions), and nearly the entire score is in the manner of Berg and Schoenberg! Gorgeous recorded excerpts from Rebel & Rosenman's score for East of Eden can be heard on a Nonesuch CD (see my review). Another illuminating resource is the 2002 book "Arnold Schoenberg's Journey" by Allen Shawn (available at Amazon).

This set's old sound will likely be of limited appeal to general listeners. But for collectors & specialists in this music, what is heard here will be an enduring source of wonder and inspiration.

Highly recommended to the curious few.

Jeff Lipscomb

Enescu, Bartók, Szymanowski: Works for Violin & Piano

Average customer rating:

A sensation nonetheless
Frolicking with Ida and Vladimir
Wow

Enescu, Bartók, Szymanowski: Works for Violin & Piano

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Polish | Languages | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B00004DTQT
Release Date: 2000-06-13

Tracks:

Mythes, Op.30: I La Fontaine d'Arethuse
Mythes, Op.30: II Narcisse
Mythes, Op.30: III Dryades et Pan
Violin Sonata No.3, Op.25: I Moderato malinconico
Violin Sonata No.3, Op.25: II Andante sostenuto e misterioso
Violin Sonata No.3, Op.25: III Allegro con brio, ma non troppo mosso
First Rhapsody: I Moderato
First Rhapsody: OO Allegretto moderato
Romanian Folkdances: I Stick Dance
Romanian Folkdances: II Sash Dance
Romanian Folkdances: III In One Spot
Romanian Folkdances: IV Dance Of Buchumi
Romanian Folkdances: V Romanian Dance
Romanian Folkdances: VI Fast Dance

Tracks:

Sonata In G Major, Op.30 No.3: I Allegro assai
Sonata In G Major, Op.30 No.3: II Tempo di minuetto
Sonata In G Major, Op.30 No.3: III Allegro vivace
Sonatina In G Minor, D408: I Allegro giusto
Sonatina In G Minor, D408: II Andante
Sonatina In G Minor, D408: III Allegro vivace
Sonatina In G Minor, D408: IV Allegro moderato
Waltz, Op.39 No.15
Tambourin chinois, Op.3
Schon Rosmarin
Zapateado, Op.23, No.2
Hebrew Melody
Scherzo tarantelle, Op.16
Malaguena, Op.71 No.6
Danza No.1 From la vida breve
Notturno e Tarantella, Op.28: Notturno
Notturno e Tarantella, Op.28: Tarantella
Roxane's Song From King Roger
Romanian Folkdances: I Joc cu bata
Romanian Folkdances: II Braul
Romanian Folkdances: III Pe loc
Romanian Folkdances: IV Buciumeana
Romanian Folkdances: V Poarga romanesca
Romanian Folkdances: VI Maruntel

Amazon.com

The new CD was recorded and issued to celebrate the 75th birthday of a legendary violinist who has never become a mainstream superstar. As Haendel's early recordings--like the ones on the bonus CD included here, or the concerto recordings on Testament--demonstrate, she has long been a patrician interpreter of the highest musical and technical standards. In fact, she may be a shade too patrician for some of the repertoire on this recording. With Ashkenazy in uncommonly vigorous and assertive form, Haendel, although always in command of the music and her instrument, doesn't play these mostly folk-based Eastern European showpieces with the kind of flair they invite. She is always sensible and never exactly sleepy, but her Enescu, for example, is much more polite than Menuhin's. The bonus CD, though, despite showing its age and mild lingering effects of Decca's noisy 78s pressings, gives us a more powerful, exciting Haendel, and it's worth more than the asking price of the set. --Leslie Gerber

Customer Reviews:

A sensation nonetheless.......2003-12-07

Dependent upon what "mainstream" in the editorial review stands for - if that means Elman, Oistrakh, Perlman: the most selling violinists in the biggest market, Haendel is indeed off the mainstream. Otherwise, the more selling, the more they are off the mainstream instead, as most of the cases turn out to be.

