Symphonies 1-9 Complete

On this CD:

1. Symphony No. 1 in C major, Op. 21
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

2. Symphony No. 3 in E flat major ("Eroica"), Op. 55
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

3. Symphony No. 7 in A major, Op. 92
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

4. Symphony No. 2 in D major, Op. 36
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

5. Symphony No. 6 in F major ("Pastoral") Op. 68
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

6. Symphony No. 4 in B flat major, Op. 60
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

7. Symphony No. 8 in F major, Op. 93
Composed by Ludwig van Beethoven
Performed by Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

8. Symphony No. 9 in D minor ("Choral") Op. 125
Composed by Ludwig van Beethoven
Performed by Jean Glennon, Algirdas Janutas, Dalia Schaechter, Benno Schollum, Sinfonia Varsovia
Conducted by Sir Yehudi Menuhin

Editorial Reviews
Amazon.com
Dreadful. Yehudi Menuhin's career as a conductor has had its ups and downs, and this set is definitely a "down." These performances are completely lacking in character, indifferently played, and very poorly recorded from live concerts. What possibly motivated this label to release them is anyone's guess. Presumably Menuhin's fans in the U.K. will enjoy them, but for the rest of us, this set is a nonstarter. --David Hurwitz

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto & Trio: Allegro Molto E Vivace
IV: Adagio - Allegro Molto E Vivace
I: Allegro Ma Non Troppo
II: Andante Molto Mosso
III: Allegro - In Tempo D'allegro - Tempo I
IV: Allegro
V: Allegretto

Tracks:

I: Allegro Con Brio
II: Marcia Funebre: Adagio Assai
III: Scherzo & Trio: Allegro Vivace
IV: Finale: Allegro Molto - Poco Andante - Presto
Gross Fuge

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Larghetto
III: Scherzo & Trio: Allegro
IV: Allegro Molto
I: Allegro Con Brio
II: Andante Con Moto - Piu Mosso - Tempo I
III: Allegro -
IV: Allegro - Presto

Tracks:

I: Adagio - Allegro Vivace
II: Adagio
III: Menuetto: Allegro Vivace - Trio: Un Poco Meno Allegro
IV: Allegro Ma Non Troppo
I: Poco Sostenuto - Vivace
II: Allegretto
III: Presto - Assai Meno Presto
IV: Allegro Con Brio

Tracks:

I: Allegro Vivace Con Brio
II: Allegretto Scherzando
III: Tempo Di Menuetto
IV: Allegro Vivace
Overture
Overture
Overture
Overture

Tracks:

I: Allegro Non Troppo, Un Poco Maestoso - Christa Ludwig
II: Molto Vivace - Presto - Christa Ludwig
III: Adagio Molto E Cantabile - Andante Moderato - Christa Ludwig
IV: Presto - Recitativo - Allegro Assai - Alla Marcia - Christa Ludwig
Overture - Christa Ludwig

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro Scherzando
I: Allegro Con Brio
II: Adagio
III: Rondo: Molto Allegro

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro
I: Allegro Moderato
II: Andante Con Moto
III: Rondo: Vivace

Tracks:

Fantasia For Piano, Chorus And Orchestra
I: Allegro
II: Adagio Un Poco Mosso -
III: Rondo: Allegro

Amazon.com essential recording

Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permit more detail to be heard than in most original-instrument performances. At budget price and with the entire piano concerto cycle thrown in for good measure, this is greatness incarnate. --David Hurwitz

Customer Reviews:

Great Performance.......2007-07-07

There are many different ways to perform Beethoven and each one is valid.
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!

Great Analog Beethoven Cycle.......2007-05-07

This Klemperer cycle is just one of a dozen or so GREAT analog Beethoven symphony cycles that were recorded during Analog's golden age starting about 1958. These cycles are easily a match for digital and they should still be around for another 1,000 years, if the Lord tarries. These sets include: Karajan (twice, early 60s and late 70s) Bohm, Krips, Jochum, Bruno Walter, Leinsdorf, Rene Leibowitz, Szell, Ormandy, Bernstein, Steinberg, and Solti. This morning I listened to the Klemperer recordings of Beethoven's symphonies 5, 6, & 7. Very enjoyable, I got my Beethoven RDA fix.

Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.

You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).

Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!

An essential collection.......2007-04-25

How best to describe Otto Klemperer's perspective on Beethoven's symphonies: grand, heroic, intense, insightful, stubborn, obstinate, detailed, dramatic, monumental, granitic, deeply emotional, never sentimental. This boxed set of the complete symphonies and concerti embodies all of these elements as stands as one of the great achievements of recorded music.

These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).

By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.

Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.

You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.

That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.

Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.

As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.

Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.

The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.

The best value in classical music on CD at the moment..........2007-01-02

What is the best value in classical discs available today ? Who knows, but I defy anyone to beat the EMI compilation of Klemperer' recordings of the complete Beethoven Symphonies, Piano Concertos (with Barenboim), several overtures the Choral Fantasia etc etc. 9 discs for only $44 ( well that was the price I paid). You have got to be kidding... I only had two concerns with buying this. First on the age of the recordings, all more than 40 years old. No worry at all. This is a masterpiece of reconstruction. The sound quality indistinguishable from any modern recording. Secondly , the performances themselves. I had been warned that Klemperer notoriously chose rather slow tempi. Again I needn't have worried. I immediately went to the slow movements of the 2nd piano concerto and the fourth symphony, where many slow tempists have in the past come unstuck. The piano concerto was an absolute revelation. The combination of the youthful Barenboim and the Philharmonia's masterful playing time and gain had me on the edge of my seat. " Yes,go on, well...." Slow it may have been. Boring, never. The same applies in spades to the slow movement of the fourth. Right from the eerie opening, which is yes, very slow indeed, I knew this movement would be a revelation and I can honestly say I have never hear it better played. Follow this with a scherzo bounding in energy and thumping finale and you will never get a better performance of this, one of Beethoven's "lesser" symphonies. And I haven't even got round to the "biggies" yet! The box set looks unattractive and the portrait of Klemperer makes him appear a first class nerd. Pay absolutely no attention to this....

Wonderful Performances.......2006-04-07

I have admittedly not made it through the entire set as of yet, but feel sufficiently blown away by the First Symphony and the Eroica - particularly the second movement of the latter - to weigh in here. With respect to the tempo issue, I must - at least so far - argue in favor of Klemperer's decision to slow things down a bit. I think the effect is, as someone else has observed, a clearer and more visceral experience of Beethoven's composition. It brings out the feeling. The sound comes up a little short on the low end, but it isn't a major distraction. My only problem lies in EMI's inexplicable lack of any discussion of the performances. The notes are bland, dry descriptions of the pieces themselves, with some basic history thrown in. Given the fact that there are probably hundreds of different CDs of Beethoven's symphonies out there, all with similar explanatory notes, it is infuriating that nothing is said about these particular performances. This is in contrast with the EMI Bach set (with Yehudi Menuhin) in which there is a wonderful essay that discusses Menuhin's work in historical context.

Beethoven Collection: Symphonies Nos. 1-9, Complete Recording (Box Set)

Average customer rating:

Beethoven Collection
Amazing!
An excellent introduction to beethoven's symphonies.
Beethoven Collection
Top music!

