Fuga

Boomkat.com
Album of the year contender.

Product Description
Welcome to Fuga, the debut album from sensational scratch composer Ricci Rucker. Fuga is first and foremost a jazz album, "which features the turntable as the focus instrument, using 20 musicians to lay down the music." It helps to think of Fuga as a 50-minute long song, one that takes the listener on an astonishing musical journey through the head of Ricci Rucker. From tribal African music to a jazz standard from the year 4004, Fuga holds the listener captive amongst its many aural pleasures. Boldly going where turntablism has never gone before, Fuga is a true original. One listen will surely confirm that Ricci Rucker is miles ahead of the typical scratch DJ.

Fuga

Fuga,Ricci Rucker,Alpha Pup Records,Dance & DJ,Rap & Hip-Hop

Average customer rating: Gould's Most Errant Interpretation THE VERY SOUL OF MUSIC Worth getting for Contrapunctus XIV, but for full performance look elsewhere The Best Bach Interpreter of the Century Excellent Rendition of the Art of the Fugue

Art of the Fugue - 70th Anniversary Edition Glenn Gould , and Bach Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: A State of Wonder: The Complete Goldberg Variations (1955 & 1981) French Suites - 70th Anniversary Edition The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II Partitas 1 2 & 3 - 70th Anniversary Edition ASIN: B00006FI8C Release Date: 2002-09-03

Customer Reviews:

Gould's Most Errant Interpretation.......2007-02-13

Mr. Khekoyan, who reviews this disk below, is quite correct that it is errant in tempi and in percussive interpretation. I'm not in agreement with him about Glenn Gould's stature as the foremost interpreter of Bach of the century. I'd suggest listening to the performance of Menno van Delft, which is included in the Bach Edition complete works produced by Brilliant Classics. There are any number of people who might nominate Gustav Leonhardt, Trevor Pinnock, or Bob van Asperen as more insightful interpreters of Bach than Glenn Gould. Don't let Gould's curious cult status mislead you; his performances are more quirky than competent.
Or, if you are attracted to the Art of Fugue rather than the Artist, you might listen to the performance of the Amsterdam Loeki Stardust Quartet, also available on CD. Though there is no historical justification for playing Bach's harpsichord music on recorders, the LSQ makes fine and insightful music on their wooden flutes, large and small. At times they sound more organistic than Mr. Gould on his modern behemoth.

THE VERY SOUL OF MUSIC.......2006-09-08

What you will find on this disc is A) contrapunctus I-IX played on two different organs in 1962; B) contrapunctus I II & IV from a1981 TV broadcast; C) contrapunctus IX XI & XIII in mono from a radio broadcast in 1967; D) the unfinished contrapunctus XIV from what may or may not be the same TV broadcast as B); and as a final filler E) a prelude and fugue on the name BACH from a studio recording in 1980. Items B)-E) are given on the piano.

Gould's organ renderings ran into critical flak at the time, and whether for that reason or because organ-playing aggravated a shoulder condition that the maestro suffered from he never completed the project. The sound of the piano is a little below standard in C), with some background hiss and a slightly emaciated tone, but even it is not really bad, B) and D) are better, and E) better still sound-wise. The sound of the organs has been criticised, but I do not criticise it and indeed it suits me very well. Nothing in the sound-quality from start to finish interferes in any way with my appreciation of Gould's wonderful, visionary and unique Bach-playing.

This disc does not offer you the complete Art of Fugue, so anyone who wants what's here is going to want it for something special in the performance. Gould is always special I guess, but not special in ways that suit everyone. My feeling is that if you are of the school that wants the Art of Fugue played `expressively' you can probably leave this offering alone. Once Gould sets a tempo he sticks to it unflinchingly without rubato, and except for some build-up in the tone as D) progresses there is a very restricted range of dynamics within each piece, although the individual pieces are strongly contrasted in respect of both volume-level and pace. Interestingly, in those numbers which he gives in two different performances, he takes a markedly different approach each time. Conrapunctus II IV and IX are very much faster in the piano version than on the organ, but contrapunctus I on the piano is taken very slowly indeed, lasting nearly twice as long as in the organ account. It is a matter of one's own concept of the work basically. For me, the Art of Fugue is the ultimate in abstract `absolute' music. It is a monument of remote sublimity like pure mathematics or like the stars in the sky, and it is just there for us to wonder at and does not reach out to us or `express' anything. The player's task is to convey its grandeur, and for me Gould does that as no other version, (on any instruments whatsoever - Bach specifies none) has ever done for me, and I feel this most acutely in his much-criticised organ renderings. The organs he uses are not giants, and there is only limited use of the pedals. He uses mainly a detached fingering, although embracing a more legato style in contrapunctus VI. However it stands to reason that the parts in long sustained notes do not admit of the detached treatment, and I love Gould's selection of strongly contrasted stops to assist clarity further. These are the means he adopts. What these means are in furtherance of is an impression of utter grandeur in the sublime march of Bach's polyphony. It is even a privilege to be shown how this grandeur can be viewed from startlingly different angles in his alternative interpretations of 4 of the fugues.

The last fugue from the Art, the unfinished contrapunctus XIV, is taken at a very slow pace and ends abruptly where the dying composer left it. In the normal way of things I detest this procedure - whatever Bach intended it wasn't that, and in a composition that is the ne plus ultra of method many competent musicians have supplied conclusions that must, in the very nature of the case, approximate to what Bach himself would have done. However this was a television performance, and I gather that the camera was made to freeze at this point with Gould's right hand poised dramatically in mid-air. Gould, who kicked Ravel's piano transcription of La Valse into touch and wrote his own, is having none of that when it comes to Bach, and under the circumstances I stifle my own normal reaction to this abrupt hiatus.

One of the most extraordinary things about Bach is how popular he manages to be for all his seeming severity. The Art of Fugue is innocent of the lyricism that was also part of Bach's infinite musical gift, it makes no compromises with us, but I would say to newcomers to the work that Gould's accounts, partial as they are, would be the best place to start to know this unique and towering masterpiece. It is not any indivisible entity in any case. Better, to start with, to hear some of it presented like this than the entire set in many another, perhaps indeed in any other, version.

Worth getting for Contrapunctus XIV, but for full performance look elsewhere.......2005-08-07

This is a partial performance on organ paired with a partial performance on piano. I didn't care too much for the organ (although Gould's very "un-organistic" articulation does work with these pieces, I miss the unique expression of his piano playing). Some of the piano recordings sound like somebody surreptitiously taped them on a concealed tape recorder.

If you want a complete Art of Fugue on piano that's as close to Gould as it gets, go with Tatiana Nikolayeva's stellar 2 CD-recording on Hyperion (CDA66631/2). I have 9 AoF performances in my collection (piano, organ, string quartet, Hermann Scherchen's orchestral arrangement), and Nikolayeva's set is my favorite by far. (It also includes the two Ricercars from The Musical Offering BWV1079 and the four Duets BWV 802-805, originally for organ.)

However, if you're as much of a Bach nut as I am, the Gould CD is worth getting just for Gould's incredible performance of Contrapunctus XIV (the final unfinished fugue).

The Best Bach Interpreter of the Century.......2003-11-29

I absolutely love all the works played by Glenn Gould. Why 3 stars then? For a long time I have loved every work that Gould brought to life and I still absolutely love them. However, "The Art of the Fugue" really made me see some of Glenn's dark side. The flaw is that his high speeds have absolutely no excuse on this marvelous piece of creation. It is true that Gould is the best pianist when it comes to playing Bach, but to understand what I mean, go and listen to Contrapunctus IV by some other performer who plays it much slower than Glenn. I personally recommend especially the trumpet version. It will blow your mind and convince you that Gould's performance of this piece was really hiding its magnificent beauty and drama. It is simply not possible to express something so breathtakingly dramatic by playing it staccato and also too fast. Have you ever seen someone who had a great loss crying by short stops and very fast? I don't suppose so. And the comparison is very fair because all the instruments, especially the piano, were created to resemble the human voice. `Art of the Fugue' is nothing like the Goldberg Variations where Gould's touch made the music beautiful, especially the first slow movement (which he actually plays very slowly and hence compensates for the staccato). It is much more dramatic and the performer's first goal must be to convey the drama to the listener.

