| 1. Um, Um, Um, Um, Um, Um |
| 2. That's What Mama Say |
| 3. It's All Right |
| 4. Sweet Music |
| 5. What's Happening |
| 6. Gotta Getaway |
| 7. Watusi |
| 8. Land Of 1000 Dances |
| 9. Gypsy Woman |
| 10. I'm The One Who Love You |
Editorial Reviews
Product Description
A budget-priced 10-track collection of favorites from Major Lance. All original recordings.
thats what this disc is to me. i'm not gonna get into technical stuff because i cant. i'll say this tho. in my long ago past i was a horn player. this disc makes me remember exactly what that means. i hear things in here i long ago had forgotten existed in music theory. listening to this after thinking of modern day pop is like comparing picasso to a childs chalk drawing on the sidewalk.
Peace:
The*Hot*Wax*Kid
is wrong with it..it screeches and pops and won't play. But its open so I can't return it. Very disappointed.
sounded dull, it makes good back ground noise but it doesn't hold your attention.
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.
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.
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.
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.
But there are also a lot of weak moments. I can't say that there is anything interesting in the instrumentals, which are fortunately few and far between. The Tale of Thrym is ok the first time through, but loses it's appeal very quickly. Odin's Rune Verses lack emotion compared to the rest of the pieces.
I also found the Italian Opera style singing a bit imposing. The rolling of the r's is sometime distracting, and I wondered the first time I heard it if that's what the language really sounds like. Of course, this is my first exposure to Icelandic, so I really couldn't tell you if its right or wrong, but the male singers do it much more than the females. Perhaps it just comes from their background as opera singers.
Overall, this is a good thing to have if you're at all interested in Norse/Icelandic/Viking mythology. If you're not, I think you can skip it.
I bought this CD because the only foreign language I really retain is from foreign music. The lyrics are decently clear for learning. I didn't expect the insert book to have Icelandic lyrics, but it has that and a translation. There is a summary on each of the poems also.
The music is a bit simple, but the real art is in the song. The singing could even go without instrumentation. The album is 76:52 minutes long.
The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly quite awful: really tasteless, clumsy, and overused big time and I'm amazed at how this ever got released. Without these ersatz testifyin' noises this CD would be stunning.
So, if you have the ability and inclination to edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).
I think this is the most artistically successful recording of Pop/Jazz by a classical singer. I enjoyed it even better than the Anna Sophie Von Otter'/ Elvis Costello CD.
The perspective I am coming from is that of a classical singer who started out as a pop singer/songwriter. I perform and teach cross-genre but love a world class instrument such as Flemming's
I wanted to get the perspective of a friend who used to sing jingles and is also a trained singer but is usually critical of any attempts that opera singers make at crossing -over.
My friend is very familiar with Flemming's voice, but did not recognise it in this context when I played the CD for her. Her reaction was very complimentary, although she did comment that the diction was a bit strange.
She then played it for her brother a well known jazz singer and arranger who had a somewhat negative reaction.He found the singing to be overly dark and round. He prefers a cleaner more 'spoken' approach to this style of singing. I understand this perspective and therefore personally prefer Ella to Sarah as well, but let's not get too picky. Obviously, Rene Flemming is of the Sarah Vaghan School of jazz singing, which is not too shabby.
I will continue to enjoy this CD and will wait for another opera diva to top this one. But, somehow I think the next really good CD of Pop/ jazz from an opera star will also come from Rene.
To those who have been unreasonably mean and negative towards her, I can only say you are not fit to polish her shoes!
I hope Renee keeps recording whatever catches her fancy because I'll certainly always listen.
I welcome Renee's elan demonstrated with her recent recordings, Love sublime with Brad Mehldau, and Haunted Heart with Fred Hersch and Bill Frissell. Bravery, fun, and talent combined by artists and for people who are listening. Hearing long time favorites Mehldau, Hersch, and Frissell is all the more sublime.