But Haendel in this case did make it clear that she herself was not happy with the record. The causes? There are quite a number of them. Ashkenazy is a celebrity and he is selling. But is he the right partner for her for this repertiore? Could Eschenbach or even Zimmermann be a better choice? Would we have something quite different if this record comes out a decade or two ( or even three) earlier...?

In any event, not many of us are equally familiar with these pieces and so to many of us, they are fresh and appealing like nothing else. Haendel is still deservingly the Queen of the Violin, and hopefully Ashkensazy is as selling as ever.

Recommended for those who relish either Eastern Europe music or the drama and lyricism of Haendel's playing, or both.

Frolicking with Ida and Vladimir.......2000-08-04

Nearly a generation before Glenn Gould's towering 1955 recording of the Goldberg variations, Ida Haendel had recorded Beethoven, Schubert, Brahms, Kreisler and others on Decca. About a generation after Gould's 1982 swansong reprise of the Goldbergs, Ida Haendel was still firing on all eight cylinders (or was it four? Her birth year is variously reported as 1928 and 1924). This 2-CD set captures important fragments from both the early and more recent stages of this remarkable career.

Ida Haendel was wisked out of Poland by her parents in 1939, landed in London, studied with Carl Flesch and Henryk Szering and others, and by Henry Roth's count produced 83 phonograph records. On the first disk here, Ms. Haendel is graciously accompanied by superstar Vladimir Ashkenazy, who is especially exuberant and in top form technically as well. The two quite obviously had a fine old time frolicking together through Eastern European music by Enescu, Bartok and Szymanowski. The second disk, an extraordinary bonus, is a bit scratchy at times, but Haendel's youthful virtuousity is clearly revealed through the haze.

Wow.......2000-07-30

I just got this CD yesterday and am still listening and absorbing, but it has to be said that the bonus CD is truly remarkable, while the Haendel/Ashkenazy coupling in Szymanovsi's "Mythes" is stunning...very heroic and convincing music making done by both artists.

Average customer rating:

Historic Violin Recording
Violin History in Sound -- Always Interesting
A Valuable Item to Collect

Recorded Violin, Vol. ll

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Polish | Languages | Opera & Vocal | Styles | Music
Similar Items:

The Recorded Violin, Vol.1

ASIN: B000003Z3O
Release Date: 1993-01-21

Tracks:

5th Sonata: (Prelude) Adagio
'Pugnani': Praeludium - Allegro
Romance - Danse champretre
Carneval Russe
Waltz In A Flat , Op. 39 - 15
Hejre Kati Op. 32
Petite Suite: En Bateau
Hungarian Dance No. 8 In A Major
Spohr - Larghetto (Duet, Op. 67 - 2)
Slavonic Dance Op. 72 - 2
'FAE' Sonata: Scherzo
1st Sonata, BWV 1001: Fugue
2nd Concerto, Op. 11: Romance
Valse - Scherzo, Op. 34
Vocalise, Op. 34 - 14
3rd Partita, E Major BWV 1006: Two Minuets
Sonata, Op. 91: Andante - Sostenuto
Reve d'Enfant Op. 14
Hungarian Dance No. 4 In F Minor

Tracks:

Gavotte
Sonata, 3 In C Minor, Op. 45: Allegretto
Suite In C Minor: Air
Geister Tanz - Molto Perpetuo
'Nel cor piu' Varns.
Scherzo - tarantelle, Op. 16
Deux Minutes de Jazz
Rumanian Folk Dances
Polonaise brillante, Op. 4
Tzigane
Andante
La Vida breve: Spanish Dance
Andante Religioso, Op. 70
King Roger: Chant
La Ronde des Lutins, Op. 25
Caprice No. 20 In D Major
Nocturne No. 1, Op. 5 - 1
Grave
O Canto

Tracks:

Pugnani: Praeludium - Allegro
Orfeo: Melodie
Burleska, Op. 17 - 4
Ballade In D Minor, Op. 15
'Carmen' Fantasy: Fantasy (Based Bizet)
Caprice Basque, Op. 24
Nocturne In E Flat
Rondino Op. 32 - 2
Mazurka, Op. 11 - 3
The Violin Maker Of Cremona: Intermezzo
Canzonetta, Op. 6
Souvenir
Variations Op. 33 - 1
Schon Rosmarin
Hora Staccato
Danza Espanola
Hungarian Folk Tunes
Petrushka: Russian Dance

Customer Reviews:

Historic Violin Recording.......2005-07-29

Although interesting from an historical point of view, I found these CD's almost unlistenable due to the quality of the recordings (old). There is also an unrelenting hiss in the background.