Who am I to judge Glenn? I just have had the privilege to listen closely to titans like S. Richter, E. Gilels, A. Rubinstein, A.Schnabel, S. Rachmaninoff, V. Horowitz, and many others. Not to mention that so far I have listened to the complete works of over 40 composers. Again, Glenn Gould plays beautifully, especially Bach's faster pieces, where even Emil Gilels and Sviatoslav Richter can't do such a precise and concise interpretation. But we must remember that Glenn is a great pianist, but a pianist that can't even match with the Genius of Johann Sebastian Bach (I have heard Glenn's compositions). It is ironic that listeners give so much credit to Gould that they absolutely forget that the only reason that he is able to play such beautiful pieces is because Bach has created them in the first place! With this in mind, we still can accept new ways of interpretation of Bach, BUT NOT TO THE POINT THAT IT DECREASES THE INTRINSIC VALUE OF BACH'S COMPOSITIONS. Glenn does not do this often, but it is shocking that he chose to show his over-interpretation on a work that is considered to be the most important one in the entire classical repertoire. If Glenn was made to play these pieces by his contractors then the flaws can be partially forgiven.

It all comes down to this: this work should by no means put Gould's abilities in question, since he is indeed the best Bach interpreter of this century. However, one must not be blinded and be focused on any singular performer for the interpretation of all the pieces in the classical repertoire - Gould might outdo Horowitz in performing the `Emperor Concerto' (Beethoven) and Gilels in playing Bach's `French Suites', but when it comes to pieces like Beethoven's "The Tempest," his staccato is not in its right medium and becomes a cat's play compared to the powerful fingers of Richter.
(I have heard over one hundred pieces by Gould and could barely notice his humming. Why? Because I hum with him! So please do not complain since a real classical listener should not even notice the humming. Imagine listening to someone talking and at the same time listening to Bach. As far as I am concerned, you shouldn't even be able to notice that that person even exists)

Excellent Rendition of the Art of the Fugue.......2003-03-08

This is my first Glenn Gould CD. At first, I was surprised by his staccato organ playing, but I soon began to really enjoy the CD. Some may find Mr. Gould's humming annoying, but I found it amusing (it doesn't bother me much). I only heard the humming on the tracks with piano and found that Gould was really into Bach. I have heard Glenn Gould's playing on the radio and must say that he is truly a master of Bach's keyboard music. The sound quality is good and the jewel case is very nice. I highly recommend this item if you like Bach, Gould, or both.

Average customer rating: Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin Thoughtful Readings Bach by Julia Fischer very good. What a Surprise!

J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006 Manufacturer: Pentatone ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bach, Johann Sebastian | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Russian Violin Concertos [Hybrid SACD] Mozart: Violin Concertos Tchaikovsky Violin Concerto (Hybr) Mozart: Flute Concertos; Rondo; Andante [Includes the Bis 2005 Catalog] [Hybrid SACD] Mozart, W.A.: Violin Concertos Nos. 1, 2 & 5 ASIN: B00097HE8U Release Date: 2005-06-14

Customer Reviews:

Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin.......2007-05-07

In March I heard Julia Fischer playing Khachaturian's violin concerto at a concert at the Kennedy Center in Washington D.C. She is such a wonderful violinist that soon after I got home I checked what other performance of hers would be available from Amazon. When I saw this CD I promptly ordered it. Because on this CD she plays without an orchestra, her virtuosity is even more obvious and superb than in the concertos where she is accompanied by a full orchestra. I recommend this CD to everybody who likes the violin music of J.S.Bach!

Thoughtful Readings.......2007-01-09

Bach's unaccompanied sonatas and partitas for solo violin can act as multiple litmus tests, mercilessly revealing a player's cultural, temperamental, intellectual, and technical selves. That is certainly the case with Julia Fischer's set. It shows her to be technically proficient and thoughtful in regard to the structures and, to some degree, the expressive (affective) content of these works. But it also tells the world that she is still a young artist, and that she may have more to say about this music -- and the temerity to say it -- after she's been around a while longer.

Listeners contemplating the purchase of yet another Bach Unaccompanied set will also have to look to their own tastes in deciding whether Fischer fits the bill. Have you long since acquired, and exhausted, the classic Milstein performances? Did you find Perlman nicely polished, or just a bit too slick? Did you respond well to Kremer's impetuosity and drama, or consider his approach overly rough and improvisatory?

In the liner notes, Ms. Fischer tells us that for years she has warmed up every day with these pieces. It shows. She is obviously familiar with them, and her technical security and sense of "what comes next" have benefited. But with familiarity comes a certain complacency, and warmups can encourage a performer to emphasize sheer mechanics: pitch accuracy, evenly smooth bowing, perfect finger coordination, etc. That is what I personally hear as a guiding principle in most of these interpretations. They are soft-edged, maintaining steady tempi, using the middle third of the bow, employing subtle and consistent accents, phrasing, and dynamic emphases.

Nothing wrong with those choices. In many aspects, they may lie closer than some others to what Bach had in mind. But I found myself respecting Fischer's efforts rather than becoming involved in the music itself. In the end I went back to Hilary Hahn's debut disc (which includes some but not all of these works) in order to hear controlled and thoughtful Bach performances with more passion, more bite (bowing at the frog when needed), and more overall humanity.

The SACD recording is quite good, but if anything it emphasizes the mellow, moderated quality of these performances with a violin timbre that is never unpleasant but seldom provides the range of colors that one might hope to hear, even in Bach. Especially in Bach?

I think Ms. Fischer is heard to better advantage in her Pentatone recording of the Russian concertos -- maybe she didn't feel a "Romantic" approach was as appropriate for Baroque music. The result sounds curiously old-fashioned, however, especially given the recent tendency in historically informed Baroque performance to emphasize drama and individualistic expression (e.g., Rachel Podger, Andrew Manze). By comparison, Julia Fischer's Bach comes off as a careful effort by a recent conservatory graduate. Still worth hearing, but perhaps more as an emblem of her undeniable promise.

Bach by Julia Fischer.......2006-08-04

You must listen to this with SACD kit to do justice to the recording. OK CD layer is not too bad but with sensitive equipment you can hear so much more with the SACD it is unbelievable.
She is one of the best performers of Bach solo pieces if not the best. Milstein, Kagan, Grumiaux, Perlman are good. But she is something else. Timing, fluidity, expression I can go on and on. This is the most "musical" interpretation of these pieces I have heard so far.

very good........2006-06-11

At first I was stunned on how good it was to listen to these pieces in a great format as SACD. However, miss Fischer should pay more attention to the details instead of get every note just right. There aren't huge mistakes, which makes it worthy, but it isn't perfect. The booklet says that she's quite young to perform all of this pieces and I believe it's true. She can improve in the future.

What a Surprise!.......2006-03-09

I never thought this young violinist could play Bach in such a matured way. My version at home was Milstein, Szegeti, Kremer (not very good), and Grumiaux. But Julia Fischer's Bach has won so much praise and I just wonder why. Therefore I bought this pricy double SACD (no ordinary CD available).

I was surprised. It doesn't sound like she is young at all. According to Fisher, she played Bach every day. And she has been studying Bach since she was a little girl. No wonder she has attended to the details of it. The speed she took was relatively slow, especially for the Preludes and Sarabande. Her technique was impeccable, but it all sounded so natural. I once listened to Heifitz and I didn't quite like it. It sounded not like Bach. Fisher surely captured the elegance and warmth of one of Bach's most intelligent and intellectual works.

If you like Bach's Unaccompanied Sonata and Partita for Solo Violin, buy this. You won't regret. The recording quality was superb, too!