Despite these shortcomings, this set is still good value (at least at Amazon France's current price of 31 Euros). And it's a fine way to become acquainted with Mendelssohn's music.
The symphonies are well-performed. 'Reformation' is an inspired live recording. The 12 string symphonies, written in Mendelssohn's youth, are also included. The concertos are exceptional - the violin concerto is as good as you'll find anywhere. The oratorios Elijah and Paulus are included, as well as the complete chamber works and a diverse assortment of choral works. The last few discs include the Lied ohne worte, the epic organ sonatas, and excellent renditions of A Midsummer Night's Dream and Fingal's Cave. While there are a few sketchy performances in the choral and chamber works, the performances and recordings are generally very solid, and the body of work couldn't be better.
Anyway another reason for me purchasing this album was the main titles for the film I love the ochestration. My favourite song on this album would have to be One Song followed by with A Smile and a Song.
And number 5 (a piece of music) I can't remember what it's called but it is creepy too the part that has snow white running through the woods.
Someday my prince will come is nice too. Adriana's voice is a little high and annoying sometimes though. But it's still nice to listen to. I listen to this album alot it's very nice and I like to listen to the version of One Song that is played at the end of the movie.
Queen:(laughing)it's not for you, it's for snow white
anyways, bye-bye
From the standpoint of technique, Auger is practically flawless---"harsh" is not a word I equate with Ms. Auger's singing. She and Dalton Baldwin are impeccable performers on this disc. All the material was wisely chosen and presented, including one of the slowest "O del mio amato ben's" and one of the slowest "Salley Gardens", indicative of the beautiful breath control this artist had. I have to take exception to one of the comments made by one reviewer, of the "lack of sesitivity to the music that most classical singers possess". This is plain ignorant. This reviewer clearly does not understand the great artistic endeavor that classical singers have to have with Song literature---only a non-singer could have said this. Our finest classical singers of memory have all been outstanding musicians. They also have texts to interpret in many languages. I, as a singer-performer-teacher take great umbrage at comments like this which serve only to degrade the richness of so much repertoire.
I too hated the untimely passing of this fabulous singer. She is one of four famous women singers who all died at the age of 53. I think this disc was recorded not to long before she passed away and does reflect her "goodbye" to her audience. However the disc will remain as timely as the repertoire in it.
Marcia M.Baldwin, Gig Harbor, WA.
Professor Emeritus, Eastman School of Music, Rochester,NY
Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.
I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.
I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.
So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.
I recommend this set unequivocally. It truly is sheer delight.
Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.
Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05
Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.
What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.
I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)
Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!
A budget-priced 10-track collection of favorites from Major Lance. All original recordings.
Um, Um, Um, Um, Um, Um [Collectables],Major Lance,Collectables,Northern Soul,Oldies,Pop,R&B,R&B/Soul,Soul,Soul/Reggae/Rhythm & Blues
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Mingus Ah Um
Charles Mingus Manufacturer: Sony ProductGroup: Music Binding: Audio CD  Avant Garde & Free Jazz
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ASIN: B00000I14Z Release Date: 1999-02-16 |
Tracks:
- Better Git It In Your Soul
- Goodbye Pork Pie Hat
- Boogie Stop Shuffle
- Self-Portrait In Three Colors
- Open Letter To Duke
- Bird Calls
- Fables Of Faubus
- Pussy Cat Dues
- Jelly Roll
- Pedal Point Blues
- GG Train
- Girl Of My Dreams
Amazon.com
Mercurial bassist and bandleader Charles Mingus was signed to Columbia Records for the briefest of time during 1959. His Columbia recordings, however, remain some of the most inspired, mood-jumping jazz in history. The flowing sadness of "Goodbye Porkpie Hat" (unedited here for the first time on CD!) rings like a funeral chorus that pitches headlong into a celebration of Lester Young's life and improvising flexibility, rather than his death. And there's the funky furnace blast of "Boogie Stop Shuffle" (also unedited!), which reaches its glory with Booker Ervin's Texas tenor sax, wrapped tight in bluesy tone. With the index of emotions captured, these songs nail why Mingus is possibly the most relevant jazzer for the '90s generation. He swings and shouts and hollers and somersaults. His tunes either induce foot-stomping with their intensity or reach for poignant yearning with their lyrical tapestry of orchestral colors. --Andrew BartlettAlbum Details
Limited Millennium Edition. Packed in a Heavy Weight Card Wallet that Faithfully Recreates the Original Vinyl Sleeve, Right Down to the Inner Bag. The Wallet Will Come in a Plastic Cover.Customer Reviews:
every once in awhile..........2007-03-08
thats what this disc is to me. i'm not gonna get into technical stuff because i cant. i'll say this tho. in my long ago past i was a horn player. this disc makes me remember exactly what that means. i hear things in here i long ago had forgotten existed in music theory. listening to this after thinking of modern day pop is like comparing picasso to a childs chalk drawing on the sidewalk.