Violin History in Sound -- Always Interesting.......2005-03-27

It's always interesting to listen to old violin recordings. You
get violin history in sound bytes and can hear for yourself how
violin playing has developed. You can also see how fiendishly difficult violin playing can be even for the best representatives of their respective eras. But was it really fair
to the rest of the pack to include Fritz Kreisler? Once he arrives on the scene everyone else becomes a dark backdrop to his
effulgence. Even the modern violinists included suffer in comparison when all he did in this collection was to play one of his trifling ditties. The suavity of his performance make so many others sound like mechanical creaking engines. I would buy this just for historical reasons, though I already own most of the 78s already. Notably missing in this collection are Mischa Elman, Max Rosen, Efrem Zimbalist, Jacques Thibaud and many others. Vasa Prihoda, Tossy Spivakovsky, Ruggiero Ricci, Oistrakh the elder, and Zino Francescatti complete Kreisler's court and are worthy to bear his arms in this set. Buy it before it goes OOP.

A Valuable Item to Collect.......2001-03-10

This is an extremely valuable recording for anyone interested in the different schools of violin playing in the early 20th century. So many violinists are represented and it is awe-inspiring to realise you are listening to the great masters! The program notes by Tully Potter are very detailed and they make very interesting and informative reading, with equal dedication to each violinist (some smaller names are included with the bigger ones). On the down side, there are problems with some of the noisiness of the actual recording, but that is to be expected with such old material. I think some of the performances don't carry well in the recording process - seeing these people perform would have been very different. Nevertheless it makes for thought-provoking on how performance practices and styles have changed in such a short amount of time. I thoroughly recommend this historical document.

Average customer rating:

3 stars for classical buffs, 5 for beginners!
3 stars for classical buffs, 5 for beginners!

300 Years of Classical

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000000K8A
Release Date: 1995-04-16

Tracks:

Canon In D Major - Stuttgart Chamber Orchestra
Sarabande, Giga And Badinerie - The Soloists Of Zagreb
Adagio In G Major - Garcia Navarro
Tpt Voluntary - Frank Shipway
Spring (Allegro, Largo, Allegro) - Rainer Kussmaul
Toccata And Fugue In D Minor BWV 565 - Hans-Christoph Becker-Foss
Air - Hans-Christoph Becker-Foss
Overture-Peace - Slovak Philharmonic Orchestra
Allegro-Air-Hornpipe - Slovak Philharmonic Orchestra
(Andante, Allegro Di Molto) - Slovak Philharmonic Orchestra
Menuet In a - PCO Zagreb/Tonko Ninic

Tracks:

Allegro - Slovak Philharmonic Orchestra
Andante - Svetlana Stanceva
Allegro Con Brio - Anton Nanut
Adagio Sostenuto - Josef Bulva
Final Chorus 'Ode To Joy' - William Bolden
Overture William Tell - Alfred Scholz
Waltzes: Op. 9 - Peter Schmalfuss
'Unfinished': Allgro Moderato - Anton Nanut
'The Trout': Thema Con Variazioni - Casper da Salo Quintet

Tracks:

Wedding March - A Midsummer Night's Dream - Alfred Scholz
Raindrop Prelude - Ida Cernicka
Nocturne #2 - Peter Schmalfuss
Allegro Vivace - Marian Lapsansky
Love Dream - Josef Bulva
- The Valkyrie - Southwest Studio Orchestra
La Traviata - Nuremburg Symphony Orchestra
The Moldau - Libor Pesek
The Blue Danube - Vienna Opera Orchestra
Hungarian Dances - Louis Ablazzo
Les Toreadors - Loic Bertrand
Nutcracker Suite - Alberto Lizzo