Beethoven Collection: Symphonies Nos. 1-9, Complete Recording (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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25 Mozart Favorites
25 Tchaikovsky Favorites
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25 Beethoven Favorites

ASIN: B000001VVY
Release Date: 1990-10-25

Tracks:

Symphony No. 5 Op. 67 C Minor: Allegro con brio
Symphony No. 5 Op. 67 C Minor: Andante con motto
Symphony No. 5 Op. 67 C Minor: Scherzo - Allegro
Symphony No. 5 Op. 67 C Minor: Finale - Allegro
Symphony No. 4 Op. 60 B Flat Major: Adagio - Allegro vivace
Symphony No. 4 Op. 60 B Flat Major: Adagio
Symphony No. 4 Op. 60 B Flat Major: Menuetto, Allegro vivace Trio: un poco meno allegro
Symphony No. 4 Op. 60 B Flat Major: Allegro ma non troppo

Tracks:

Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Allegro con brio
Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Marcia funebre. Adagio assai
Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Scherzo-Allegro vivace
Symphony No. 3 Op. 55 E Flat Major, 'Eroica': Finale-Allegro molto
Symphony No. 8 Op. 93 F Major: Allegro vivace e con brio
Symphony No. 8 Op. 93 F Major: Allegretto scherzando
Symphony No. 8 Op. 93 F Major: Tempo di menuetto
Symphony No. 8 Op. 93 F Major: Allegro vivace

Tracks:

Symphony No. 6 Op. 68 F Major: Allegro ma non troppo
Symphony No. 6 Op. 68 F Major: Andante molto mosso
Symphony No. 6 Op. 68 F Major: Allegro
Symphony No. 6 Op. 68 F Major: Allegro
Symphony No. 6 Op. 68 F Major: Allegretto
Symphony No. 2 Op. 36 D Major: Adagio molto - Allegro con brio
Symphony No. 2 Op. 36 D Major: Larghetto
Symphony No. 2 Op. 36 D Major: Scherzo Allegro
Symphony No. 2 Op. 36 D Major: Allegro molto

Tracks:

Symphony No. 7 Op. 92 A Major: Poco sostenuto - vivace
Symphony No. 7 Op. 92 A Major: Allegretto
Symphony No. 7 Op. 92 A Major: Presto - Assai meno presto
Symphony No. 7 Op. 92 A Major: Allegro con brio
Symphony No. 1 Op. 21 C Major: Adagio molto - Allegro con brio
Symphony No. 1 Op. 21 C Major: Andante cantabile con moto
Symphony No. 1 Op. 21 C Major: Menuetto (Allegro molto e vivace)
Symphony No. 1 Op. 21 C Major: Finale Adagio - Allegro molto e vivace

Tracks:

Symphony No. 9 Op. 125 In D Minor: Allegro ma non troppo, un poco maestoso - Beethoven
Symphony No. 9 Op. 125 In D Minor: Molto vivace - Beethoven
Symphony No. 9 Op. 125 In D Minor: Adagio molto e cantabile - Beethoven
Symphony No. 9 Op. 125 In D Minor: Presto - Allegro assai - Beethoven

Customer Reviews:

Beethoven Collection.......2007-05-14

I just got this for my brother-in-law as a gift and he loves it!

Amazing!.......2007-01-24

Having Beethoven's Symphonies in one, very affordable, set is heaven! The recordings are clear and crisp. Each symphony is truly a masterpiece from the very soft tones of the woodwinds to the thundering sounds of horns. It is amazing to listen to certain passages of Beethoven and realize the genius and otherworldliness of his talent.

An excellent introduction to beethoven's symphonies........2007-01-11

The sound is excellent, and the musicianship and conducting is excellent.

Beethoven Collection.......2006-07-23

Beethoven is my favorite composer. No matter how upset or tired I am, his music calms me down, just like a big, gentle hug.
But the cheap CDs have poor quality. And the good ones are too expensive for me. When I found this collection, with such a good price on Amazon.com, I couldn't believe it. Shortly after I purchased it, I received it. The quality is great. I am enjoying it. Thank you

Hoda

Top music!.......2006-07-19

Everything else you can get over, but classical music like Beethoven is stuff you just can't get sick of. A whole collection of Beethoven's Symphonies for such a small price, Wow!. Classical music is so relaxing and peaceful that you can't go wrong with spending time chillin out to this pure classic. The symphonies are great but after this you've got to go get the sonata's etc and I guarantee you won't be dissapointed!

Think about it, they don't call it classical for nothing.

Average customer rating:

Groundbreaking but partly outdated
Outstanding Mahler Compilation
Bernstein or Tennstedt: read on....
Comparing the two Bernstein Mahler cycles
Mahler complete symphonies.

Mahler: The Complete Symphonies
Dame Janet Baker , Jennie Tourel , Lili Chookasian , Martha Lipton , Israel Philharmonic Orchestra , New York Philharmonic , Hans Vollenweider , Adele Addison , Dame Gwyneth Jones , Erna Spoorenberg , Lee Venora , Lucine Amara , Reri Grist , John Mitchinson , and Richard Tucker
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mendelssohn: 5 Symphonies; 7 Overtures
Schubert: 8 Symphonies
Bruckner: The Complete Symphonies
Johannes Brahms: The Symphonies
Dvorák: The Symphonies

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

Sym No.1 in D 'Titan': Movt I: Langsam. Schleppend. Wie Ein Naturlaut - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Immer Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Sehr Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt I: Vorwats Dragend - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Kraftig Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Trio. Recht Gemachlich - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt II: Tempo Primo - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Feierlich Und Gemessen, Ohne Zu Schleppen - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: A Tempo. Ziemlich Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Sehr Einfach Und Schlicht Wie Eine Volksweise - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt III: Weider Etwas Bewegter, Wie Im Anfang - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Gesangvoll - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Wie Zu Angang. Sturmisch Bewegt - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.1 in D 'Titan': Movt IV: Wieder Vorwarts Drangend - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Andante Come Prima - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo (Fliessend) - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 104 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': Measure 194 - New York Phil/Leonard Bernstein
Sym No.10, 'Adagio': A Tempo - New York Phil/Leonard Bernstein

Tracks:

Sym No.2 in c 'Resurrection': Movt I: Allegro Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Sehr Massig Und Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Schnell - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt I: Tempo Sostenuto - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Andante Moderato - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Energisch Bewegt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt II: Wieder In's Tempo Zuruckgehen. Tempo I - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: In Ruhig Fliessender Bewegung - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Vorwarts - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt III: Zum Tempo I. Zuruckkehren - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan

Tracks:

Sym No.2 in c 'Resurrection': Movt IV: ' Urlicht' - Sehr Feierlich, Aber Schlicht - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt IV: Etwas Bewegter - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Tempo Des Scherzos. Wild Herausfahrend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Im Anfang Sehr Zuruckgehalten - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Maestoso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Wieder Zuruckhaltend - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Sehr Langsam Und Gedehnt - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Langsam. Misterioso - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Etwas Bewegter 'O Glaube' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Mit Aufschwung, Aber Nicht Eilen 'O Schmerz!' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.2 in c 'Resurrection': Movt V: Piu Mosso 'Sterben' - Lee Venora/Jennie Tourel/The Collegiate Chor/Abraham Kaplan
Sym No.5 in c#: IV. Adagietto. Sehr Langsam - New York PO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Veni, Creator Spiritus! - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Imple Superna Gratia - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Tempo I. (Allegro, Etwas Hastig) - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Infirma Nostri Corporis - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Accende Lumen Sensibus - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Qui Paraclitus Deceris - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...
Sym No.8 in E flat 'Sym Of A Thousand', Part One: Gloria Patri Domino - Adele Addison/Lucine Amara/Lili Chookasian/Jennie Tourel/Richard Tucker/Ezio Flagello...

Tracks:

Sym No.3 in d, Part One: Movt I: Kraftig. Entschieden - John Ware
Sym No.3 in d, Part One: Movt I: Langsam. Schwer - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part One: Movt I: A Tempo - John Ware
Sym No.3 in d, Part One: Movt I: Immer Dasselbe Tempo (Marsch). Nicht Eilen - John Ware
Sym No.3 in d, Part One: Movt I: Im Alten Marschtempo (Allegro Moderato) - John Ware
Sym No.3 in d, Part One: Movt I: Tempo I - John Ware
Sym No.3 in d, Part Two: Movt II: Tempo Di Menuetto. Sehr Massig - John Ware
Sym No.3 in d, Part Two: Movt II: A Tempo - John Ware
Sym No.3 in d, Part Two: Movt II: Ganz Plotzlich Gemachlich. Tempo Di Menuetto - John Ware
Sym No.3 in d, Part Two: Movt III: Comodo. Scherzando. Ohne Hast - John Ware
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlilch, Wie Zu Anfang - John Ware
Sym No.3 in d, Part Two: Movt III: Etwas Zuruckhaltend - Sehr Gemachlich - John Ware
Sym No.3 in d, Part Two: Movt III: Tempo I. Mit Geheimnisvolles Hast! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt III: Wieder Sehr Gemachlich, Beinahe Langsam - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Sehr Langsam. Misterioso. Durchaus Ppp - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt IV: Piu Mosso Subito - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt V: Lustig Im Tempo Und Keck Im Ausdruck - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...