MINGUS' BEST.......2006-12-10
An excellent album from the multifaceted Charles Mingus.......2006-03-31
How speak of jazz without regard for Mr. Mingus.......2006-03-17
A Fascinating and Revealing masterpiece.......2006-01-20
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Obrigado Brazil
Yo-Yo Ma Manufacturer: Sony ProductGroup: Music Binding: Audio CD Duets
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ASIN: B00009ZKXD Release Date: 2003-07-29 |
Tracks:
- Cristal
- Chega de Saudade
- A lenda do caboclo
- Doce de coco
- Danga brasileira
- Apelo
- Danga negra
- 1 x 0 (um a zero)
- Menino
- Samambaia
- Carinhoso
- Alma brasileira
- O Amor em Paz
- Bodas de Prata & Quatro Cantos
- Brasileirinho
- Salvador
Amazon.com
This enchanting, flavorful CD finds the ever curious Yo-Yo Ma traveling to South America, and Brazil in particular. The music varies from classical to samba to bossa nova; the combinations range from guitar, flute, and cello to female voice (the remarkable Rosa Passos), cello, guitar, percussion, piano, and bass; to simple cello and piano; to cello and two guitars. The overriding element is rhythm; each selection has a beat which is both infectious and sensual, but the contexts are splendidly varied. "Dansa brasileira" has a Debussy-like, impressionistic flavor, "Dansa negra" is sultry with an easy melody, "1 x 0" is a dance scored for guitar, percussion, and cello with a solo clarinet riff. It's impossible to get bored or tired listening to this creative CD; it's unique--just like Yo-Yo Ma himself--and endlessly surprising. It may not be quite what we'd call "classical" music, but it is many kinds of music, and they all will delight. The other musicians are as impressive on their instruments as Ma is with his cello, and that's saying a great deal. --Robert LevineCustomer Reviews:
great........2007-01-17
Obrigado Brazil.......2006-03-11
Takes My Breath Away.......2006-02-11
Peace:
The*Hot*Wax*Kid
Obrigado Brazil.......2005-09-08
is wrong with it..it screeches and pops and won't play. But its open so I can't return it. Very disappointed.
A little Dull.......2005-01-24
sounded dull, it makes good back ground noise but it doesn't hold your attention.