Tracks:

Largo - Slovak Philharmonic Orchestra
Solveig's Air - Libor Pesek
Tosca - Alander Von Pitamic
Moonlight - Peter Schmalfuss
Prelude In C Sharp Minor - Sylvia Capova
The Planets - Venus - Symphonic Orchestra Berlin
Transfigured Night - Martin Sieghart
Bolero - RSO Ljubljana
Love The Magician - Anton Nanut
Allegro Barbaro - Bianca Sitzuis
The Rite Of Spring - Philharmonic Orchestra
Rhapsody In Blue - Libor Pesek

Customer Reviews:

3 stars for classical buffs, 5 for beginners!.......2002-12-08

I bought this collection several years when I was just starting out my classical collection and have since replaced a good portion of the pieces with more complete works.

Connoisseurs probably won't find much here: the performances are mostly quite good, but not inspiring.

For beginners, though, interested in getting started in the wonderful world of classical music, this is a great value: an amazing range of music for just a terrific price. Recommended.

3 stars for classical buffs, 5 for beginners!.......2002-12-08

I bought this collection several years when I was just starting out my classical collection and have since replaced a good portion of the pieces with more complete works.

Connoisseurs probably won't find much here: the performances are mostly quite good, but not inspiring.

Tracks:

Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': l. Allegro
Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': ll. Adagio molto espressivo
Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': lll. Scherzo: allegro molto
Sonata For Piano And Violin No. 5 In F, Op. 24 'Spring': lV. Rondo: allegro ma non troppo
Sonata For Piano And Violin No. 1 In G Major, Op. 78: l. Vivace ma non troppo
Sonata For Piano And Violin No. 1 In G Major, Op. 78: ll. Adagio
Sonata For Piano And Violin No. 1 In G Major, Op. 78: lll. Allegro molto moderato
Sonata For Piano And Violin No. 3 In D Minor, Op. 108: 1. Allegro
Sonata For Piano And Violin No. 3 In D Minor, Op. 108: ll. Adagio
Sonata For Piano And Violin No. 3 In D Minor, Op. 108: lll. Un poco presto e con sentimento
Sonata For Piano And Violin No. 3 In D Minor, Op. 108: lV. Presto agitato

Tracks:

Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: l. Allegro moderato
Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: ll. Scherzo - Trio (Presto)
Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: lll. Andantino
Sonata (Duo) For Violin And Piano In A Major Op. Post. 162 D 574: lV. Allergo vivace
Variations On The French Song 'La bergere Celimene' In G Major K 359 - 374a: Thema. Allegretto - Variations l - Xll
Piano Trio In B Flat Major Op. 99 D 898: l. Allegro moderato
Piano Trio In B Flat Major Op. 99 D 898: ll. Andante un poco mosso
Piano Trio In B Flat Major Op. 99 D 898: lll. Scherzo. Allergo molto - Trio
Piano Trio In B Flat Major Op. 99 D 898: lV. Allegro vivace - Presto

Tracks:

Violin Concerto In A Minor, Op, 53, B 108: Allergro ma non troppo
Violin Concerto In A Minor, Op, 53, B 108: Adagio ma non troppo
Violin Concerto In A Minor, Op, 53, B 108: Finale: allegro giocoso
Sonata For Violin And Piano No. 2 In G Major, Op. 13: Lento doloroso - Poco allegro - Allegro vivace
Sonata For Violin And Piano No. 2 In G Major, Op. 13: Allegretto tranquillo
Sonata For Violin And Piano No. 2 In G Major, Op. 13: Allegro animato
Violin Concerto In A Minor Op. 82: Moderato - attaca
Violin Concerto In A Minor Op. 82: Andante sostenuto- attaca
Violin Concerto In A Minor Op. 82: Allegro

Tracks:

Sonata For Violin And Piano No. 1, Op, 21, Sz. 75: Allegro appassionato
Sonata For Violin And Piano No. 1, Op, 21, Sz. 75: Adagio
Sonata For Violin And Piano No. 1, Op, 21, Sz. 75: Allegro
Hungarian Folksongs: No. 28. Parlando (Feher Lazslo); No. 18. Andante non molto (Nagyvaradi kikotobe): No. 42 Allegro vivace (Hazasodik a tucsok); 33. Andante sostenuto (Csillagok, scillagok szepen ragyokjatok); No. 38. (Tiz litero bennem van)
Hungarian Folksongs: No. 28. Parlando (Feher Lazslo); No. 18. Andante non molto (Nagyvaradi kikotobe): No. 42 Allegro vivace (Hazasodik a tucsok); 33. Andante sostenuto (Csillagok, scillagok szepen ragyokjatok); No. 38. (Tiz litero bennem van) (Cont.)
Hungarian Folksongs: No. 28. Parlando (Feher Lazslo); No. 18. Andante non molto (Nagyvaradi kikotobe): No. 42 Allegro vivace (Hazasodik a tucsok); 33. Andante sostenuto (Csillagok, scillagok szepen ragyokjatok); No. 38. (Tiz litero bennem van) (Cont.)
Sonata for Violin and Piano: Allegretto
Sonata for Violin and Piano: Blues
Sonata for Violin and Piano: Perpetuum mobile
Tzigane: Lento - Moderato - Allergo

Tracks:

Violin Concerto No.1 In D Major Op. 19: Andantino - andante assai - Prokofiev
Violin Concerto No.1 In D Major Op. 19: Scherzo. Vivacissimo - Prokofiev
Violin Concerto No.1 In D Major Op. 19: Moderato - Allegro moderato: Moderato - Piu tranquillo - Prokofiev
Five Melodies For Violin And Piano Op. 35b: Andante - Prokofiev
Five Melodies For Violin And Piano Op. 35b: Lento, ma non troppo - Prokofiev
Five Melodies For Violin And Piano Op. 35b: Animato, ma non allegro - Prokofiev
Five Melodies For Violin And Piano Op. 35b: Allegretto leggero e scherzando - Prokofiev
Five Melodies For Violin And Piano Op. 35b: Andante non troppo - Prokofiev
Sonata For Violin And Piano No. 1 In F Minor Op. 80: Andante assai - Prokofiev
Sonata For Violin And Piano No. 1 In F Minor Op. 80: Allegro brusco - Prokofiev
Sonata For Violin And Piano No. 1 In F Minor Op. 80: Andante - Prokofiev
Sonata For Violin And Piano No. 1 In F Minor Op. 80: Allegrissimo - Andante assai, come prima - Prokofiev

Tracks:

Violin Concerto No. 1, Op. 77 In A Minor: Nocturne: moderato
Violin Concerto No. 1, Op. 77 In A Minor: Scherzo: allegro
Violin Concerto No. 1, Op. 77 In A Minor: Passacaglia: andante - cadenza; Burlesque: allegro con brio
Violin Concerto in D minor: Allegro con fermezza
Violin Concerto in D minor: Adante sostenuto
Violin Concerto in D minor: Allegro vivace

Customer Reviews:

The voice of God, but this one's for the fans..........2004-01-22

This is not a first Oistrakh CD to get but it offers a great series of alternate recordings for the Oistrakh collector like me.

Many of these performances are recorings of Czech radio broadcasts and performances taped live at the hall he was playing, ranging from as early as 1947 and to as late as 1972, therefore the sound quality is less than desireable but the playing is always warm and gorgeous and full of red hot expression and offers a great series of alternate recordings for the Oistrakh collector like me. This is therefore not a first Oistrakh CD to get if you are a beginning collector. I would recommend instead getting the box set labelled "The Oistrakh Collection" or "David Oistrakh Edition" if you can find it. For more suggestions, click on my profile and look into my Oistrakh and favorite violin cds listmania lists.