Average customer rating: a voice teacher and early music fan A "Regular People" Review exceptional tone quality The Fabulous Andrew Parrott Fabulous introduction to Venetian sacred music

Gabrieli · Monteverdi · Vivaldi - Venetian Church Music / Taverner Consort, Choir & Players · Andrew Parrott Giovanni Gabrieli , Claudio Monteverdi , Antonio Vivaldi , Dario Castello , Giovanni Legrenzi , Antonio Lotti , Alessandro Grandi , Andrew Parrott , and Choir & Players Taverner Consort Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Gabrieli, Giovanni | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Monteverdi | Monteverdi, Claudio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Solo Instrumental | New Age | Styles | Music $6.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Gabrieli, Giovanni | ( G ) | Composers, A-Z | Classical Music Blowout | Stores | Music Monteverdi, Claudio | ( M ) | Composers, A-Z | Classical Music Blowout | Stores | Music Vivaldi, Antonio | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Monteverdi: Vespro della Beata Vergine 1610/Venetian Vespers A Venetian Coronation 1595 Venetian Music for Double Choir The Antiphonal Music of Gabrieli Josquin Desprez: Motets & Chansons ASIN: B00005IA23 Release Date: 2001-10-09

Tracks:

1. Canzonas, Sonatas And Motets: Dulcis Jesu
2. Canzonas, Sonatas And Motets: Son Pian E Forte
3. Canzonas, Sonatas And Motets: Jubilate Deo
4. Canzonas, Sonatas And Motets: Son a 14
5. Canzonas, Sonatas And Motets: O Jesu Mi Dulcissime
6. Canzonas, Sonatas And Motets: Canzon
7. Canzonas, Sonatas And Motets: Hic Est Filius Dei
8. Canzonas, Sonatas And Motets: Son Con Tre Violini
9. Canzonas, Sonatas And Motets: Son a 22
10. Canzonas, Sonatas And Motets: Miserere Me Deus - Gloria Patri
11. Canzonas, Sonatas And Motets: Canzon In Echo Duodecimi Toni
12. Canzonas, Sonatas And Motets: Audite Principes

Tracks:

1. Intonationi D'Organo, 1593: Intonatione Del Nono Tono
2. Sacrae Symphoniae II, 1965: In Ecclesiis
3. Motetti In Lode D'Iddio Nostro Signore, 1620: Adoramus Te, Christe
4. Ghirlanda Sacra, 1625: O Quam Tu Pulchra Es
5. Sonate Concertate, Libro Secondo, 1629: Sonata Seconda
6. Arie De Diversi, 1624: Exulta, Filia Sion
7. Sonate, Libro Terzo, Op.8, 1663: Son Da Chiesa A 3, Op.8 No.8 'La Bevilaqua'
8. Crucifixus
9. Clarae Stellae, Scintillate, RV625: Aria: Clarae Stellae, Scintillate: Aria: Clarae Stellae, Scintillate
10. Clarae Stellae, Scintillate, RV625: Aria: Clarae Stellae, Scintillate: Recitativo: Coeli Repleti Iam Novo Splendore
11. Clarae Stellae, Scintillate, RV625: Aria: Clarae Stellae, Scintillate: Aria: Nunc Jubilare
12. Clarae Stellae, Scintillate, RV625: Aria: Clarae Stellae, Scintillate: Alleluia
13. Crucifixus
14. Ghirlanda Sacra, 1625: Currite Populi
15. Montetti In Lode D'Iddio Nostro Signore, 1620: Christe, Adoramus Te
16. Canzoni Et Sonate, 1615: Canzon VIII
17. Berlin, Deutsche Staatsbibliothek, MS Lynar A1: Fuga Del Nono Tono
18. Sacrae Symphoniae II, 1615: Magnificat

Customer Reviews:

a voice teacher and early music fan.......2007-04-01

Polychoral music-music written for several groups of musicians separated spatially-was not peculiar to Venice, but it was associated with the Basilica of San Marco and ceremonial events in the Venetian cultural calendar.
Chordal writing reached its peak in the polychoral works of Giovanni Gabrieli(1555-1612), the principal church composer in Italy of the progressive development. He not only increased the number of choirs to four and the total pitch range to over four octaves, but also juxtaposed passages of conventional rhythm with strikingly jagged suncopated motifs. These dramatic contrasts were further intensified by occasional chromatic harmony and unusual dissonances and, more significantly, by the use of instruments that alternated or combined with the voices. All of these traits are well demonstrated in the music on disc 1 of this set. His music is wonderfully exciting!!!!
Upon his death, Monteverdi succeeded him, and took his own direction musically; much different from Gabrielli. It is not just that their styles are different, but the instrumentation is much different as you will hear upon listening to disc 2.
Two subsequent directors of music represented here are Legrenzi and Lotti, both primarily opera composers.
Vivaldi had no direct connection with the basililca; he worked at the 'Pieta', and his motet 'Clarae stellae' was written for a 'Signora Gertruda, a singer who sang at the Pieta. This is one of the most attractive pieces on disc 2, and is often recorded by countertenors (altos)but on this disc is sung by Randi Stene, mezzo soprano, who sings it quite well. Andreas Scholl has recorded this, and I do personally prefer Scholl's countertenor quality for this particular piece.
Monteverdi's 'Currite populi' is another favorite of mine, and its excellently performed herein.
There is just so much to enjoy on these two discs for the early music lover. The instruments are very skillfully played and the styles of the various composers are adhered to all the time. The balance between the voices and the instruments is perfect as one might expect from Parrott's performers. The soloists: Emily van Evera (soprano), Randi Stene (mezzo) and Jeffrey Thomas (tenor) all sang with the correct emotional investment. Certainly worth listening to!!!!

A "Regular People" Review .......2007-01-09

Venetian Church Music?....never thought I'd be listening to that, anyway this music is for those who seek it out, If thats not you this probably won't interest you (but you can try some renaissance/baroque experimental listening to see if you'd like it!). If your into this though, this is a good deal.

exceptional tone quality.......2006-03-28

When I purchased this recording, I had not yet had the pleasure of owning an Andrew Parrott/Taverner Consort recording. I was so impressed! Andrew really excercises an understanding of this genre, an understanding that I haven't often seen. In particular I was quite pleased with this rendintion of Gabrieli's "In ecclesiis" (although the Bass, I don't know his name, is too lacking in volume). Other than that, I just adore this CD set. I also recommend Andrew Parrot for anything predating Bach (*not including Bach!). There is a 5 CD of particular interest and quality called "From Monteverdi to Vivaldi" by this same ensemble that you might consider purchasing instead of this set (almost exact same price, and one of the CDs- the better of the two in this set- is included in the 5CD set).

The Fabulous Andrew Parrott.......2005-08-04

Who else but Andrew Parrott?! The fabulous adventurer in the field of early music, Parrott has time and again unearthed unknown masterpieces, shedding light on their original luster through a keen sense of the historical settings, employment of the proper historic instruments & period vocal style, and his own inspired musicianship. Throughout the 2nd half of the 20th century music lovers like me knew the works of Gabrieli through the appropriations by well-meaning ensembles of modern brass instruments: Chicago Symphony Brass, Canadian Brass, etc. Parrott has been the first to perform and record many of these works with early 17th century instruments, providing a restored sonic image for the 21st century connoisseur. Bravo! Encore, please!

Fabulous introduction to Venetian sacred music.......2003-07-24

This fantastic collection of music is probably one of the best introductions to Venetian Baroque (early to late) on offer.
The first disc, devoted to Giovanni Gabrieli, is nothing short of amazing. Cornetts, Baroque violins, tenor cornetts, sackbuts and multiple organs (try the first track - the huge Dulcis Jesu patris imago à 20 voci) can be heard on this disc and they are all played with great panache, style and, most importantly, expression. I bought both of these discs when they were issued on EMI Reflex over ten years ago - and I have never stopped loving these magnificent and colourful performances.

If you want only one recording of Giovanni Gabrieli's music - then this might be the one for you! The other might be the Gabrieli Consort's 'A Venetian Coronation'? (if you want two Gabrieli recordings in your collection!)

The second disc contains a very tasty selection of music by Legrenzi, Monteverdi, Vivaldi and, again, Giovanni Gabrieli (the star of the show!).

If you want to know what 8 cornetts and 16 sackbuts sound like - then this is the place to go! The singing and playing from all concerned is excellent.

I love this CD and I bought this reissue because my old EMI CDs were getting a bit old!