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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 All Works by Mahler
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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
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
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
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
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
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Edda - An Icelandic Saga - Myths From Medieval Iceland / Sequentia
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ASIN: B00000IFOM Release Date: 1999-05-18 |
Tracks:
- Myths From Medieval Iceland: Leikr elds ok isa (The Song Of Fire And Ice)
- Myths From Medieval Iceland: Veit ek at ek hekk (Odinn's Rune-verses)
- Myths From Medieval Iceland: Hliods bid ek allar (The Prophecy Of The Seeress)
- Myths From Medieval Iceland: Vreidr var pa Ving-Porr (The Tale Of Prymr)
- Myths From Medieval Iceland: Nu erum komnar (The Song Of The Mill)
- Myths From Medieval Iceland: Baldrs minni (In Memory Of Baldr)
- Myths From Medieval Iceland: Senn voru aesir allir a pingi (Baldr's Dreams)
- Myths From Medieval Iceland: Pat man hon folkvig (The Prophecy Of The Seeress)
- Myths From Medieval Iceland: Ragnarok (The End Of The Gods)
- Myths From Medieval Iceland: A fellr austan um eitrdala (The Prophecy Of The Seeress)
Amazon.com
Sequentia here performs a miracle of musical restoration, bringing to vibrant life medieval Icelandic texts about gods and heroes inhabiting a mythic past. Drawing on oral traditions and informed scholarly speculations about long-dead performing styles, they have come up with a hypnotic disc that startles with its power and beauties. The songs and recitations are interwoven with captivating fiddle tunes, and the singers wrench surprising emotions from the old texts. The late Barbara Thornton shines in her solos and duets, and Benjamin Bagby's mesmerizing chanting, recitation, and singing brings us as close as we're likely to get to sitting at the feet of the bards of old. An extraordinary disc that shouldn't be missed. --Dan DavisCustomer Reviews:
Sings to my DNA.......2007-02-17
Pretty Good.......2007-02-01
But there are also a lot of weak moments. I can't say that there is anything interesting in the instrumentals, which are fortunately few and far between. The Tale of Thrym is ok the first time through, but loses it's appeal very quickly. Odin's Rune Verses lack emotion compared to the rest of the pieces.
I also found the Italian Opera style singing a bit imposing. The rolling of the r's is sometime distracting, and I wondered the first time I heard it if that's what the language really sounds like. Of course, this is my first exposure to Icelandic, so I really couldn't tell you if its right or wrong, but the male singers do it much more than the females. Perhaps it just comes from their background as opera singers.
Overall, this is a good thing to have if you're at all interested in Norse/Icelandic/Viking mythology. If you're not, I think you can skip it.
For the Nordic Soul, an echo across time..........2006-10-23
Medieval Latin? Music.......2006-10-14
A great tool for learning as well as the musical enjoyment.......2006-07-11
I bought this CD because the only foreign language I really retain is from foreign music. The lyrics are decently clear for learning. I didn't expect the insert book to have Icelandic lyrics, but it has that and a translation. There is a summary on each of the poems also.
The music is a bit simple, but the real art is in the song. The singing could even go without instrumentation. The album is 76:52 minutes long.
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Haunted Heart
Paul McCartney , Gustav Mahler , Joni Mitchell , Emile Paladilhe , Arthur Schwartz , James ("Jimmy") Van Heusen , Various Composers , Heitor Villa-Lobos , Jimmy Webb , Richard A. Whiting , Stevie Wonder , Guy Wood , Bill Frisell , Fred Hersch , and Renée Fleming Manufacturer: Decca ProductGroup: Music Binding: Audio CD Foster, Stephen
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ASIN: B0007Z9QUS Release Date: 2005-05-10 |
Tracks:
- Haunted Heart
- River
- When Did You Leave Heaven?
- You've Changed
- Answer Me
- My Cherie Amour
- In My Life
- The Moon Is A Harsh Mistress
- Wozzeck/The Midnight Sun
- Liebst du um Schit
- My One And Only Love/This Is Always
- Can do Amor
- Psych
- Hard Times Come Again No More
Amazon.com
While countless fans flock to see soprano Renee Fleming's performances of the Countess in The Marriage of Figaro because she's got the voice and the dramatic ability to handle such meaty roles, the versatile singer throws her fans a curveball on Haunted Heart, singing popular standards and ballads as well as a few altered classical pieces. In her liner notes, Fleming calls this album a "look back at the road not taken" -- she played a weekly gig in a jazz club while in school. Nonetheless, her feel for the material here is undeniable. Interestingly, she drops her voice a full octave from her usual tessitura, and the change reveals a robust gospel-oriented approach filled with dramatic breaths and moans. The lyrical Fred Hersch (piano) and the idiosyncratic Bill Frisell (guitar) provide support, and both are adventurous jazz players who create subtle and uniquely haunting backdrops. It adds up to an interesting cross-section of ideas well carried off by the generous talents of all involved. --Tad Hendrickson
\
Interview with Renee Fleming
Renee Fleming speaks about recent projects, including her memoir The Inner Voice and her recent Handel CD, in our interview.