It is my opinion Mr Oistrakh hit his artistic peak around 1954 when also the sound quality of his recordings improved drastically and he was able to acquire the violins he desired: notably the Conte di Fontana Strad he the later traded for the Marsick Strad (in June 1966), which he played until his death. Also notable is SOME of the music of his time that was written for him is included in this disk: two Shostakovich Concertos, the Khachaturian Concerto, the Miakovsky Concerto, and his direct involvement with the writing of Prokofiev's first violin Sonata.

I am the biggest of Oistrakh fans, he has been my favorite violinist for many years and I will continue to listen to and collect his recordings the rest of my life.

His sound is so incredible and expressive I can only describe it as the voice of God with and infinite expression and beauty: his tone is complete and golden even in the oldest and most dated recordings. His vibrato is so expressive as he is able to vary the speed and width to match exactly what the music needs without smothering it with too much sweetness. He is also able to handle the most difficult technical difficulties with ease and makes even the most difficult pieces seem effortless and natural. If you read his biography by his son Igor you know he was influenced by Kreisler and has great tone with great musicality and no limitations of technique.

We should feel licky to have these recordings available and I hope for more of the same, an artist of this caliber produced timeless beauty that will be admired for generations to come. Truly this is the standard of how the violin should be played!

David Oistrakh Endures.......2003-11-05

Someone remarked (I've forgotten where) that David Oistrakh's violin playing shows nothing but humility and respect towards each composition. I agree. And if you grounds for the argument, then listen to these recordings. The violin, so full of color and charm, tempts the violinist to add a little extra here or there just to prove to the world how damn romantic and expressive he can be. Others, afraid of the violin's power, become Stoics, toning down each note and foregrounding technique as though they really can be master and impose order on such an intractable instrument. But after awhile, or perhaps five minutes, the Romantic and the Stoic show how little enduring imagination they have. Oistrakh refuses either extreme, choosing maturity instead. Never cloying, never distant, he is honest, and this Soviet era artist reveals plenty about a time and place that most Americans do not understand. I'll listen to these recordings over and over and regret that I was born too late and in the wrong country to ever hear him play.

Average customer rating:

Essential For Mengelberg Fans

The Live Radio Recordings (Box Set)

Manufacturer: Nm Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

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

Classical | Box Sets | Stores | Music
ASIN: B00005228R
Release Date: 2000-11-21

Customer Reviews:

Essential For Mengelberg Fans.......2005-04-16

This 10-CD box set (plus a bonus 17 minute DVD) is a treasure trove of "live" performances 1938-1944 by one of the last century's greatest conductors. Unfortunately, it comes with a pretty stiff price tag of nearly $20 per CD. With excellent transfers of Mengelberg's studio recordings now available on budget labels like Naxos for around $7 each, that's a rather steep tariff. I happened to get lucky and found a copy at a discount outlet for around $60. But irregardless of price, this is a magnificent set for admirers of the Dutch conductor's unique style of music making. Many items here were never recorded by Mengelberg in the studio, and some of these are world premiere performances. I have owned most of these selections on earlier LP issues but, without exception, these transfers are the finest ever. Incidentally, two items here (the Mahler 5th Adagietto and Strauss's Death & Transfiguration) are definitely studio recordings.

Amazon has not included a listing of this set's contents. So here is a cursory digest, with recording dates and a few comments on the performances:

CD 1 has Weber's "Oberon" Overture (1940), Beethoven's Emperor Concerto with Cor de Groot (1942), Mahler's "Songs of A Wayfarer" with baritone Hermann Schey (1939), and the Adagietto from Mahler's 5th (1926). These are all classic readings: a brilliant Oberon, one of the finest-ever Emperors (de Groot also made an excellent studio recording with Otterloo on an Epic LP that deserves to be on CD), and an important Mahler conductor's only recorded accounts of the Wayfarer and the Adagietto. The latter is my all-time favorite reading (it is also available on some budget labels). I still prefer Fischer-Dieskau & Furtwangler in the Wayfarer Songs (EMI).