Tracks:

Sym No.3 in d, Part Two: Movt VI: Langsam. Ruhevoll. Empfunden - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Nicht Mehr So Breit - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I. Ruhevoll! - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: A Tempo (Etwas Bewegter) - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Sym No.3 in d, Part Two: Movt VI: Langsam. Tempo I - Martha Lipton/Women's Chor Of The Schola Cantorum/Hugh Ross...
Three Ruckert Songs: Ich Atmet Einen Linden Duft - Jennie Tourel
Three Ruckert Songs: Ich Bin Der Welt Abhanden Gekommen - Jennie Tourel
Three Ruckert Songs: Um Mitternacht - Jennie Tourel
Des Knaben Wunderhorn: Das Irdische Leben - Jennie Tourel
Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Jennie Tourel
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Jennie Tourel
Kindertotenlieder: Wenn Dein Mutterlein - Jennie Tourel
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Jennie Tourel
Kindertotenlieder: In Diesem Wetter! - Jennie Tourel

Tracks:

Sym No.4 in G: Movt I: Bedachtig. Nicht Eilen - Reri Grist
Sym No.4 in G: Movt I: Tempo I - Reri Grist
Sym No.4 in G: Movt I: Wieder Wie Zu Anfang. Sehr Gemachlich, Behaglich - Reri Grist
Sym No.4 in G: Movt I: Wieder Plotzlich Langsam Und Bedachtig - Reri Grist
Sym No.4 in G: Movt II: In Gemachlicher Bewegung. Ohne Hast - Reri Grist
Sym No.4 in G: Movt II: Nicht Eilen - Reri Grist
Sym No.4 in G: Movt III: Ruhevoll - Reri Grist
Sym No.4 in G: Movt III: Viel Langsamer - Reri Grist
Sym No.4 in G: Movt III: Anmutig Bewegt - Reri Grist
Sym No.4 in G: Movt III: Andante - Reri Grist
Sym No.4 in G: Movt III: Vorwarts. Poco Piu Mosso - Reri Grist
Sym No.4 in G: Movt IV: Sehr Behaglich - Reri Grist
Sym No.4 in G: Movt IV: Wieder Lebhaft - Reri Grist
Sym No.4 in G: Movt IV: Tempo I. Sehr Zart Und Geheimnisvoll Bis Zum Schluss - Reri Grist

Tracks:

Sym No.5 in c#: Part I: I. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part I: II. Sturmisch Bewegt. Mit Grosster Vehemenz - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part II: III. Scherzo. Kraftig, Nicht Zu Schnell - James Chambers
Sym No.5 in c#: Part III: IV. Adagietto. Sehr Langsam - New York Phil/Leonard Bernstein
Sym No.5 in c#: Part III: V. Rondo-Finale. Allegro - New York Phil/Leonard Bernstein

Tracks:

Sym No.6 in a 'Tragic': I. Allegro Energico, Ma Non Troppo (Heftig, Aber Markig) - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': II. Scherzo. Wuchtig - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': III. Andante Moderato - New York Phil/Leonard Bernstein
Sym No.6 in a 'Tragic': IV. Finale. Allegro Moderato - Allegro Energico - New York Phil/Leonard Bernstein

Tracks:

Sym No.7 in e: Movt I: Langsam (Adagio) - Raymond Sabinsky
Sym No.7 in e: Movt I: Nicht Schleppen - Raymond Sabinsky
Sym No.7 in e: Movt I: Allegro Risoluto, Ma Non Troppo - Raymond Sabinsky
Sym No.7 in e: Movt I: A Tempo (Sempre L'istesso) - Raymond Sabinsky
Sym No.7 in e: Movt I: Subito Allegro I. Ziemlich Ruhig - Raymond Sabinsky
Sym No.7 in e: Movt I: Adagio (Tempo Der Einleitung) - Raymond Sabinsky
Sym No.7 in e: Movt I: Maestoso. Allegro Come Prima - Raymond Sabinsky
Sym No.7 in e: Movt II: Nachtmusik I. Allegro Moderato - Raymond Sabinsky
Sym No.7 in e: Movt II: Sempre L'istesso Tempo. Nicht Eilen, Sehr Gemachlich - Raymond Sabinsky
Sym No.7 in e: Movt II: Tempo - Raymond Sabinsky
Sym No.7 in e: Movt III: Scherzo. Schattenhaft, Fliessend, Aber Nicht Zu Schnell - Raymond Sabinsky
Sym No.7 in e: Movt III: Trio - Raymond Sabinsky
Sym No.7 in e: Movt III: Wieder Wie Zu Anfang (Nicht Eilen) - Raymond Sabinsky
Sym No.7 in e: Movt IV: Nachtmusik II. Andante Amoroso - Raymond Sabinsky
Sym No.7 in e: Movt IV: (Figure 197) - Raymond Sabinsky
Sym No.7 in e: Movt V: Rondo-Finale. Tempo I (Allegro Ordinario) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Gemessen! Nicht Schnell! Tempo II (Allegro Moderato Ma Energico) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Tempo I (Halbe Wie Die Viertel Des Tempo I) - New York Phil/Leonard Bernstein
Sym No.7 in e: Movt V: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein

Tracks:

Kindertotenlieder: Nun Will Die Sonn' So Hell Aufgeh'n! - Janet Baker
Kindertotenlieder: Nun Seh' Ich Wohl, Warum So Dunkle Flammen - Janet Baker
Kindertotenlieder: Wenn Dein Mutterlein - Janet Baker
Kindertotenlieder: Oft Denk' Ich, Sie Sind Nur Ausgegangen - Janet Baker
Kindertotenlieder: In Diesem Wetter! - Janet Baker
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Veni, Creator Spiritus! - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Imple Superna Gratia - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Tempo I. (Allegro, Etwas Hastig) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Infirma Nostri Corporis - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Accende Lumen Sensibus - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Qui Paraclitus Diceris - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part I: Gloria Patri Domino - LSO/Leonard Bernstein

Tracks:

Sym No.8 in E flat 'Sym Of A Thousand': Part II: Poco Adagio - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Piu Mosso. (Allegro Moderato) - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Waldung, Sie Schwankt Heran - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ewiger Wonnebrand - Vladimir Ruzdjak
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Wie Felsenabgrund Mir Zu Fussen - Donald McIntyre
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Gerettet Ist Das Edle Glied - Leeds Festival Chor/London Sym Chor/Highgate School Boys Choir
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jene Rosen, Aus Den Handen - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Uns Bleibt Ein Erdenrest - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Ich Spur' Soeben - Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hier Ist Die Aussicht Frei/Freudig Empfangen Wir - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Hochste Herrscherin Der Welt - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Jungfrau, Rein Im Schonsten Sinne - John Mitchinson/Leeds Festival Chor/London Sym Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Aussert Langsam. Adagissimo - LSO/Leonard Bernstein
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Dir, Der Uberuhrbaren/Du Schwebst Zu Hohen - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Der Liebe, Die Den Fussen - Erna Spoorenberg
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Bronn, Zu Dem Schon Weiland - Anna Reynolds
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Bei Dem Hochgeweihten Orte - Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Die Du Grossen Sunderinnnen - Erna Spoorenberg/Anna Reynolds/Norma Procter
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Neige, Neige, Du Ohnegleiche - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Er Uberwachst Uns Schon - Highgate School Boys Chor
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Vom Edlen Geisterchor Umgeben - Gwyneth Jones
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Komm! Hebe Dich Zu Hohern Spharen! - Gwenyth Annear
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Blicket Auf Zum Retterblick - John Mitchinson
Sym No.8 in E flat 'Sym Of A Thousand': Part II: Alles Vergangliche - Leeds Festival Chor/London Sym Chor

Tracks:

Sym No.9 in D: Movt I: Andante Comodo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Etwas Frischer - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Mit Wut. Allegro Risoluto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schattenhaft - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Wie Von Anfang - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Plotzlich Bedeutend Langsamer (Lento) Und Leise - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt I: Schon Ganz Langsam - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Im Tempo Eines Gemachlichen Landlers. Etwas Tappisch Und Sehr Derb - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Poco Piu Mosso Subito (Tempo II) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo III - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: A Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo II - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt II: Tempo I Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Rondo - Burleske. Allegro Assai. Sehr Trotzig - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Sempre L'istesso Tempo - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Nicht Eilen - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt III: Piu Stretto - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagio. Sehr Langsam Und Noch Zuruckhaltend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Plotzlich Wieder Langsam (Wie Zu Anfang) Und Etwas Zogernd - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Molto Adagio Subito - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: A Tempo (Molto Adagio) - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Stets Sehr Gehalten - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Fliessender, Doch Durchaus Nicht Eilend - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Tempo I. Molto Adagio - New York Phil/Leonard Bernstein
Sym No.9 in D: Movt IV: Adagissimo - New York Phil/Leonard Bernstein

Amazon.com

For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the "Adagio" movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection.