Average customer rating: Barenboim's Beethvoen One of the very best ever dead in the water Sublime expression nourished by a colossal vision! Performed with great enthusiasm

Beethoven: Complete Piano Sonatas / Daniel Barenboim Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Barenboim, Daniel | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Classical | Box Sets | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Mozart:The Complete Piano Sonatas and Variations Beethoven - The Complete String Quartets / Alban Berg Quartet Beethoven: The Complete Symphonies and Piano Concertos Chopin: The Piano Works Schubert: The Piano Sonatas ASIN: B00000C2KP Release Date: 1998-10-20

Tracks:

1. Sonata No.1 In F Minor, Op.2 No.1: Allegro
2. Sonata No.1 In F Minor, Op.2 No.1: Adagio
3. Sonata No.1 In F Minor, Op.2 No.1: Menuetto: Allegretto
4. Sonata No.1 In F Minor, Op.2 No.1: Prestissimo
5. Sonata No.2 In A Major, Op.2 No.2: Allegro vivace
6. Sonata No.2 In A Major, Op.2 No.2: Largo appassionato
7. Sonata No.2 In A Major, Op.2 No.2: Scherzo: Allegretto
8. Sonata No.2 In A Major, Op.2 No.2: Rondo: Grazioso
9. Sonata No.3 In C Major, Op.2 No.3: Allegro con brio
10. Sonata No.3 In C Major, Op.2 No.3: Adagio
11. Sonata No.3 In C Major, Op.2 No.3: Scherzo: Allegro
12. Sonata No.3 In C Major, Op.2 No.3: Allegro assai

Tracks:

1. Sonata No.5 In C Minor, Op.10 No.1: Allegro molto e con brio
2. Sonata No.5 In C Minor, Op.10 No.1: Adagio molto
3. Sonata No.5 In C Minor, Op.10 No.1: Finale: Prestissimo
4. Sonata No.6 In F Major, Op.10 No.2: Allegro
5. Sonata No.6 In F Major, Op.10 No.2: Allegretto
6. Sonata No.6 In F Major, Op.10 No.2: Presto
7. Sonata No.7 In D Major, Op.10 No.3: Presto
8. Sonata No.7 In D Major, Op.10 No.3: Largo e mesto
9. Sonata No.7 In D Major, Op.10 No.3: Menuetto: Allegro
10. Sonata No.7 In D Major, Op.10 No.3: Rondo: Allegro
11. Sonata No.22 In F Major, Op.54: In tempo di Menuetto
12. Sonata No.22 In F Major, Op.54: Allegretto - Piu allegro

Tracks:

1. Sonata No.4 In E Flat Major, Op7: Allegro molto e con brio
2. Sonata No.4 In E Flat Major, Op7: Largo con gran espressione
3. Sonata No.4 In E Flat Major, Op7: Allegro
4. Sonata No.4 In E Flat Major, Op7: Rondo: Poco allegretto e grazioso
5. Sonata No.9 In E Major, Op.14 No.1: Allegro
6. Sonata No.9 In E Major, Op.14 No.1: Allegretto
7. Sonata No.9 In E Major, Op.14 No.1: Rondo: Allegro comodo
8. Sonata No.10 In G Major, Op.14 No.2: Allegro
9. Sonata No.10 In G Major, Op.14 No.2: Andante
10. Sonata No.10 In G Major, Op.14 No.2: Scherzo: Allegro assai

Tracks:

1. Sonata No.11 In B Flat Major, Op.22: Allegro con brio
2. Sonata No.11 In B Flat Major, Op.22: Adagio con molta espressione
3. Sonata No.11 In B Flat Major, Op.22: Menuetto
4. Sonata No.11 In B Flat Major, Op.22: Rondo: Allegretto
5. Sonata No.12 In A Flat Major, Op.26: Andante von variazioni
6. Sonata No.12 In A Flat Major, Op.26: Scherzo: Allegro molto
7. Sonata No.12 In A Flat Major, Op.26: Marcia funebre sulla morte d'un Eroe: Maestoso andante
8. Sonata No.12 In A Flat Major, Op.26: Allegro
9. Sonata No.13 In E Flat Major, Op.27 No.1: Andante - Allegro
10. Sonata No.13 In E Flat Major, Op.27 No.1: Allegro molto e vivace
11. Sonata No.13 In E Flat Major, Op.27 No.1: Adagio con espressione - Allegro vivace

Tracks:

1. SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Grave - Allegro molto e con brio
2. SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Adagio cantabile
3. SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Rondo: Allegro
4. Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Adagio sostenuto
5. Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
6. Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Presto agitato - Adagio - Presto agitato
7. SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro assai - Piu allegro
8. SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Andante con moto
9. SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro ma non troppo - Presto

Tracks:

1. Sonata No.15 In D Major, Op.28 'Pastoral': Allegro
2. Sonata No.15 In D Major, Op.28 'Pastoral': Andante
3. Sonata No.15 In D Major, Op.28 'Pastoral': Scherzo: Allegro vivace
4. Sonata No.15 In D Major, Op.28 'Pastoral': Rondo: Allegro ma non troppo
5. Sonata No.21 In C Major, Op.53 'Waldstein': Allegro con brio
6. Sonata No.21 In C Major, Op.53 'Waldstein': Introduzione (Adagio molto) - Rondo (Allegretto moderato - Prestissimo)
7. Sonata No.19 In G Minor, Op.49 No.1: Andante
8. Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
9. Sonata No.20 In G Major, Op.49 No.2: Allegro ma non troppo
10. Sonata No.20 In G Major, Op.49 No.2: Tempo di menuetto

Tracks:

1. Sonata No. 16 In G Major, Op. 31 No. 1: Allegro vivace
2. Sonata No. 16 In G Major, Op. 31 No. 1: Adagio grazioso
3. Sonata No. 16 In G Major, Op. 31 No. 1: Rondo: Allegretto - Adagio - Presto
4. Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Largo - Allegro
5. Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Adagio
6. Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Allegretto
7. Sonata No.18 In E Flat Major, Op.31 No.3: Allegro
8. Sonata No.18 In E Flat Major, Op.31 No.3: Scherzo: Allegretto vivace
9. Sonata No.18 In E Flat Major, Op.31 No.3: Menuetto: Moderato grazioso
10. Sonata No.18 In E Flat Major, Op.31 No.3: Presto con fuoco

Tracks:

1. Sonata No.24 In F Sharp Major, Op.78: Adagio cantabile - Allegro ma non troppo
2. Sonata No.24 In F Sharp Major, Op.78: Allegro vivace
3. Sonata No.25 in G major, Op.79: Presto alla tedesca
4. Sonata No.25 in G major, Op.79: Andante
5. Sonata No.25 in G major, Op.79: Vivace
6. Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Das Lebewohl (Les Adieux): Adagio - Allegro
7. Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Abwesenheit (L'Absence): Andante espressivo
8. Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Wiedersehn (Le Retour): Vivacissimamente - Poco andante - Tempo 1
9. Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
10. Sonata No.27 In E Minor, Op.90: Nicht zu geschwind und sehr singbar vorzutragen

Tracks:

1. Sonata No.28 In A Major, Op.101: Allegretto ma non troppo
2. Sonata No.28 In A Major, Op.101: Vivace alla Marcia
3. Sonata No.28 In A Major, Op.101: Adagio, ma non troppo, con affetto - Tempo del primo pezzo - Allegro
4. Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Allegro
5. Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Scherzo: Assai vivace - Presto - Tempo 1
6. Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Adagio sostenuto
7. Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Largo - Allegro - Prestissimo - Allegro risoluto (Fuga a tre voci, con alcune licenze)

Tracks:

1. Sonata No.30 In E Major, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo 1
2. Sonata No.30 In E Major, Op.109: Prestissimo
3. Sonata No.30 In E Major, Op.109: Tema: Andante molto cantabile e espressivo - Variazioni 1-6
4. Sonata No.31 In A Flat Major, Op.110: Moderato cantabile, molto espressivo
5. Sonata No.31 In A Flat Major, Op.110: Allegro molto
6. Sonata No.31 In A Flat Major, Op.110: Adagio ma non troppo
7. Sonata No.31 In A Flat Major, Op.110: Fuga: Allegro ma non troppo - L'istesso tempo di arioso - L'istesso tempo della Fuga - Meno allegro
8. Sonata No.32 in C minor, op.111: Maestoso - Allegro con brio ed appassionato
9. Sonata No.32 in C minor, op.111: Arietta: Adagio molto semplice e cantabile - Variazioni

Customer Reviews:

Barenboim's Beethvoen.......2007-06-27

I heard Bachaus play all Beethoven recitals at Carnegie Hall, in NYC. At that time he was the acknowledged master of the Beethvoen Sonata. With Barenboim, the old order changeth, yielding place to new. These recordings have fire, tempestuousness and passion, all emotions that belong in Beethoven.