CD 2 has the Bach Cantata BMW 202 (1939: the CD jacket indicates this is a studio reading, but it sounds live to me), some Schubert choral items from Rosamunde, etc. (1940), and the Brahms 3rd Symphony (1944). The Bach is excellent, although its romantic styling is probably an acquired taste. The Schubert is lovely, but I still prefer Fritz Lehmann's rendering (DG - see my review). This great Brahms 3rd is similar to the 1932 studio recording, but the latter has more immediate recorded sound in Pearl's superb CD transfer (the Naxos issue is guilty of too much noise suppression).

CD 3 has three Mozart items from 1942 - the "Magic Flute" Overture, the 2nd Flute Concerto with Hubert Barwahser, and an aria K. 528 with soprano Ria Ginster - plus Bruch's 1st Violin Concerto with Guila Bustabo (1940 - greatest performance I've ever heard), Grace Moore singing "Un bel di vedremo" from Puccini's Madame Butterfly (1936 - Mengelberg's accompaniment is drenched in lovely portamento), and a Moore encore (Pestalozza's "Ciribiribin" with pianist Gibner King - a rather odd inclusion).

CD 4 has a largely uninteresting overture by Wagenaar (1940), Chopin's 2nd Piano Concerto with Theo van der Pas (no rival to the wonderful Askenase/Lehmann account on DG - see my review), and Tchaikovsky's 5th Symphony (1939 in rather poor sound).

CD 5 features Bach's 1st Harpsichord Concerto with pianist Agi Jambor (1939, identified as a studio recording), Kodaly's "Hary Janos" Suite (1940), and the Brahms Violin Concerto with the orchestra's young concertmaster Herman Krebbers (1943). The Bach is a little heavy compared to my favorites: Sviatoslav Richter & Vaclav Talich (Artia LP) and Suzanna Ruzickova with Gyorgy Lehel (Crossroads LP). The Kodaly is simply brilliant: to my taste, only Fricsay (DG) comes close. The Brahms is beautifully conducted, but Krebbers is a rather neutral soloist.

CD 6 has a dramatic Beethoven "Egmont" Overture (1943) and two must-have 1939 world premieres: Bartok's 2nd Violin Concerto with Zoltan Szekely, and Kodaly's "Peacock Variations." The Bartok is sublime (I even weeded my Menuhin/Furtwangler after hearing this one). And the Kodaly is really stupendous - it's amazing how effectively Mengelberg grasped this music right out of the gate.

CD 7 is another real winner: a staggering Wagner "Tannhauser" Overture (1940), Walter Gieseking in Debussy's Fantasy for Piano & Orchestra (THE one to have!), the 2nd Suite from Ravel's "Daphnis et Chloe" (extraordinary!), and delightfully spunky selections from "La Damnation de Faust" by Berlioz.

CD 8 has another goldmine: Grieg's 1st "Peer Gynt" Suite (1943), a profoundly beautiful reading of Bloch's Violin Concerto with Joseph Szigeti (1939), and one of the all-time great accounts of the Strauss "Death & Transfiguration" (1942 studio).

CD 9 has Beethoven's 9th (1938) in a performance of immense personality. It's quite similar to his live 1940 account (both have a gorgeous Adagio), but I think I prefer this one despite the rather noisy transcription discs. While not on the lofty plateau of Weingartner (Opus Kura) and various Furtwanglers, this 9th features some awesome playing, despite Mengelberg's utterly weird slow-down in the final measures.

CD 10 has Mengelberg's celebrated 1939 Mahler 4th in the best transfer I've heard. Some of the ritards in the first mvt. have to be heard to be believed, but otherwise this 4th is one of the greatest-ever accounts.

The bonus DVD was filmed in France in 1931, with a studio set disguised to look like the Concertgebouw. It has another Oberon Overture, the Adagietto from Bizet's "L'Arlesienne," and the Berlioz Hungarian March. Much of this can also be seen on the Teldec video "The Art of Conducting."

All in all, this set may be on the pricey side, but the performances it contains are truly priceless.

Highly recommended.

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