Using the same budgeted design as on their (surprisingly pricey) Original Jacket series of box sets, Sony has unleashed a true bargain here: 12 CDs that average a little over five bucks a pop. Lenny's second cycle for Deutsche Grammophon may boast greater sonics, plenty of wonderful moments, and the complete song cycles, but it costs more than twice as much. Here, we get a younger Lenny, sounding fresh and expressive and delivering still-unparalleled interpretations of the First, Third, Seventh, Eighth, and Ninth, and pretty great performances of the rest. The intensity on these discs is infectious and the price can't be beat. A must-have. --Jason Verlinde

Customer Reviews:

Groundbreaking but partly outdated.......2007-03-26

Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.

How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.

The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.

The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.

If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.

Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.

Outstanding Mahler Compilation.......2007-01-29

I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.

Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.

Great price, great compilation. Lot of Mahler.

Bernstein or Tennstedt: read on...........2006-07-12

If the only way you could obtain the Mahler Symphonies was by buying a box containing them all by one conductor, then this would be my second choice, or my first!; my first (or second)would be the Tennstedt set. It's a close call thoughout - a 'swings and roundabouts' situation, but if Bernstein's was the one and only then I would be happy enough. Actually if you want a truly satisfying Mahler Symphonies collection then the two sets together sitting side by side on your CD shelf would be pretty well ideal, as I believe that the legacy of recordings by these two great men are nowhere surpassed (save Horenstein in the Fourth, Barbirolli in the Sixth and Rudolf Schwarz in the Fifth). As to comparisons between individual symphonies, the following would be my first choice:

No. 1 Bernstein. More poetic and earthy than T and my very first choice out of the dozens of others I've heard.
2 Bernstein. Simply the greatest Mahler 2; T is earthbound by comparison.
3 Tennstedt. Actually this is a tougher one to decide as B is marginally better in the first movement and he produces the best sixth movement of any version I've heard. Overall T has it, partly due to the excellent sound quality.
4 Overall B is better but there are so many points of comparison to take into consideration that it's a tough one to decide. T has the better soloist in the finale. My far-and-away first choice in the Fourth is Horenstein on EMI/CfP.
5 Tennstedt. Bernstein's CBS Fifth was the weakest link. However, Rudolf Schwarz (Everest) produces the very finest Fifth:
I always maintain that you can tell pretty much straight away when a Mahler conductor gets it right and Schwarz gets it 100%
6 Tennstedt. From the angry crunching heavy tread of the opening through to the nightmare ending, this is a very dark view of the Sixth, but it works. Barbirolli on EMI is my definite first choice in the Sixth. Bernstein's quick-march approach sounds like parody.
7 Bernstein. Nobody has produced a better Seventh and probably never will. T's version is very good though and I think he out-performs all other competition.
8 This one is the hardest of all to separate, but in the end I opt for Bernstein as his version as the feel of a live performance and the recording is almost as good as T's digital one.
9 Bernstein. Again my favourite version. T's weakest link of his whole set.
So Bernstein scores more points, but take into account the generally better sound of the Tennstedt set (especially in nos. 3,5,6) and things are evened up slightly. My advice overall? Go for both sets; at the asking prices you will have a superb Mahler Symphonies collection which will last you a lifetime. But don't forget those other versions of 4, 5 and 6. A point about sound quality: most of the above are analogue recordings, made many years ago, but across the board they are in almost every way superior to most modern digital ones (though to be fair one or two are not so great). I have a very good stereo system which reproduces very neutral sound; what goes in at the CD player end comes out unchanged at the loudspeaker end and so what I hear is the 'real thing'. For example Bernstein's 2 is stunning. One of the very best is the oldest of them all - Schwarz's Fifth, made in 1958. Maybe the art of recording has been replaced by science (and not for the better)? In the final analysis, to my mind the above versions render most of the rest of the Mahler symphonies discography redundant and surplus to requirements.

Comparing the two Bernstein Mahler cycles.......2006-06-27

Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.

Cycle #1:

By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.

Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.

Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.

In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.

I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.

To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.

Cycle #2:

It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).

The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.

Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.

The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.

I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.

That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.

How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

Mahler complete symphonies........2006-02-24

"Mahler was an altogether great man" -One who also knows a thing or two.

Average customer rating:

One of two Jochum sets of Bruckner
Bruckner by Jochum
The Best Complete Bruckner Symphonies
A good, but not great, Bruckner cycle.
Outstanding set!

Bruckner: The Complete Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004YA0T
Release Date: 2000-11-07

Tracks:

Sym No.1 in c: I. Allegro
Sym No.1 in c: II. Adagio
Sym No.1 in c: III. Scherzo: Schnell
Sym No.1 in c: IV. Finale: Bewegt, Feurig

Tracks:

Sym No.2 in c: I. Moderato
Sym No.2 in c: II. Andante
Sym No.2 in c: III. Scherzo: Massig Schnell
Sym No.2 in c: IV. Finale: Mehr Schnell

Tracks:

Sym No.3 in d: I. Mehr Langsam, Misterioso
Sym No.3 in d: II. Adagio (Bewegt) Quasi Andante
Sym No.3 in d: III. Ziemlich Bewegt
Sym No.3 in d: IV. Allegro

Tracks:

Sym No.4 in E flat 'Romantic': I. Bewegt, Nicht Zu Schnell
Sym No.4 in E flat 'Romantic': II. Andante Quasi Allegretto
Sym No.4 in E flat 'Romantic': III. Scherzo: Bewegt - Trio: Nicht Zu Schnell
Sym No.4 in E flat 'Romantic': IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.5 in B flat: I. Intro: Adagio - Allegro
Sym No.5 in B flat: II. Adagio - Sehr Langsam
Sym No.5 in B flat: III. Scherzo: Molto Vivace - Schnell
Sym No.5 in B flat: IV. Finale: Allegro Moderato

Tracks:

Sym No.6 in A: I. Maestoso
Sym No.6 in A: II. Adagio: Sehr Feierlich
Sym No.6 in A: III. Scherzo: Nicht Schnell - Trio: Langsam
Sym No.6 in A: IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.7 in E: I. Allegro Moderato
Sym No.7 in E: II. Adagio: Sehr Feierlich Und Sehr Langsam
Sym No.7 in E: III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
Sym No.7 in E: IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

Sym No.8 in c: I. Allegro Moderato
Sym No.8 in c: II. Scherzo: Allegro Moderato
Sym No.8 in c: III. Adagio: Fierelich Langsam, Doch Nicht Schleppend
Sym No.8 in c: IV. Finale: Feierlich, Nicht Schnell

Tracks:

Sym No.9 in d: I. Feierlich, Misterioso
Sym No.9 in d: II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
Sym No.9 in d: III. Adagio - Langsam, Feierlich

Amazon.com

Here's a welcome box of all Bruckner's numbered symphonies led by a distinguished specialist renowned during his lifetime for his identification with the composer. Neatly laid out with each symphony on a disc of its own (no annoying midsymphony changeovers) and in top-quality late-1970s sound, this is an irresistible bargain for such superb performances. Jochum's Bruckner was spontaneous-sounding, with generally swift tempos tempered by flexible rhythms and slow movements that squeeze all the juice from this heartfelt music. The Dresden orchestra is a marvelous instrument for these works, with a beefy, warm sound and brass players that can whip up the excitement in the grand climaxes. Individual conductors, whether vintage greats like Furtwängler or more recent Brucknerians such as Wand on RCA and Tintner on Naxos, may equal or better Jochum in individual works, but taken as a complete traversal of these massive scores, Jochum's is second to none. --Dan Davis

Customer Reviews:

One of two Jochum sets of Bruckner.......2007-04-22

The other complete set of Eugen Jochum conducting Bruckner's symphonies, of course, is the series he recorded for DG in stereo between 1958 and 1967 with the Bavarian RSO or (in Symphonies 1, 4, and 7-9) the Berlin Philharmonic, following a number of recordings of individual symphonies he made in the pre-LP days. Although Jochum's basic conceptions remained consistent over the years, that earlier set finds Jochum more consistently alert and a shade more vibrant than in this valedictory go-round with the canonical Bruckner symphonies, taped in the late 1970s. By comparison, the overall impression here is of slightly lower voltage, although the flip side is that this cycle is also just that much more serene, and aptly so (Bruckner's music has been described as "blazing calm").