One of the very best ever.......2007-02-15

This set has to be experienced. The clarity of these performances is beyond belief. If it's not the best set of Beethoven Sonatas, it is certainly among the very best. Take for example the first movement of Sonata number 21. It is so easy to have a performer play all the notes just as Beethoven wrote them and yet leave the listener in a morass of confusion without the slightest idea of what he had in mind. Not here. The ideas pour forth in a white light that has to be experienced. It really has to be experienced!! I love these performances. I will play them until I die. Oh...and the recordings are technically excellent. At least when played through Levinson electronics and Maggies....superb!

dead in the water.......2007-01-12

Sorry, I just don't like Barenboim's renditions. Beethoven is my favourite composer, depending on my mood that is, and nothing moves me as his music can. But I just don't get Barenboim's renditions... doesn't do a thing for me. Something of Beethoven's depth and richness gets totally "lost in translation".

Better off finding a better performance of these if you really want to be "blown away". My favorite "Beethoven" conductor would have to be Herbert von Karajan; and as for individual pianists my all time favorite is Maurizio Pollini, whose performances are exquisite, in both technique and expression! If you are a music lover you should really check his work out if you haven't already. My favorite Beethoven CD by him is "Die Spaten Klaviersonaten" (Beethoven) by Deutsche Grammophon in their "legendary recordings" series. It is a real gem! (the sound quality is excellent also)

Sublime expression nourished by a colossal vision!.......2006-03-23

Thanks to this immense and untiring activity in the field of the orchestral direction, his vision as pianist has enriched himself quite a lot: Barenboim performs these well known Sonatas with a splendid architectural construction; according Schnabel `s tradition.

And that is a very remarkable good point in this musical moment where the pianist technique is eclipsing and even annulling the personal approach in the most of pianists all over the world. Honesty, conviction, vision and commitment dress those interpretations loaded of expression and personality.

In the great tradition of the great Beethovenian keyboard giants of the past, Daniel explores and plays every little bar with that well felt intensity of someone who in Beethoven `s there is much more than simple music. In Beethoven the music is not a goal by itself; but a revelation superior to any philosophy; all his musical legacy possess values that are placed of the standards. There is not art without second intention and that is precisely what Barenboim has made with this fabulous cycle of Beethoven Sonatas.

If you really want to listen remarkable performances far beyond of the trivial conventionalisms, go for this record.

Performed with great enthusiasm.......2004-05-16

This is classic early Barenboim (he was just 24 when he started recording this set in 1966). He is very enthusiastic and expressive (if you don't like him, he "takes liberties" and "shows off"). The slow movements are veerrry slow, and the fast ones really rip. Pianissimo is extremely soft, and fortissimo rattles the windows! [My wife insists that I wear headphones for late-night listening.]

Personally, I think his style is just right for Beethoven (but perhaps just a bit much when he plays Mozart). I'm very glad that I bought this set, but some might prefer Brendell's (Phillips) or Kempff's (DG) more sedate versions.

Average customer rating: Mill. Classical review classical music for the unitiated Some little gems there that I had forgotten! A very helpful collection Excellent!

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Tracks:

1. Brandenbutg Concerto No.3 In G First Movement
2. Overture No.3 In D Second Movement
3. Violin Concerto In E First Movement
4. Prelude In C minor
5. Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
6. Overture No.2 In B minor Minuet And Badinerie
7. Oboe Concerto In D minor Second Movement
8. Brandenburg Concerto No.4 In G Third Movement
9. Musical Offering - Fuga canonica
10. Easter Oratorio - Overture
11. Minuet In D minor
12. Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
13. Brandenburg Concerto No.1 In F Second Movement
14. Art Of The Fugue - Contrapunctus 9
15. Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
16. Overture No.4 In D - Réjouissance
17. Concerto No. 1 in E: Spring
18. Concerto No. 1 in E: Spring
19. Concerto No. 1 in E: Spring
20. Concerto No. 2 in G minor: Summer
21. Concerto No. 2 in G minor: Summer
22. Concerto No. 2 in G minor: Summer
23. Concerto No. 3 in F: Autumn
24. Concerto No. 3 in F: Autumn
25. Concerto No. 3 in F: Autumn
26. Concerto No. 4 in F minor: Winter
27. Concerto No. 4 in F minor: Winter
28. Concerto No. 4 in F minor: Winter
29. Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
30. Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
31. Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
32. Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
33. Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
34. Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
35. Concerto Grosso in A minor, Op. 3, no. 8
36. Concerto Grosso in A minor, Op. 3, no. 8
37. Concerto Grosso in A minor, Op. 3, no. 8
38. Water Music - Alla Hornpipe
39. Xerxes - Ombra Mai Fu (Largo)
40. Messiah - And The Glory Of The Lord
41. Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
42. Organ Concerto In F, Op. 4, No. 4 Allegro
43. Water Music - Air
44. Messiah - For Unto Us A Child Is Born
45. Concerto Grosso In B flat, Op. 3, No. 2 - Largo
46. Salomon - Sinfonia, Act 3
47. The Choice Of Hercules - While For Thy Arms
48. Water Music - Allegro (Suite No. 1)
49. Suite No. 5 In E - Air With Variations
50. Jephtha - How Dark, O Lord
51. Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
52. Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
53. Water Music - Andante Allegro Da Capo
54. Concerto for Trumpet & Orchestra in E-flat: First Movement
55. Symphony No. 94 in G: Surprise Symphony-second movement
56. Concerto for Violin No. 2 in D: Third Movement
57. Flute Trio No. 31 in G: Second Movement
58. Symphony No. 31 in D: Hornsignal-First Movement
59. String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
60. Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
61. Concerto for 2 Horns & Orchestra in E-flat: Second Movement
62. Symphony No. 88 in G: Fourth Movement
63. String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
64. Notturno No. 1 in C: Second Movement
65. Symphony No. 98 in B: Londoner No. 4-Fourth Movement
66. Eine Kleine Nachtmusik - first movement
67. Piano Concerto in A - second movement
68. Flute Concerto in D - Rondeau
69. Serenade - Minuet
70. Violin Concerto - first movement
71. Symphony No. 40 in G minor - first movement
72. Clarinet Concerto - second movement
73. Turkish March
74. Divertimento - Minuet
75. Horn Concerto No. 3 in E-flat - first movement
76. Symphony No. 5 in C minor, Op. 67-First Movement
77. Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
78. Overture
79. O welche Lust (Prisoners' Chorus)
80. Ha, welch ein Augenblick (Pizarros's Aria)
81. Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
82. Concerto for Violin and Orchestra in D, Op. 61: Third Movement
83. Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
84. Sympony No. 6 in F, Op. 68: Pastorale-First Movement
85. Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
86. German Dance No. 1 In C
87. Impromptu Op. 90, No. 3 In G-Flat
88. Heidenroslein
89. Ave Maria
90. Der Lindenbaum
91. Quintet In A 'Trout Quintet' - Andante
92. Mass No. 6 In E-Flat - Kyrie
93. Die Schone Mullerin Des Mullers Blumen
94. German Dance No. 2 In G
95. Piano Sonata In B-Flat
96. Nachtgesang Im Walde
97. Winterreise - No. 15: Die Krahe
98. German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
99. Symphony No. 8 In B Minor 'Unfinished' - Second Movement
100. Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
101. Nocturne in E-flat, Op. 9, no. 2
102. Etude in G-flat, Op. 10, no. 5
103. Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
104. Mazurka in D minor, Op. 33, no. 2
105. Prelude in D-flat, Op. 28, no. 15 Raindrop
106. Etude in C, Op. 10, no. 1
107. Nocturne in D-flat, Op. 27, no. 2
108. Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
109. Scherzo in B minor, Op. 20
110. Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
111. Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
112. Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
113. Violin Concerto - second movement
114. The Sleeping Beauty - Waltz
115. Capriccio Italien, Op. 45
116. Swan Lake - Waltz
117. Eugene Onegin - Polonaise
118. The Nutcracker - Waltz of the Flowers
119. Orchestral Suite No. 4 - Mozartiana - Third Movement
120. Swan Lake - Dance of the Swans
121. Symphony No. 6 in B minor - Pathétique - Third Movement
122. Hungarian Dance No.5
123. Lullaby
124. Symphony No.1 in C minor, Op. 68 - Third Movement
125. Intermezzo in E-flat, Op.117, no. 1
126. Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
127. Waltz, Op. 39, no. 15
128. Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
129. String Quintet in G, Op. 111 - Second Movement
130. Symphony No.4 in E minor, Op. 98 - Third Movement
131. Intermezzo in A minor, Op. 76, no. 7
132. Hungarian Dance No.1 in G minor
133. German Requiem Selig sind die Toten (Final Chorus)
134. Die Fledermaus - Overture
135. Kaiser Waltz, Op.437
136. Thunder And Lightning Polka, Op. 324
137. Roses From The South Waltz, Op. 388
138. AnnenPolka, Op. 117
139. Vienna Blood Waltz, Op. 354
140. Eljen A Magyar Polka, Op. 332
141. Wine, Women and Song Waltz, Op. 333
142. On The Beautiful Blue Danube Waltz, Op. 134
143. Die Meistersinger Von Nurnberg - Overture
144. Tannhauser - Die Pilger sind's (Pilgims' Chorus)
145. Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
146. Lohengrin - Act 3 Prelude and Bridal Chorus
147. The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
148. The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
149. Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
150. Die Walkure - Ride of the Valkyries
151. Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
152. Tristan und Isolde - Liebestod
153. Thus sprach Zarathustra, Op. 30 (excerpt)
154. Don Juan, Op. 20
155. Eine Alpensinfonie, Op. 64, I.Nacht
156. Don Quixote, Op.35, first movement: Introduction
157. Salome, Op. 54, Dance Of The Seven Veils
158. Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
159. Piano Concerto 2 In C minor, Op. 18 - First Movement
160. Vocalise, Op.34, No. 14
161. Prelude In G Sharp minor, Op. 32, No. 12
162. Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
163. Symphony No. 2 In E minor, Op. 27 - Third Movement
164. Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
165. Rhapsody, Op. 43 On A Theme By Paganini
166. Hungarian Rhapsody No.2
167. Liebestraum No.3 in A-flat
168. Piano Concerto No.1 in E-flat - third movement
169. Angelus
170. Mephisto Waltz No.1 (Dance in a Village Tavern)
171. Prelude and Fugue on B-A-C-H
172. Dante Symphony - Finale. - Purgatorio - Magnificat
173. Les Préludes
174. Boléro
175. Daphnis et Chloé first movement: Nocturne
176. Rhapsodie Espagnole
177. Shéhérazade - first movement: Asie
178. Ma Mère l'Oye - fourth movement: La Belle et la Bête
179. Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
180. La Valse
181. Slavic Dance No. 1 in C, Op. 46, no.1
182. Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
183. Humoresque, Op. 101
184. Slavic Dance No. 8 in G minor, Op. 46, no. 8
185. Serenade for String Orchestra, Op. 22 - second movement
186. Romance for Violin and Orchestra In F minor, Op. 11
187. Symphony No. 7 in D minor - third movement
188. Melodie (Songs My Mother Taught Me)
189. Carneval Overture, Op. 92
190. Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
191. Symphony No.4 In A, Op. 90. Italian - First Movement
192. Frühlingslied In A, Op. 62, No. 6
193. Wedding March (From A Midsummer Night's Dream, Op.61)
194. Duetto In F, Op.30, No.6 (From Songs Without Words)
195. String Symphony No.9 In C. Schweitzer Symphony - Third Movement
196. Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
197. Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
198. Notturno (From A Midsumment Night's Dream, Op. 61)
199. Rondo Capriccioso, Op.14
200. String Symphony No. 12 In G minor - First Movement
201. Venetian Gondola Song In F Sharp minor, Op.30, No.6
202. Scherzo (From A Midsumment Night's Dream, Op. 61)
203. Violin Concerto In E minor, Op.64 - Third Movement
204. Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
205. Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
206. Holberg Suite, Op. 40 - IV. Air. Andante religioso
207. Arietta, Op. 12, no. 1
208. Homage March from Sigurd Jorsalfar, Op. 56
209. Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
210. Wedding Day at Troldhauen, Op. 65, no. 6
211. The Last Spring, Op. 34, no. 2
212. Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
213. Nordic Melody Op. 63
214. Notturno, Op. 54, no. 4
215. Elegie, Op. 47, no. 5
216. Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
217. Piano Concerto in A minor, Op. 16 - Allegro
218. Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
219. Traumerai (from Kinderszenen, Op. 15)
220. Mondnacht (from Eichendorff-Liederkreis, Op. 39)
221. Aufschwung (from Fantasietucke, Op. 12)
222. Triolett, Op. 114, no. 2
223. Tanzlied (No. 1 from Duets, Op. 78)
224. Symphony No. 4 in D minor, Op. 120 - second movement
225. Frühlingsgruss
226. Abschied (from Waldszenen Op. 82)
227. Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
228. Manfred Overture, Op. 115
229. Romance in F sharp, Op. 28, no. 2
230. Die Rose stand im Tau
231. Liebesgarten (from Four Duets, Op. 34)
232. Warum? (from Fantasiestucke, Op. 12)
233. Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
234. Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating: da kine Stop Reading Just Buy This Album GREAT title track but the rest is typical of a first album Sweet like a lilikoi! Outstanding

Lilikoi Paula Fuga Manufacturer: Punahele Productions ProductGroup: Music Binding: Audio CD General | International | Styles | Music Hawaii | Pacific Islands | International | Styles | Music Similar Items: One Day Maybe Getting Stoned with Savages: A Trip Through the Islands of Fiji and Vanuatu In Between Dreams Supply And Demand On And On ASIN: B000F3AJGM Release Date: 2006-05-09

Tracks:

1. Tangerine
2. Something On My Mind
3. Thought Of You
4. Hungry Child
5. The Sun Will Rise
6. Sweetness
7. Beautiful Face
8. Lilikoi
9. For The Love Of You
10. Loloiwi
11. Sweet Reserve
12. Nose Flute Dub
13. Thought Of You (Roots Rendition)

Album Description

Fuga (pronounced FOON-gah) leads the new Hawaiian wave of performers that are pushing the local music envelope. On this, her first release, she uses her powerful voice in eclectic stylings that range from gypsy-like jazz ballads to R&B inspired reggae.

Customer Reviews:

da kine.......2006-12-01

Everybody look out,this singers career will only skyrocket. I first heard her voice while listening to KAPA radio station on the Big Island.Her voice gave me chicken skin. I knew she had something. I can't wait for more.

Stop Reading Just Buy This Album.......2006-11-30

WOW!!! What can I write about Paula Fuga that does her any justice? She is N'Dea meets Lauren channeling Roberta Flack backed by a sick combo that sounds like the Funk Brothers meets Sly & Robbie with a healthy dose of the I-Threes. There are so many layers to her songs, the delicate guitars, the percussions, the soulful piano and jazz organ, although, you almost miss it because her voice is so compelling. This girl is a STAR!!! (Incidentally, she was passed up by Simon, Randy and Paula... the talented need not apply)

Her music is magical and intoxicating because its easy going grooves are contrasted so beatifully by the power of her sultry voice. The album is a collection of genres: she starts with a tortured a capella tune a la "Killing Me Softly" then slinks into a tight reggae cut that would feel at home on one of Peter or a Bob's albums, then its onto a breathy R&B torch number that puts Gladys and Aretha to shame. Yes, she's that good. She's Eva Cassidy good. She seamlessly slips from folk, to blues to reggae.

What's more incredible is Paula Fuga is just a regular person with (as of 2005)a boring job in some lousy Hawaiian tourist trap. She is largely unknown outside of Hawaii and the only reason I know about her is a friend from the Pacific Rim turned me onto her album over Thanksgiving. Want more? Check out her duet with Jack Johnson on Paula Fuga's My Space page.

GREAT title track but the rest is typical of a first album.......2006-11-20

I LOVE the title track. Love it! But the rest of the album isn't so great. I feel that she's got a ton of talent and potential but needs more cohesion and polish. She needs to develop her own style. But her voice is powerful and gorgeous and I'll buy the next album.