Customer Reviews:
Sublime and ridiculous.......2007-06-13
The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly quite awful: really tasteless, clumsy, and overused big time and I'm amazed at how this ever got released. Without these ersatz testifyin' noises this CD would be stunning.
So, if you have the ability and inclination to edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).
Eeeeeeeeeeewwwwwww.......2007-06-06
Better than I thought it would be.......2007-04-10
I think this is the most artistically successful recording of Pop/Jazz by a classical singer. I enjoyed it even better than the Anna Sophie Von Otter'/ Elvis Costello CD.
The perspective I am coming from is that of a classical singer who started out as a pop singer/songwriter. I perform and teach cross-genre but love a world class instrument such as Flemming's
I wanted to get the perspective of a friend who used to sing jingles and is also a trained singer but is usually critical of any attempts that opera singers make at crossing -over.
My friend is very familiar with Flemming's voice, but did not recognise it in this context when I played the CD for her. Her reaction was very complimentary, although she did comment that the diction was a bit strange.
She then played it for her brother a well known jazz singer and arranger who had a somewhat negative reaction.He found the singing to be overly dark and round. He prefers a cleaner more 'spoken' approach to this style of singing. I understand this perspective and therefore personally prefer Ella to Sarah as well, but let's not get too picky. Obviously, Rene Flemming is of the Sarah Vaghan School of jazz singing, which is not too shabby.
I will continue to enjoy this CD and will wait for another opera diva to top this one. But, somehow I think the next really good CD of Pop/ jazz from an opera star will also come from Rene.
To those who have been unreasonably mean and negative towards her, I can only say you are not fit to polish her shoes!
Brava Renee.......2007-04-09
I hope Renee keeps recording whatever catches her fancy because I'll certainly always listen.
Art is always new. .......2007-03-10
I welcome Renee's elan demonstrated with her recent recordings, Love sublime with Brad Mehldau, and Haunted Heart with Fred Hersch and Bill Frissell. Bravery, fun, and talent combined by artists and for people who are listening. Hearing long time favorites Mehldau, Hersch, and Frissell is all the more sublime.
![Mendelssohn: The Masterworks [Box Set]](http://ec1.images-amazon.com/images/I/21V99585FML.jpg)
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Mendelssohn: The Masterworks [Box Set]
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ASIN: B00062FLJ2 Release Date: 2004-11-30 |
Customer Reviews:
Uneven quality but great value.......2007-04-30
Despite these shortcomings, this set is still good value (at least at Amazon France's current price of 31 Euros). And it's a fine way to become acquainted with Mendelssohn's music.
A superb collection of Mendelssohn.......2007-03-24
The symphonies are well-performed. 'Reformation' is an inspired live recording. The 12 string symphonies, written in Mendelssohn's youth, are also included. The concertos are exceptional - the violin concerto is as good as you'll find anywhere. The oratorios Elijah and Paulus are included, as well as the complete chamber works and a diverse assortment of choral works. The last few discs include the Lied ohne worte, the epic organ sonatas, and excellent renditions of A Midsummer Night's Dream and Fingal's Cave. While there are a few sketchy performances in the choral and chamber works, the performances and recordings are generally very solid, and the body of work couldn't be better.