Even so, this boxed set has a lot to recommend it, whether or not in preference to the DG cycle. There is the burnished and responsive delivery of the great Dresden orchestra, perhaps the oldest in Europe. There is EMI's warm and atmospheric sound, which in this remastering is considerably better focused and more detailed than in the first CD incarnation of this cycle. This cycle's Seventh and Ninth Symphonies arguably make a deeper impression than their counterparts in the DG series--even if the DG cycle compensates with more successful readings of the Fourth and Eighth. Above all, there is Jochum's lifelong identification with Bruckner's music (but NOT, as another reviewer suggested, due to a personal relationship between the conductor and the composer, who had died six years before Jochum was born!). Personal preference will dictate whether you go for the DG or EMI cycle; either way, you will hear Bruckner via one of the last exponents of a more flexible, less "monumental" (and also less stolid) approach to this composer's music.

Bruckner by Jochum.......2005-10-03

These CDs contain performances of the nine Bruckner symphonies.
Of these 3,4,7,8,9 are remarkable, with 4, 8 and 9 being
masterpieces. The performances by Eugen Jocum and the Dresden
Staatskapelle orchsetra are well-designed, and played at tempi
that seem to represent the composer's intentions. The recording
quality is good, except for dynamics: the sound volume is
on the low side. One needs a high grade system for adequate
reproduction, especially given the wide dynamic range and
timbral subtlety characteristic of Bruckner.

The Best Complete Bruckner Symphonies.......2005-09-25

The reason that this is the best complete symphony recordings of Bruckner is that conductor Eugene Jochum had a close relationship with Bruckner himself and knew the music like the palm of his hand. despite any negative commentary or the fact the preferred editions are conducted by the eminent Herbert Von Karajan, this box set is by far the best. All the symphonie sound great, polished, romantic, idealized, spiritual, energetic, passionate and mysterious, especially the opening movement of the final 9th, which comes in both versions here. This is a true winner for a recording box set. Your other choice should be Karajan though. But Jochum masters the music with great affinity and brilliant technical musicianship. In this recording, particularly impressive are the 7-9th. The early symphonies are German-Romantic Wagner/Mahler style but entirely Bruckner's individualized style. It is music that is heavy, and not music for a beginner to hear. It is deep, highly emotional, music to meditate by. It's slow-moving, dream-like and powerful, horns and brasses sounding fatalistic at times, while the winds and strings evoking either intensity or quietness. Bruckner himself would love this set. He certainly approved of Jochum conducting.

A good, but not great, Bruckner cycle........2005-02-18

Ideally, I wanted to review the DG Jochum cycle, since I actually prefer that one, but it's NLA as of this posting, so I'll just make some comments about both cycles here.

Eugen Jochum may have been the greatest advocate of Bruckner, of the 20th Century. However, I have lived with this cycle, and especially the DG one, for many years now, and I have come to view his Bruckner interpretations as somewhat overrated, even in comparison with his "old school Bruckner" colleagues. Perhaps my opinion is a little skewed by overexposure, but I have other recordings I turn to more frequently that have not started to "wear" on me as much as some of Jochums. For one example, I am not, by any means, a "Karajan freak" (I have also come to view his last VPO Eighth, over which most people seem to be "ga ga," a bit overrated, as well) but I find his full DG cycle from the 70's and early 80's, for one, to be more consistently satisfying, with the exception of the first, fourth, and sixth, in all of which Jochum is clearly better, imo. I must say I do get tired of the cliches' about Karajan's performances being too "cool, polished, and sterile," and Haitink's being too "light," etc. These preconceptions, often based on preconcieved opinions about the conductors themselves, precludes people from really having to seriously consider their recordings, just as the opposite preconception that Jochum is THE Brucknerian of the century tends to make his recorded preformances somehow beyond reproach.

Based on Jochum's reputation, I eagerly awaited the DG cycle, back at a time in the late 80's when I was first getting into Bruckner when there were relatively few Bruckner recordings in print. Even on first listening, there were certain things about his interpretations that didn't sound right to me. Admittedly, at that time, I knew virtually nothing of the "old school," with its more flexible tempi, dynamics, and more dramatic approach, to Bruckner. Since then, I have become very well acquainted with recordings of the "old school" Bruckner conductors such as Schuricht (his 1943 Ninth is one of my ten favorites), Furtwangler (his 1944 Ninth might BE my favorite), Hausegger, Kabasta, Abendroth, Matacic; Walter and Horenstein's mono recordings, etc. etc...and I still don't find many of Jochum's interpretations to compare all that favorably.

One thing you can say with some degree of confidence about Jochum is that most of his interpretations are amazingly consistent over a half century of recordings. Compare his recordings of the Fourth and Seventh from the late 1930's to those from his later DG and EMI cycles, and they are remarkably similar, both in terms of timings, tempos, and phrasing. Two examples of "Jochumisms" that have come to grate on me a bit over time are: 1) As much as I love most of his Fourth, esp. the finale, which I think he "nails" better than any other conductor, I feel that he turns the andante quasi allegretto into an adagio (in general, I can never understand why many conductors insist upon turning this flowing movement into a dirge); 2) The slow tempo he chooses for the lovely "enchanted forest" motif (as I call it) that flows out of the beautiful intro of the Seventh, which ultimately steers the whole first movement toward a slow and stodgy tempo. Jochum's Seventh almost sounds like it starts out with two adagios. His first movement isn't excessively slow in terms of it's total timing (and I've noticed that many listeners pay too much attention to timings anyway), but in terms of it's lack of flexibility and flow: there are readings of this movement a minute of two longer (like Chailly, for example, although I think his Seventh is a bit overrated) that still have a better sense of ebb and flow to them. Some examples of sevenths I prefer to Jochum's are Sinopoli's; Karajan 70's DG; Inbal's; Wand's 70's Cologne recording; Furtwangler's 1951 BPO (Rome); Abendroth's 1956 recording; and Haitink's 70's recording.

Jochum's Fifth was one of the biggest disappointments of my Bruckner collection, esp. after all of the things I had heard about it's legendary status. Although I think his inner movements are just fine (except the slow movement of his 1938 Fifth, which I found a little too slow), I think he is too slow--and even more importantly not flexible enough--in the all important outer movements. But the "Jochumism" that grates on me the most, in ALL of his recordings, is his excessive stretching out of the coda of the finale, made even less convincing by the lack of a strong underpinning of timpani. Karajan (whose DG Fifth was my first, and is still my favorite, followed by Horenstein, Welser-Most, and Gielen) augmented this thrilling coda--Bruckner's best, even better than the Eighth's, if it's done properly--with an extra set of timpani, and very effectively. If any of you are rolling your eyes (esp. you "Karajan-bashers") at Karajan's use of extra timpani, remember that Jocum augmented the brass section for the famous chorale of the Fifth's finale...this is part of what the vanishing art of interpretation is all about. On the subject of timpani, one of the characteristics of the Bruckner "old school" was the ideal that the Bruckner orchestra started from the ground (bass) up, and needed a strong underpinning of timpani (too often missing in recent recordings), esp. in climactic moments: Furtwangler's recordings provided the best example of this; most of Jochum's recordings are surprisingly lacking in powerful timpani, and this is particularly exposed in his somewhat melodramatic lengthening of the Fifth's final coda.

In general, I find Jochum's Eighth and Ninth to be a bit terse, except for his readings of the third movement of the Ninth, which was consistently one of his best movements, esp. his Dresden recording. If his readings of 1-7--except, again, his 1,4, and 6, which I find generally excellent--tended to lack flexibility on the slow side, the outer movements of his Eighth and the first movement of his Ninths tended to lack flexibility on the fast side. One very notable exception, however, is his 1949 Hamburg Eighth, which is my very favorite Jochum recording, and perhaps one of my ten favorite Eighths overall. He gets everything right here, with a good amount of flexibility...which makes it even more puzzling to me that the outer movements of his later recordings of the Eighth were so terse by comparison.