Sweet like a lilikoi!.......2006-07-25

I discovered Paula Fuga's music listening to the local Hawaiian station during my vacation to the Big Island. Ms. Fuga's power house voice explodes with soulful and expressive reggae/R&B quality combined with a mixture of modern and Hawaiian lyrics makes for an incredible first album. My fave song is lilikoi! Check out this incredible woman.

Outstanding.......2006-06-11

This is a simply a great CD - great lyrics, great vocals, great music- a modern Hawaiian classic.

Average customer rating: The necessary guitar repertoire Masterpiece Great! excellent! A score for Naxos

Leo Brouwer: Guitar Music, Vol. 1 Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Guitar | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music $6.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Brouwer: Guitar Music, Vol. 2 Villa-Lobos: Complete Music for Solo Guitar Barrios: Guitar Music, Vol. 1 Latin American Guitar Music Lauro: Venezuelan Waltzes for Guitar ASIN: B0000014EJ Release Date: 1998-09-08

Tracks:

1. Danza Carcteristica (Quitate De La Acera)
2. I
3. II
4. III
5. IV
6. V
7. VI
8. VII
9. VIII
10. IX
11. X
12. XI
13. XII
14. XIII
15. XIV
16. XV
17. XVI
18. XVII
19. XVIII
20. XIX
21. XX
22. Preludio
23. Fuga No. 1
24. Piece Without Title No. 1
25. Piece Without Title No. 2
26. Piece Without Title No. 3
27. I Guajira Criolla (On A Them Of Anckerman)
28. II Zapateado
29. I De El
30. II De Un Fragmento Instrumental
31. III Sobre Un Canto De Bulgaria
32. Canc De Cuna Berceuse
33. Sorcerer's Eyes
34. I Lento
35. II Ostinato

Customer Reviews:

The necessary guitar repertoire.......2007-05-29

It is a very good recording of the most famous cuban composer in the area of the classical guitar.
I recommend this issue very much.

Masterpiece.......2006-03-07

Cobo plays the hell out of these amazing Brouwer pieces. The classical guitar has never sounded better. Brouwer's work is so distinctive and memorable. I would recommend this to anyone who wants to discover a truly genius composer. And Ricardo Cobo's virtuosity is on full display here; his musicianship is astounding!

Great!.......2006-03-01

I can't believe that I am only now discovering the music of Leo Brouwer. His music is sophisticated, yet highly accessible. He manages to mix virtuosity with lyricism in equal parts. The performer Ricardo Cabo is also a real find. He is amazing. Lastly since this is a CD put out by Naxos the quality is high and the price low.

excellent! .......2005-07-19

It's a real pleasure for me to give a reference on this remarkable album. It's really an excellent music - at once modern and classical, and an excellent performance - full of both virtuosity and taste!

A score for Naxos.......2001-09-06

Born in Havana, Cuba, in 1939, Leo Brouwer has written some of the most diverse music for any instrument during the last 60 years. You can hear his Cuban background in the dynamic Afro-Cuban strains of his work. And of course, as in all guitar music, there's a rich Spanish element (in fact, one of Brouwer's guitar teachers studied under a pupil of Francisco Tárrega). But on top of that there's this interesting undercurrent of American folk music from the 1960s, which surely makes Brouwer unique among Latin guitar composers. Plus, you'll be able to hear the influence of Messiaen, Bartok, Shostakovich, and Stravinsky in works like the "Preludio" of 1956 (written when Browuer was 17), "Fuga No. 1", and "Elogio a la danza". As a young guitarist Brouwer was disappointed that few of the great composers of his day had written anything for the guitar, so he just wrote it himself. He wrote his four books of "Estudios sencillos", for example, to provide guitar students with a contemporary alternative to the classic works of men like Sor, Carcassi, and Coste.

This is a great place to begin if you've never listened to anything by Brouwer. It's also incredibly cheap. Ricardo Cobos is one of the foremost interpreters of Brouwer's work and it's good to see such a quality recording come out on the inexpensive Naxos label. All I want to know is: where are the other volumes if this one's just the first? 5 stars.

Average customer rating: Moved to the core of my being Sublime and anthological recordings! BEETHOVEN'S PROPHET Architecture with Passion

Beethoven: The Great Piano Sonatas Manufacturer: Sony Classical ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Serkin, Rudolf | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Similar Items: Beethoven: Piano Sonatas (Complete) [Box Set] Beethoven: Piano Sonatas [Germany] Beethoven: Die Späten Klaviersonaten Beethoven: The Complete Piano Sonatas Serkin Unreleased Studio Recordings - Beethoven: Piano Sonatas 1/6/12/13/16/21/30/31/32 ASIN: B00008PW4C Release Date: 2003-05-12

Tracks:

1. Cd-1 (1-4 ) Sonato No. 1 In F Minor, Op.2 No.1
2. Cd-1 (5-7) Sonato No.6 In F Major, Op.10 No.2
3. Cd-1 (8-10) Sonato No. 8 In C Minor, Op.13 "Pathetique"
4. Cd-1 (11-14) Sonato No.11 In B-Flat, Op.22 "Grande Sonata"
5. Cd-2 (1-4) Sonato No.12 In A-Flat Major, Op.26
6. Cd-2 (5-8) Sonato No.13 In E-Flat Major, 27 No.27 No.1
7. Cd-2 (9-11) Sonato No.14 In C-Sharp Minor, Op.27 No.2 "Moonlight"
8. Cd-2 (12-14) Sonato No.16 In G Major, Op.31 No.1
9. Cd-3 (1-3) Sonato No.21 In C Major, Op.53 "Waldstein"
10. Cd-3 (4-6) Sonato No.23 In F Minor, Op.57 "Appassionata"
11. Cd-3 (7-8) Sonato No.24 In F-Sharp Major, Op.78 "Therese"
12. Cd-3 (9-11) Sonato No.26 In E-Flat Major, Op.81a "Das Lebewohi"
13. Cd-4 (1-3) Sonato No.28 In A Major, Op.101
14. Cd-4 (4-7) Sonato No.29 In B-Flat Major, Op.29 "Hammerkiavier"
15. Cd-5 (1-3) Sonato No.30 In E-Flat Major, 109
16. Cd-5 (4-6) Sonato No.31 In A-Flat Major, Op.110
17. Cd-5 (7-8) Sonato No.32 In C Minor, Op.111

Album Details

5 CD Box set.

Customer Reviews:

Moved to the core of my being.......2006-06-17

I am a professional musician of many years, self-styled and the producer of 14 recordings of my own. Although I am not a Classical musician, I have listened to Classical music almost exclusively since 1955, and am a serious listener to pianists, my favorite of whom tend to be Arthur Rubinstein, Glenn Gould, and Sviatislav Richter. But during the past two years I have listened to this particular Serkin recording countless times, bathing myself in the profound meanings and feelings that I find nowhere else. There is something so vastly transcendent and authentic in the immediate experiencing of Beethoven's heart in these magnificently captured performances that I sense that I'm personally with Beethoven at the keyboard, with all the depth of his inexplicable understanding of life on earth. And Serkin's way of laying his fingers on the keys, sometimes seeming to coax the keys to the strings in a more personal and present manner than I've found anywhere else, moves me to the core of my being. Listening straight through the series, I sense the final sections and the repeat of the final movement of no. 31 as holy ground, a more sincere and real taste of eternal glory than I have seen in musical form anywhere. So...this is my experience I want to share with you.

Sublime and anthological recordings! .......2006-03-24

"You can't over-emphasize technique, if you really love music... the utmost variety of tone, rhythm has to do with an unity in music `s approach. I don' t believe in style. The words romantic or classic never had much meaning for me".

These penetrating thoughts come from the vigorous and propulsive mind of Serkin, the acclaimed artist, a devoted and famed Beethoven player in any age and one of the master keyboardists of the last Century.

BEETHOVEN'S PROPHET.......2005-05-17

So far as I know Serkin only performed 17 of the 32 Beethoven sonatas. Recordings exist of all, but 8 here are readings he refused to issue in his lifetime, and one (Les Adieux) is from his 75th birthday recital in Carnegie Hall. Older recordings are now available on Sony of the Pathetique, 'Moonlight', Appassionata and op109, and I know of an older commercial issue of the Waldstein which I do not own, although I have recorded from the BBC a live account from 1969. I also know of two other recordings of the Appassionata, one being available on Aura as part of a recital at Lugano in 1957.