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Arcan'um
Acoustic Alchemy Manufacturer: Grp Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0000001VT Release Date: 1996-06-18 |
Tracks:
- Columbia
- Homecoming
- Chance Meeting
- Lazeez
- Mr. Chow
- Same Road Same Reason
- Casino
- Something She Said
- Jamaica Heartbeat
- Catalina Kiss
- Reference Point
- Hearts In Chains
Customer Reviews:
A "Greatest Hits" CD??.......2003-12-16
Not a bad release and the guitar playing is flawless. However, I recommend their earlier CD's "The New Edge", "Blue Chip" and "Against The Grain" as far superior to this one. I feel that "Arcanum" was just an extra release to drum up extra revenue for GRP Records.
Great Stuff.......2003-09-29
I digress. I apologize. I just got this album yesterday and I love it. Having seen Acoustic Alchemy perform live in person, I can agree with a previous reviwer. The energy they have onstage makes all the difference. It is one thing to listen to a recording, and another entirely to hear then play live and in person. ARCANUM to me captures that live energy very well.
It may bias me that the cuts on this CD happen to be some of my favorite AA cuts in any case. I like the fact that in some places, electric guitar is used in some of the songs in place of the keyboards that are found in the original cuts of the pieces. It gives the song a different energy and feel altogether while retaining the melodies we all know and love. Particular standouts for me were Mr. Chow, Reference Point, and Homecoming, and I cannot forget Casino. The version found here of that cut may be to my mind the best of the three that I know of. In fact, to me, the version of CASINO found here alone was worth the purchase of this CD just on it's own. It may not be that for you, but it was for me. I do want to get one thing straight, however, and that is this. Just because I mention these tracks first does not mean the others are weak. Catalina Kiss is a great cut too, and Jamaica Heartbeat and Hearts In Chains actually grew on me more as I heard them done here. All the tracks here really are excellent.
In short, if you are unfamiliar with Acoustic Alchemy, you can GET familiar with them with this great, energetic emotional CD. The original studio versions of the cuts on this album will give you a "cleaner" studio sound and feel, but really the tunes are the same, and in some cases BETTER on this album, which gives you the raw energy, enthusiasm, spontanaiety, and power of a live performance, but without you being distracted by crowd noise and cheering. For nearly 20 years now, Acoustic Alchemy has gone strong as one of the best bands in contemporary instrumental music (despite the sad passing on of founding member Nick Webb in 1998 due to cancer. Rest in peace, Nick. We miss you and know that from above you are smiling down to know that your work and dream lives on). If you don't know them, this may be a good place to make their acquaintance. Once you do get to know them, you may be in the mood to get more of their stuff. It could be the beginning of your being a big fan of thiers for a long time to come, just like it was for me, starting all the way back in around 1994. If you do pick this up, or any of their CDs, I wish wish you many many hours of happy, satisfied and contented listening. God bless you and yours, always. Peace to all readers of this review.
PAFF IN NEW HAMPSHIRE.......2002-10-01
An exciting, uplifting way to relax!.......1999-09-23
Excellent CD one of their best.......1999-09-06
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Walt Disney's Snow White And The Seven Dwarfs: Classic Soundtrack Series
Leigh Harline Manufacturer: Disney ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B000001M4D Release Date: 2001-09-25 |
Tracks:
- Overture - Larry Morey/Frank Churchill
- Magic Mirror - Leigh Harline
- I'm Wishing/One Song - Adriana Caselotti/Harry Stockwell
- Queen Theme - Frank Churchill
- Far Into The Forest - Larry Morey/Frank Churchill/Paul J. Smith/Leigh Harline
- Animal Friends/With A Smile And A Song - Adriana Caselotti
- Just Like A Doll's House - Frank Churchill/Paul J. Smith
- Whistle While You Work - Adriana Caselotti
- Heigh-Ho - The Dwarf Chorus