As far as the merits of the DG cycle versus the EMI, again, there is very little to choose as far as interpretations: they are remarkably similar. The only difference that really jumped out at me was that the first movement of the Dresden Ninth was not only a little too terse, but strangely "herky jerky" in terms of some awkward tempo relations, which create more distraction than tension. Although I feel that the adagio of the Dresden Ninth is Jochum's most searching account of this movement, I still like the Ninth from the DG set a bit better.

In terms of recorded sound, again I'd have to give the nod to the DG cycle. The older DG recordings sound more natural to me, whereas the late analog EMI recordings are a bit too brightly lit, almost sounding like early digital in places. The seemingly endless permutations of packaging, repackaging, and recoupling of both of these cycles, and the individual recordings from them, has become a bit absurd, but at least it has made it very easy to pick up most of these recordings in used CD bins.

Outstanding set!.......2004-08-07

To win conducting Bruckner demands from a director several issues . You must have a first order orchestra ; second your rapport with the orchestra ; third Bruckner symphonies are a real challenge they are real difficult works because you have to maintain the sound all along the work ; fourth: the different mood changes and the running time of every symphony demands a serious analysis and commitment with the inspired and rapture melodic lines inmersed ; fifth : to underline and emphasize the sforzandos , the dramatic accents are almost an epic achievement ; sixth : since the undeniable influenc of Wagner in Bruckner you have to keep the balance and obviously to have studied Wagner in every work and consider the fact if Wagner would have lived twenty years more Would it sound in the brucknerian mood? and if all the previous factors were not enough , you have to consider the giant directors in Bruckner : Wilhelm Furtwangler , Hans Knappersbutch , Jasha Horenstein ,Carl Suricht , Horst Stein and obviously Eugene Jochum and the most remarkable Bruckner conductor in the actual times : Daniel Barenboim .
Jochum was a noble man and he had another important point to his favour : the orchestra : placed in the East Germany kept his sound due the isolation in the thirties forties and fifties . I underline this because the character and presence of similar orchestras as the Gewandhaus of Leipzig let obtain a pure sound ; and not a traditional vision .
This set is relevant in your collection because the standard level of every work is very high and often inspired . So it is easier for you to make a musical journey all the way.
I really recommend to you .

Complete Mozart Symphonies / Pinnock, English Concert

Average customer rating:

The best period instrument Mozart symphony cycle around
The best period orchestra Mozart symphonies around!
A Beautiful Time Capsule
Another BBB (basically bland Brit) recording
Pinnock excellent, DG Archiv sound variable

Complete Mozart Symphonies / Pinnock, English Concert
Mozart , Ecc , and Pinnock
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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Mozart: The Piano Concertos
Bach: Concertos
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Dvorák: The Symphonies
Vivaldi Concertos

ASIN: B000069KJ3
Release Date: 2002-10-08

Tracks:

Molto Allegro
Andante
Presto
Allegro Assai
Andante
Presto
Allegro
Andante
Presto
Allegro
Andante
Molto Allegro
Allegro Maestoso
Andante
Presto
Allegro
Andante
Menuetto - Trio
Allegro

Tracks:

Molto Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro Maestoso
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Allegro Molto

Tracks:

Allegro
Andante
Menuetto - Trio
Presto
Allegro
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Allegro
Allegro
Andante
Menuetto - Trio
Allegro Molto
Allegro
Andantino
Menuetto - Trio
Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro

Tracks:

Allegro
Andante
Allegro
Allegro
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro Moderato
Andante
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Presto

Tracks:

Allegro Maestoso
Andante Grazioso
Allegro
Allegro
Andante
Allegro
Allegro
Andantino Grazioso
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Allegro
Molto Presto
Andante
Allegro

Tracks:

Allegro
Andante
Menuetto - Trio
(Allegro)
Allegro
Andante
Menuetto - Trio
Allegro
Allegro Assai
Andantino Grazioso
Presto Assai
Allegro Spiritoso
Andantino Grazioso
Presto Assai
Allegro
Andantino Grazioso
Presto

Tracks:

Allegro Spiritoso
Andantino Grazioso
Allegro
Allegro Con Brio
Andante
Menuetto - Trio
Allegro
Molto Allegro
Andantino Con Moto
Menuetto - Trio
Presto
Allegro Assai
Andante
Allegro

Tracks:

Allegro Moderato
Andante
Menuetto - Trio
Allegro Con Spirito
Allegro Spiritoso
Andante
Menuetto: Allegretto - Trio
Presto
Allegro Assai
Andante Moderato
Menuetto - Trio
Allegro Assai

Tracks:

Allegro Spiritoso
Andante
Tempo Primo
Allegro Vivace
Andante Di Molto Piu Tosto Allegretto
Finale: Allegro Vivace
Allegro Con Spirito
Andante
Menuetto - Trio
Presto
Adagio - Allegro Spiritoso
Andante
Menuetto - Trio
Presto

Tracks:

Adagio - Allegro
Andante
Presto
Adagio - Allegro
Andante Con Moto
Menuetto: Allegretto - Trio
Finale: Allegro

Tracks:

Molto Allegro
Andante
Menuetto: Allegretto - Trio
Allegro Assai
Allegro Vivace
Andante Cantabile
Menuetto: Allegretto - Trio
Molto Allegro

Customer Reviews:

The best period instrument Mozart symphony cycle around.......2005-11-24

Trevor Pinnock and the English Concert turn in the best period instrument Mozart Symphony cycle around. With 20-30 players, the English Concert sounds full and rich, and are so well recorded, one could mistake them for a modern instrument chamber orchestra augmented with more players for a bigger sound. The early symphonies employ fewer players, the symphonies from about No. 20 and following call for more players, in some cases trumpets, horns and timpani in addition to the usual strings, harpsichord, flutes, oboes, and bassoon.

Pinnock chooses perfect tempos for the English Concert: allegros are spritely, but not driven and there's never a sense that the musicians are having trouble keeping up at Pinnock's tempos. Andante movements sing with the cantabile quality Mozart is famous for, and are always musical and flowing: very beautiful.

I am not a big fan of period instrument Mozart. I have heard Hogwood and the Academy of Ancient Music (L'Oiseau Lyre) in Mozart Symphonies 34, 38, 39, and 41 and that's enough to give me a sense that Pinnock is superior - more confident, and better recorded - to Hogwood in this music. Haydn's symphonies seem to work better with period instruments than do Mozart's, but Pinnock and the English Concert have a special musical quality which MAKE Mozart work with a period orchestra. Incidentally, both Pinnock and Hogwood have recorded very fine Haydn Symphonies with their respective orchestras.

I have also read, in AMERICAN RECORD GUIDE (July/August 2005 issue) in a review of the Mozart Symphonies with Linden/Mozart Academy of Amsterdam, a period orchestra (Brilliant Classics set) that Pinnock's Mozart cycle is to be preferred. I have not heard Linden myself, but ARG's review states that with the exception of Symphonies 20, 39, 40, and 41, Pinnock "wins across the board." The reviewer cites sour tuning, below standard pitch, sloppy playing, not enough contrasts of dynamic range and pokey allegros, as liabilites which are especially annoying in Linden's cycle, and advises the reader to go with Pinnock if looking for a period cycle of Mozart symphonies.

Other options? Bohm/Berlin Philharmonic (DG); Krips/Concertgebouw (for Symphonies 21-41, Philips); Hans Graf/Mozarteum Orchestra, Salzburg (Capriccio); and Nicholas Ward/Northern Chamber Orchestra, modern instrument chamber orchestra (for early symphonies, Naxos). But unless you really hate period instruments, you will like Pinnock, as I do, and as I stated earlier: I am not a fan of period instrument Mozart.

The best period orchestra Mozart symphonies around!.......2005-08-23

Trevor Pinnock and the English Concert perform Mozart's symphonies with great style, elan, and spirit, making this the best period orchestra Mozart Symphonies around. Pinnock deals alot in contrasts and atmosphere, setting a mood for each movement, within each symphony. The English Concert plays even Mozart's earliest symphonies-written when he was a pre-teen-as great music, and it works, very effectively. Allegros bristle with spirit, Andantes and Adagios emphasize cantabile (singing style) as all Mozart's music has a vocal/singing emphasis (in contrast to Haydn or Beethoven, who tend to build movements arount motives, or rhythmic patterns of notes; Mozart emphasizes melody moreso in many of his works).