The 8 that Serkin suppressed, except op110, are from his later years when his style had changed. He had slowed down, and he was taking more interest in beauty of sound and perfect evenness. Treat what you read regarding his sound-quality with a good deal of caution. Whatever you think of it, Serkin's touch in his prime was near-unmistakable. I adore his clipped and peremptory way with cadential chords. Above all his sound then was largely a matter of his sense of timing and rhythm, and the outer movements of the Pathetique have a drive that makes other renderings sound genteel and even limp. The rhythm is never as straightforward as it sounds, and its subtlety is what gives power to the slowish playing in the last movement of op101 as well as to that incomparably tense and epic last movement of the 'Moonlight'. There was steel in those great ugly sausages of fingers. He complained that it was difficult to get his pupils to produce 'a proper forte'. Anyone who has heard him close-to knows what that meant to him. The sheer volume at the start of the 'Hammerklavier' was incredible, and it says much for the robustness of Steinway grands that they could survive his fortissimo chords near the beginning of the Appassionata. His fortissimo often had a granite quality, but there was more variety in his touch than is sometimes recognised - the opening chords of the Hammerklavier had a superb rich tone. It was difficult to record faithfully, and usually toned down, but on cd the climax of the last movement of op101 is at least without distortion. Les Adieux is tolerably recorded, but the rising 3-note crescendo that keeps coming round in the first movement is not what it was in real life, with his right hand descending from vertical above his head on the third note. Something was gained but far more was lost in his later style. Op27/1 is most beautiful, but this smooth Waldstein is not equal to the mighty effort I heard in 1969. In any case he could always be as beautiful as any when he chose, as in the F#.

Except in the Appassionata and 'Moonlight' the rule 'the earlier the better' holds. His Pathetique from the 40's is poorly recorded, but there's more warmth in the slow movement. The op109 on the same disc is better in every way. The puzzle is op110. This set has the reading he released, but the one from 1960 that he sat on is far better, with a terrific impression of great doors opening and shutting in the fugue. Often he gives an object-lesson, like the right-hand portamenti in the slow movement of op101, the duet in the first movement of the Hammerklavier, the glissandos near the end of the Waldstein or the dazzling way he handles the last return of the rondo-theme in op22. Sometimes his interpretation is less a credit to him than a shame to others, as the finale of the Appassionata played at the speed Beethoven explicitly instructs. Many things are debatable, like where to start the repeat in the Pathetique. Tovey's suggestion seems best - leave it out. How slowly should the first movement of the 'Moonlight' go? 'Adagio sostenuto' does not compute with alla breve, and Serkin goes for a slow interpretation. In one case at least he is categorically right and everyone else is wrong - the left-hand chords in the transition theme of the Hammerklavier's adagio should be unpedalled. His view of this movement has raised eyebrows, but a very slow start-up, as from Solomon or Richter, involves an ugly jolting gear-change at the transition, which they make even worse by pedalling over the chords. Nor should the start be pianissimo as they do it. Serkin provides another of his object-lessons here.

It's the vision-thing in the last analysis. Serkin is not a charmer, and neither is Beethoven. This set is not some box of chocolates with smoothness and sweetness guaranteed or your money back. For my money this is the greatest exponent of Beethoven on the piano I have ever heard, or ever expect to.

Architecture with Passion.......2003-12-02

This 5-CD set contains Rudolf Serkin's complete recorded repertoire of Beethoven Sonatas-just over half the sonatas in Beethoven's ouvre. These recordings, some of which were not released until after Serkin's death, are now compiled together for the first time.

For those accustomed to hearing Beethoven as played by Schnabel, Kempff, or Brendel, these performances will come as a splash of cold water across the face. Serkin was unconcerned with niceties of tone, color, or pianistic perfection. He famously described Arturo Toscanini's interperative philosophy as "architecture with passion," and the same could be said of Serkin's approach. His vision was to reveal the structure-both emotional and musical-of Beethoven's masterpieces. To put it bluntly, Serkin could be a little rough: chords are sometimes pounded, scales are occasionally uneven, he hums, grunts, and he stomps on the pedal (once, when playing with the Cleveland Orchestra, he knocked the lyre mechanism right off the piano). But Beethoven himself was known for brutalizing the pianos of his day, and the composer's fighting spirit is in these performances as is seldom heard elsewhere.

Several of these performances are appearing on CD for the first time, and nearly everything on this set is revelatory. Serkin is most successful in the "big" Sonatas: The finale of the Appassionata scorches with rage, the last movement of the Moonlight is a blitz, and the Hammerklavier-where the pianist lays out the fugue with remarkable clarity--has never been bettered. Less successful is the Pathetique, with a questionable interpretation of Beethoven's first movement repeat sign, and some poor chord weighting in the Andante cantabile. Serkin's performances of Beethoven's last five Sonatas should be mandatory listening for all pianists.

Except for the Les Adieux, all of the performances here are studio recordings. The sound will be a bit dry and hard for most tastes. Nevertheless, the remastering is a considerable improvement over earlier issues.

Average customer rating: Witty and Charming

Ill-Conceived PDQ Bach Anthology Manufacturer: Telarc ProductGroup: Music Binding: Audio CD Bach, P.D.Q. | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schickele | Schickele, Peter | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Percussion | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Miscellaneous | Styles | Music General | Comedy | Miscellaneous | Styles | Music General | Comedic Music | Comedy | Miscellaneous | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: The Wurst of P.D.Q. Bach P.D.Q. Bach: The Short-Tempered Clavier 1712 Overture & Other Musical Assaults Music for an Awful Lot of Winds and Percussion P.D.Q. Bach in Houston - We Have a Problem! ASIN: B00000FDBK Release Date: 1998-11-24

Tracks:

1. This Is Professor Pete
2. 1712 Overture (S. 1712)
3. Introduction
4. II. Aria With Chorus: 'Howdy There'
5. Recitative: 'It Wasn't Long'
6. III. My Heart
7. Recitative: 'When Oedipus Heard'
8. VI. Chorale And Finale
9. Introduction
10. Love Me
11. WTWP Station ID
12. Oo-La-La Introduction
13. Oo-La-La: Cookin' French Like The French Cook French - Dana Krueger
14. Introduction: The Musical Sacrifice (S. 50% Off)
15. I. Fuga Meshuga - Susan Palma
16. Introduction
17. Classical Rap (S. 1-2-3) - Grandmaster Flab
18. Introduction
19. I. C Major - Christopher O'Riley
20. Introduction
21. II. Simply Grand Minuet
22. Introduction
23. Little Bunny Hop Hop Hop
24. Introduction
25. Minuet Militaire
26. Enough Already

Customer Reviews:

Witty and Charming.......2000-08-15

This CD is fun and action packed as much as you could hope for in a CD. He uses quotes from many famous folk and classical songs and implements them into his own compositions with a bit of a twist. For example, in Classical rap, where he raps about being the best rapper in the world with terrific brass interludes between the verses. The orchestra plays a clip from Vivaldi's "Spring" and then he twists it into a record "wicky-wicky" to the same tune. He introduces every peice before it is played in a hilarious manner in which he talks about the peice and something else that was going on in the composers mind as he wrote the peice. Starting at the begining-

This is Professor Pete- Peter Schickele introduces himself as well as P.D.Q.

1712 Overture- A takeoff of the 1812 overture of course, with snatches of some famous folktunes thrown in here and there.

Oedipus Tex- A parady of the Greek Myth Oedipus Rex where he murders his father who is the King. Oedipus Tex lives a life like his brother but in Texas style.

The next tracks are more comedy than exactly music like the WTWP station giving options over the phone about how you would like to hear a certain peice of music. Cooking French... is a woman cooking a French gourmet meal but flubbing up the entire time.

What I have already said pretty much sums it up. The rest of the tracks are equally hilarious and as witty as all the others. If you buy this CD you will not regret it no matter what type of music you listen to.

Average customer rating: Spirited playing of fine compositions Magical Compositions Brilliantly Performed Stokowski's Sensemaya A Compendium of Revueltas Works Abstract but deep.

Silvestre Revueltas: Centennial Anthology 1899-1999 Manufacturer: RCA ProductGroup: Music Binding: Audio CD Suites | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music General | Soundtracks | Styl