- Let's See What's Upstairs - Frank Churchill/Paul J. Smith
- There's Trouble A-Brewin' - Larry Morey/Frank Churchill/Leigh Harline
- It's A Girl - Leigh Harline/Frank Churchill
- Hooray! She Stays - Frank Churchill
- Bluddle-Uddle-Um-Dum (The Dwarfs' Washing Song) - The Dwarf Chorus
- I've Been Tricked - Leigh Harline
- The Dwarf's Yodel Song (The Silly Song) - The Dwarf Chorus
- Some Day My Prince Will Come - Adriana Caselotti
- Pleasant Dreams - Paul J. Smith/Frank Churchill
- A Special Sort Of Death - Leigh Harline
- Why Grumpy, You Do Care - Frank Churchill/Leigh Harline/Larry Morey
- Makin' Pies - Leigh Harline/Larry Morey/Frank Churchill
- Have A Bite - Leigh Harline
- Chorale For Snow White - Frank Churchill
- Love's First Kiss (Finale) - Frank Churchill/Leigh Harline/Larry Morey
- Music In Your Soup - The Dwarf Chorus
- You're Never Too Old To Be Young - The Dwarf Chorus
Amazon.com essential recording
Disney's Snow White, the world's first animated musical feature (1937), is still a standard in the industry. Though 1930s recording technology was primitive by today's standards, the Disney music studios have always used the available technology to its fullest, and this recording still stands up. The mature but hauntingly childlike Adriana Caselotti as Snow White is a unique vocal presence, and the songs include "Whistle While You Work," "Heigh-Ho," and "Some Day My Prince Will Come." The score is nearly as great an accomplishment as the film itself. --John SanchezCustomer Reviews:
The Churchill's are very talented persons........2007-02-13
One Song.......2006-02-19
Anyway another reason for me purchasing this album was the main titles for the film I love the ochestration. My favourite song on this album would have to be One Song followed by with A Smile and a Song.
And number 5 (a piece of music) I can't remember what it's called but it is creepy too the part that has snow white running through the woods.
Someday my prince will come is nice too. Adriana's voice is a little high and annoying sometimes though. But it's still nice to listen to. I listen to this album alot it's very nice and I like to listen to the version of One Song that is played at the end of the movie.
good soundtrack for halloween.......2005-07-14
Queen:(laughing)it's not for you, it's for snow white
anyways, bye-bye
REMasterpiece!.......2003-01-21
In the liner notes I read the original soundtrack only consisted of five songs, the five songs we hear sung in the film. "One song/I'm Wishing", "Hi Ho", "The Yodeling Song", "Some day my prince will come", and "Whistle while you work". Over the years, the instrumental musical score was thrown in to create a wonderful masterpiece of a soundtrack.
I highly recommend purchasing this. If you like the music from the movie, you will love this. After hearing this for the first time(I've now heard it at least 100, thanks to my 2 yr. old), the movie is brought out to be more of a musical adventure as well as a wonderful story to be told.
This is my son's favorite c.d., and he has so much fun dancing and singing along.
A Magical, Delightful Soundtrack.......2002-10-07
Average customer rating:
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Arleen Auger - Love Songs / Dalton Baldwin
Frank Bridge , Benjamin Britten , Pietro Cimara , Aaron Copland , Sir Noel Coward , Stefano Donaudy , Stephen Foster , Charles Gounod , Eduoard Lippe , Frederick Loewe , Gustav Mahler , Joseph Marx , Fernando J. Obradors , Jaime Ovalle , Francis Poulenc , Roger Quilter , Franz Schubert , Robert Schumann , Oscar Straus , Richard Strauss , Joaquin Turina , Dalton Baldwin , and Arleen Auger Manufacturer: Delos Records ProductGroup: Music Binding: Audio CD All Works by Britten
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ASIN: B0000006VP Release Date: 1992-05-22 |
Tracks:
- Love Songs: Pastorale
- Love Songs: Del Cabello mas sutil
- Love Songs: Azulao
- Love Songs: Standchen
- Love Songs: Selige Nacht
- Love Songs: Fleurs
- Love Songs: Stornello
- Love Songs: Music, When Soft Voice Die
- Love Songs: Je t'aime
- Love Songs: Love's Philosophy
- Love Songs: Widmung
- Love Songs: Du bist wie eine Blume
- Love Songs: Das Rosenband
- Love Songs: Liebst du um Schonheit
- Love Songs: Cantares
- Love Songs: How Do I Love Thee?