I am not a fan of period instruments in music of Haydn, Mozart, and any composers after Bach and Handel, but this cycle is really fine. My favorite Mozart Symphonies have been Karl Bohm/Berlin Philharmonic (complete cycle, DG); 21-41 by Joseph Krips/Concertgebouw Orchestra (Philips, coupled with Marriner/Academy of St. Martin in the fields for 1-20); Bruno Walter/New York Philharmonic for Symphonies 25,28,29,35,36,38-41 (Sony); Otto Klemperer/Philharmonia for Symphonies 36,38-41 (EMI). But, Pinnock's accounts are spirited and the English Concert, at about 20-25 players, doesn't sound scrawny or ineffective at all. If you're used to the sonority of the Berlin Philharmonic or Philharmonia Orchestra, this will take some getting used to, but it is very good.

This could be called "period instrument Mozart for those who don't like period instruments." I have heard Christopher Hogwood/Academy of Ancient Music in Symphonies 34,38,39,41, and they are not as good as Pinnock's accounts. Hogwood's orchestra sounds small, puny compared with Pinnock's more robust group. I am not meaning to degrade Hogwood, as I have a number of fine recordings of his: Beethoven Symphonies 1,2;
Handel's MESSIAH; Haydn Symphonies 94, 96; Boyce Opus 6 Symphonies. But in Mozart Symphonies, I prefer Pinnock.

Pinnock's set is also well recorded, adding to it's high quality. You can't go wrong with these, unless you absolutely hate period instruments.

A Beautiful Time Capsule.......2005-04-08

In comparing this recording, with its use of original instruments, and my favorite recordings with modern instruments, I find I prefer this. It doesn't lose any power, but it gains by the imaginative process of listening to the music as Mozart would have heard it. The collection is also a wonderful way to listen to the progression of Mozart's music throughout his life. As you listen to the first two of the eleven discs, you'll be amazed at the symphonies he wrote when he was only nine years old!

Another BBB (basically bland Brit) recording.......2005-04-06

This is a short review because when you've heard one of these you've heard them all. They're all played in the same starched, stiff mannor, with brisk tempi, little feeling, no shaping of phrase, and no color. The Mozart symphonies--the latter ones, anyway--have their own style and merit different approaches (No. 31, the "Paris," is almost curtain-raiser music for an opera buffa, for example, while No. 39 is in some ways proto-Beethoven, harmonically sharing a good deal with the "Eroica," and No. 40 shows Mozart heading into a realm of a basically Romantic chromaticism that would have led to much fascinating music if he'd lived longer and written more in that style). Yet here all the works are played interchangably. These are performances that could have been generated on a computer.

The sound is excellent, but that's about all there is to recommend this set. Hogwood's traversal on period instruments has more personality, believe it or not. And to really show what can be done with works like these on HIP instruments, try Franz Bruggen's remarkable recordings of the Haydn symphonies on Philips. I can't recommend this set, and I got it for considerably less than the Amazon price, too.

Pinnock excellent, DG Archiv sound variable.......2005-02-18

I greatly admire Pinnock's style, directing skill and harpsichord playing, but I don't understand the variability of sound balance achieved on his many recordings by DG. Most are recorded in Henry Wood Hall and have the same "tonmeister" and producers. For example his recording of the Bach Violin Concertos is vibrant, full bodied and has a great "presence", whereas on the other end of the spectrum, the last disc of the symphonies, 40 and 41, is really anemic, with pratically no bass. I gave them a +12db bass boost to try and compensate for the lack of bass, but there was hardly any difference in the low end response. In order to listen to this disc, and to some extent the prior two as well, I have reverted to my volume expander used with vinyl records from the 70's.

My system has very clean and deep bass response and handles Telarc organ recordings with great effect, so I do not believe it is that. And, as I stated the violin concertos have a great presence, to the point where I can visualize the bass and cello players bowing their instruments. It may be do to different microphone placement for the larger ensemble of the latter symphonies, without compensating for the different acoustic.

When it comes to Archiv's 4D recordings of the English Concert, I do not like them at all. The choir from the Mozart Coronation Mass sounds like it is being piped down from outer space, detached and way to ethereal. The Telemann suites do not fare any better, thin and anemic. Don't think the extended dynamic range and lower threshold noise level helped in any way.

I should also add that I have about every recording of Pinnock and the English Concert, really the best "Original Instruments Group" out there. In my humble opinion, Pinnock should have a "Sir" in front of his name.

Sibelius: The Complete Symphonies & Tone Poems

Average customer rating:

5 stars for the syms
Beautiful and comprehensive compilation of Sibelius works
excellent collection
A must for Sibelius lovers
A terrific and near-perfect set

Sibelius: The Complete Symphonies & Tone Poems

Manufacturer: EMI 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

Classical | Box Sets | Stores | Music
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Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

ASIN: B00005MIZT
Release Date: 2001-11-20

Tracks:

I: Andante, Ma Non Troppo - Allegro Energico
II: Andante (Ma Non Troppo Lento)
III: Scherzo: Allegro
IV: Finale (Quasi Una Fantasia): Andante - Allegro Molto
I: Allegretto
II: Tempo Andante, Ma Rubato
III: Vivacissimo - Lento E Suave - Tempo Primo - Largamente -
IV: Finale: Allegro Moderato

Tracks:

I: Allegro Moderato
II: Andantino Con Moto, Quasi Allegretto
III: Moderato - Allegro (Ma Non Tanto)
I: Tempo Molto Moderato, Quasi Adagio
II: Allegro Molto Vivace - Doppio Piu Lento
III: Il Tempo Largo
IV: Allegro

Tracks:

I: Tempo Molto Moderato - Largamente - Allegro Moderato
II: Andante Mosso, Quasi Allegretto
III: Allegretto Molto - Un Pochettino Largamente
I: Allegro Molto Moderato
II: Allegretto Moderato - Poco Con Moto
III: Poco Vivace
IV: Allegro Molto - Allegro Assai - Doppio Piu Lento

Tracks:

Adagio -
Un Pochettino Meno Adagio - Vivacissimo -
Poco Rallentando Al Adagio - Allegro Molto Moderato - Allegro Moderato - Vivace -
Presto - Adagio - Largamente Molto - Affettuoso
Cantata: Oma Maa, Op.92: 'Our Own Land'
Tulen Synty, Op.32: The Origin Of Fire

Tracks:

I: Introductione: Allegro Moderato
II: Kullervo's Youth: Grave
III: Kullervo And His Sister: Allegro Vivace
IV: Kullervo Goes To Battle: Alla Marcia
V: Kullervo's Death: Andante

Tracks:

The Oceanides, Op.73
I: Intermezzo
III: Alla Marcia
I: All'overtura: Grave - Allegro/II: Scena: Tempo Di Menuetto - Allegro Moderato/III: Festivo: Tempo Di Bolero
Tapiola, Op.112
Finlandia, Op.26
Serenade No.1 in D, Op.69a
Serenade No.2 in g, Op.69b (Lento Assai)

Tracks:

Luonnotar, Op.70
Pohjola's Daughter, Op.49
En Saga, Op.9
I. Nocturne
II. Elegie
III. Musette
IV. Serenade
V. Ballade
The Bard, Op.64

Tracks:

Spring Song, Op.16
III. The Swan Of Tuonela
IV. Lemminkainen's Return
I. At The Castle Gate
II. Melisande
IIa. By The Seashore
III. A Spring In The Park
IV. The Three Blind Sisters
V. Pastorale
VI. Melisande At The Spinning-wheel
VII. Entr'acte
VIII. The Death Of Of Melisande
Valse Triste
Scene With Cranes
II. The Harp
III. The Maidens With Roses
IV. Listen, The Robin Sings
VI. Swanwhite And The Prince

Customer Reviews:

5 stars for the syms.......2006-03-18

with the Helsinki
3 Stars for the Bourgemouth on the poems.
But truth be told, no matter how EMPHATIC statements that his syms are not programmatic, that is fall into a logical step by step order, they are just that, very predictible.
I've given these syms 30 yrs, and lately I've lost interest.
While Schonberg, Berg, Webern, Varese were scoring creative new atonal/poloytonal works of new genius, here was Sibelius struggling with old forms, that fail to deliver anything really new. And he knew it, and bothered him to no end.
I feel there is way too much Beethoven/Bruckner(I like neither) influence in the syms for me to become a fan of the syms. I like the 1st sym "somewhat" that is I never listen to it, and small parts of the 4-7 syms. But I'm afraid I only like Sibelius pre 1905, the Kullervo, VC, tone poems. Here is where the genius of Sibelius truly lies.
The syms long ago held some interest, but lately i've moved on to Schnittke and Pettersson.
I also much prefer Vaughan Wialliams syms to all of Sibelius.
Sibelius was a genius in his element, that of representing the folk ideas of his land. His syms are like a string of ideas that lack the connective passages. IOW the whole is less than the few interesting parts.

Beautiful and comprehensive compilation of Sibelius works.......2005-09-29

For me, this has been the year of Sibelius. Previously, I had listened to (and enjoyed) Finlandia. I also had a couple of the symphonies but hadn't listened too them but once or twice. After listening to Finlandia again, I decided to seek out more SIbelius to sample. After some searching through reviews, I settled upon this compilation of works because it offered a large variety of Sibelius and seemed to be well-received. I have been very happy with this purchase! Not only have I spent countless hours listening to each of the 8 disks in this set, the enjoyment of the music has led me to many other wonderful performances of Sibelius by other worthy conductors such as Ashkenazy and Vanska. Still, this boxed set will always be fondly remembered as the one that introduced me to the wonders of so many of these pieces.

I was immediately captured by the haunting clarinet solo that begins the first symphony. All of the symphonies, performed by the Helsinki Orchestra, are recorded in very clear digital sound -- so the solo and the pecussion accompanyment were perfectly captured. I was hooked by the first symphony, but all of the symphonies are presented clearly and with outstanding interpretations. The Helsinki Philharmonic has always had a strong affiliation with Sibelius's music, and Paavo Berglund is a renowned Sibelius conductor who has recorded three separate symphony cycles (once with the Bournemouth Symphony orchestra, the 2nd time with these recordings, and a third time with the Chamber Orchestra of Europe). The commitment felt by the conductor and orchestra comes through in these performances.

In addition to the complete symphony cycle, there are a number of other treasures. A fine version of Finlandia is accompanied by a number of truly delightful tone poems such as Tapiola, the haunting Swan of Tuonela and Lemminkainen's Return (from the Lemminkainen Suite). These tone poems were inspired by the Finnish Kalevala. Other tone poems such as the Oceanides and Spring Song were inspired by Sibelius's love of nature. All receive strong performances by Berglund conducting the Bournemouth Symphony (in analog sound that is still quite good). The violin serenades (especially no. 2) were unexpected delights. The version of Kullervo is magnificent, as is the singing in Luonnotar and Oma maa. This set is a treasure trove of Sibelius treats!

excellent collection.......2004-06-28

This box set includes Sibelius' all symphonies, with Kullervo and his almost complete tone poems. The Symphonies are performed by Helsinki Philharmonic Orchestra, Kullervo and tone poems with Bournemouth Symphony Orchestra. All of them conducted by Paavo Berglund, who always a champion on performer of Sibelius.

Even so there are his incidental musics: Pelleas et Melisande, Swanwhite, Kuolema and King Christian II.
Especially Pelleas and Kuolema (which includes ever famous Valse triste) are the most beautifuls. Pelleas et Melisande is a very impressive music, and the best "Pelleas" music with Debussy's Pelleas (opera).

Kullervo is symphony-cantata for two soloists, men-chorus and orchestra, which be constitued in 5 movements, comparable in artistically with Mahler's 2nd Symphony "Resurrection". Especially the last movement "Kullervo's Death" is very effective, pathetique.

And one more a vocal work, a tone poem for soprano and orchestra: Lounnutar. This is based on Kalevala again, and Luonnotar is creator of nature in this poem. It is a very radical work, like his darkful 4th Symphony and The Bard. I think, The Bard is one of the best works of the composer, with it's harmonis, dark colours, contemplative mood. Still, this was written in tragic E-flat minor. It is based on a mythologic creature which plays an harp, like lyre in Greek mythology. And in the last minutes there is a dramatic climax and then music slowly fades out.

And there is the best Tapiola recording, I've ever heard (with Petri Sakari's version at Naxos). This is based on Kalevala, again. Tapio is the name of the forest god, according story. There are very impressive contrasts between hypnotic, a little hesitated, light colours and dramatic darkful colours. The orchestration is marvellous again. Especially, in last minutes there is a terrific storm scene and it's very spine chilling. Climaxes (which played by brass) are very powerful...

This is a very good addition to collectors of Sibelius fans and any classical music lovers. Highly recommended.

A must for Sibelius lovers.......2003-01-07

Jean Sibelius is one of those composers who I feel that even on his off days he did well. While I certainly can't say I enjoy all of his music enough to buy (Sacaramouche for instance), most of his music is highly pleasureful. All of the pieces on this set, conducted by Paavo Berglund, save maybe one or two, are part of the later catagory.

This set consists of most of Sibelius's major orchestral music, with the notible exceptions of Night Ride and Subrise, the first two sections of the Lemmenkainen Suite, and the Violin Concerto. It also contains such rarities as Origin of Fire, Our Own Land, and excepts from Swan White.

Berglund, I believe, was the first to fully record a complete cycle of Sibelius symphonies. The recordings here are not from his first set (which I have not heard), but the second cycle recorded in the mid-80s. The symphonies and two canatas mentioned above are recorded in digital, while the rest is analog. It's all in very good sound, though not perfect. That they wanted to keep the D and A recodings on seperate discs is the only possible reason I can see for why they left out the Violin Concerto (there's plenty of room on disc 4).

Now of course, contents are one thing, but what really matters is performance. And suffice it to say, they for the most part shine. This has easily the finest Symphony 1 I've heard, and the finale of Symphony 5 (truly one of the greatest works of the 20th century) shines with brillance. Symphony 3 makes its mark nicely, and Symphony 2, while perhaps a bit on the fast side, is certainly up to par. The only disappointment is Symphony 7, which falls totally flat compared to Davis/BSO.

The two cantatas are wonderful rarities, but its disc 5 where the choral aspect is full played out -- Kullervo. If you've never heard this piece, it's a 75 minute long programatic symphony (to use to term losely) with many ups and downs. This was the first ever recording, and most say it hasn't been topped.

The final three discs contain shorter works. Especially noteable are the absolutely beautiful Serenade #2 for Violin and Orchestra, the hauntingly lovely Luonnotar, a very rousing version of Lemminkainen's Return, and a passionate Pelleas and Mellsande.

Of course, it's almost impossible to have this big a set without some disapointments. Beyond the aformentioned Symphony 7, there's also not overly convincing Finlandia, and a WAY too slow Karelia Intermezzo. Thankfully, the rest of the set makes up for it. It's a great deal at only about $7 a disc retail, and if you're like me, on you'll keep coming back to.

A terrific and near-perfect set.......2002-04-05

This release couples Berglund's classic Bournemouth recordings of the Kullervo Symphony and a host of tone poems with his most recent cycle of the Symphonies.

The Bournemouth recordings are legendary, especially the Kullervo, which belongs in every classical music library. There is a real warmth to these readings, which charms me into letting the minor flaws in playing pass. The sound is pretty good, though slightly muddy at times (particularly in Tapiola), and the selections have been excellently remastered.

The Symphonies, recorded with the Helsinki Philharmonic in superb digital sound, are a real peak in the discography. Berglund doesn't play his Sibelius lukewarm; his readings are sharp, neo-classical and very powerful. You won't confuse these recordings with those of Colin Davis to be sure. Very comparable to Maazel's earlier readings with the Vienna Philharmonic, but with less over-dramatization. His First, Second, Third, Sixth and Seventh are as good as any, and his reading of the Fourth, while rather bleak for my taste (I like the idea of some kind of softening at the end) is a coherent vision, almost harsh in it's execution.

I really like Maazel's Pittsburgh Fifth, and Berglund's recording in no way comes close to Maazel's splendor or power as a total conception. But, Berglund's middle movement is the best I've heard by far; the obsessively repeated melody seems to weave in and out of the orchestral fabric very seductively. Berglund's knack for architecture is spot on here.

All in all a wonderful set. An easy first choice for newcomers to Sibelius and a necessary addition for confirmed fans.