- Love Songs: I'll Follow My Secret Heart
- Love Songs: Serenade
- Love Songs: Liebe Schwarmt auf allen Wegen
- Love Songs: Love Went A-Riding
- Love Songs: Why, No One to Love
- Love Songs: O del mio amato ben
- Love Songs: The Salley Gardens
- Love Songs: Heart, We Will Forget Him
- Love Songs: Before I Gaze at You Again
Customer Reviews:
Arleen Auger and Dalton Baldwin-Love Songs.......2007-01-29
Voice of experience.......2006-01-28
Auger at her best.......2005-04-26
From the standpoint of technique, Auger is practically flawless---"harsh" is not a word I equate with Ms. Auger's singing. She and Dalton Baldwin are impeccable performers on this disc. All the material was wisely chosen and presented, including one of the slowest "O del mio amato ben's" and one of the slowest "Salley Gardens", indicative of the beautiful breath control this artist had. I have to take exception to one of the comments made by one reviewer, of the "lack of sesitivity to the music that most classical singers possess". This is plain ignorant. This reviewer clearly does not understand the great artistic endeavor that classical singers have to have with Song literature---only a non-singer could have said this. Our finest classical singers of memory have all been outstanding musicians. They also have texts to interpret in many languages. I, as a singer-performer-teacher take great umbrage at comments like this which serve only to degrade the richness of so much repertoire.
I too hated the untimely passing of this fabulous singer. She is one of four famous women singers who all died at the age of 53. I think this disc was recorded not to long before she passed away and does reflect her "goodbye" to her audience. However the disc will remain as timely as the repertoire in it.
Marcia M.Baldwin, Gig Harbor, WA.
Professor Emeritus, Eastman School of Music, Rochester,NY
Hidden Treasure.......2003-11-04
Gorgeous, sensitive music.......2001-06-15
The performance of "Why, No One to Love" is worth the price of admission alone.
Average customer rating:
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Artistry of Elly Ameling (Coll)
Elly Ameling Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Ellington
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ASIN: B00007KMSJ Release Date: 2003-10-14 |
Tracks:
- Matthaus-Passion
- Johannes-Passion
- Weihnachts-Oratorium
- Juditha Triumphans
- Messiah
- Crudel Tiranno Amor
- Die Schopfung
- Orlando Paladino
- 7 Lieder
- Le Nozze Di Figaro
- Exsultate, Jubilate Ch'io Mi Scordi Di Te, K505
- Misera! Dove Son! K369
- 18 Lieder
- Frauenliebe Und- Leben
- 11 Lieder
- 20 Morike-Lieder
Customer Reviews:
Elly Ameling now more available .......2007-03-07
Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.
I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.
I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.
Delight in every note.......2006-03-10
So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.
I recommend this set unequivocally. It truly is sheer delight.
While they last..........2005-05-17
Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.
Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05
Treasures From a Treasure.......2004-09-25
Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.
What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.
I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)
Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.
More than fully earned praise for an exceptional singer........2003-07-15
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!
Christian Music:
- Very Best Of [Enhanced] [Import]
- Very Best of the Olympics
- 7
- A Man Needs a Woman
- A Woman Needs Love [Import]
- Afrodisiac [CD-single] [Import]
- Alive & Kickin' [Live]
- Anthology, Vol. 2: The Producer [Import]
- Avant God [Explicit Lyrics]
- Best of the Capitol and the Aladdin Years
Christian Music
Lionel Hampton With Dexter Gordon
Latino Dance Party 2005, Vol. 2 [Import]
Masterpiece of Architecture [CD-single] [Import]
Liszt: Piano Concerto No. 1; Piano Concerto No. 2