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10. Camino

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Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

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

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

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

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

Classical | Box Sets | Stores | Music
Similar Items:

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Masters of Classical Music (Box Set)
Little Night Music - Ultimate Mozart Collection [20 CD Set]
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Passion - Most Famous Orchestral Spectaculars [20 CD Set]

ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
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:

Ethereal LIszt in Superb Sound
A great collection of Liszt treasures
An excellent collection of Liszt interpretations.
Liszt for the ages.

Liszt: Piano Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Galops | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Chopin: The Piano Works
Brahms: Works for Solo Piano
Works for Solo Piano
Schubert: The Piano Sonatas
Rachmaninov: The Piano Concertos

ASIN: B00005ND3L
Release Date: 2001-10-09

Tracks:

Hungarian Rhapsody No. 12 In C-Sharp Minor
Liebestraum No.3
Mephisto Waltz No.1
Funerailles (No.7 Of Harmonies Poetiques Et Religieuses)
Rigoletto: Conc Paraphrase
La Campanella

Tracks:

Die Forelle
Der Muller Und Der Bach
Wohin?
Lebe Wohl!
Das Wandern
Der Lindenbaum
Horch, Horch, Die Lerch
Auf Dem Wasser Zu Singen
Die Post
Aufenthalt
Lob Der Tranen
Erlkonig
I. Allegro Con Fuoco
II. Adagio
III. Presto
IV. Allegro

Tracks:

Lento Assai - Allegro Energico -
Andante Sostenuto
Allegro Energico - Andante Sostenuto - Lento Assai
Valse Impromptu
I. 'Hohe Liebe' In A flat
II. 'Selinger Tod' In E Flat
III. 'O Lieb' In A Flat
Grand Galop Chromatique

Tracks:

I. Sposalizio
II Penseroso
III. Canzonetta Del Salvator Rosa
IV. Sonetto 47 Del Petrarca
V. Sonetto 104 Del Patrarca
VI. Sonetto 123: Del Petrarca
VII. Apres Une Lecture De Dance (Fant Quasi Son)

Tracks:

I. La Chapelle De Guillaume Tell
II. Au Lac De Wallenstadt
III. Pastorale
IV. Au Bord D'une Source
V. Orage
VI. Vallee D'Obermann
VII. Eglogue (Hirtengesang)
VIII. Le Mal Du Pays
IX. Les Cloches De Geneve

Tracks:

I Gondoliera
II. Canzone
III. Tarantella
Les Jeux D'eau A La Villa D'Este (No.4 Of Annees De Pelerinage, Troisieme Annee)
Benediction De Dieu Dans La Solitude: (No.3 Of Harmonies Poetiques Et Religieuses)
Ballade No.2 In B

Tracks:

I. Preludio: Presto
II. Molto Vivace
III. Paysage: Poco Adagio
IV. Mazeppa: Allegro
V. Feux Follets: Allegretto
VI. Vision: Lento
VII. Eroica: Allegro
VIII. Wilde Jagd: Presto Furioso
IX. Ricordanza: Andantino
X. Allegro Agitato Molto
XI. Harmonies Du Soir: Andantino
XII. Chasse-Neige: Andante Con Moto

Tracks:

Zwei Konzertetuden: I. Waldesrauschen
Zwei Konzertetuden: II. Gnomenreigen
I. Il Lamento
II. La Leggierezza
III. Un Sospiro
I. Andante Con Moto
II. Un Poco Piu Mosso
III. Lento Placido
IV. Quasi Adagio
V. Andantino
VI. Allegretto Sempre Cantabile
Reminiscences De Don Juan

Tracks:

Reminiscences De Norma
Totentanz (Danse Macabre)
Malediction
Fant On Hungarian Folk Themes

Customer Reviews:

Ethereal LIszt in Superb Sound.......2006-09-29

Piano playing of extraordinary romantic depth and breadth. Bolet is inside Liszt's mind, as Liszt's romantic self unfolds on the keyboard. It is as if Bolet is the master himself. Superlative recordings to boot!

A great collection of Liszt treasures.......2004-01-12

The booklet of this set has an interesting explanation of why Jorge Bolet stayed out of the spotlights for so long before taking up his -glorious- career. It was his devotion to Liszt. By then, in the 1950s, Liszt was still regarded as a B-composer (There are still people who tend to think so: I read someone who called Liszt `the father of all bar pianists'. Now, if you know a worse offence...). Only after Liszt's reputation had increased, Bolet could enter his `Indian summer', which lasted from about 1975 until his passing away in 1990. During this period, he was finally able to perform his favourite music as much as possible. This fine 9-disc set may indeed be Bolet's most important testament. Additionally, it's one of the most important Liszt collections on the market. But beware: there's much more than just Bolet, considering Liszt's piano works. I can't say this is the perfect set or near it. Still five stars, for some astonishing piano playing that we don't come across very often nowadays.

Bolet won a Gramophone Award for his 1st book of Années de Pelerinage, which is not strange when listening to the recordings. This is a portrait of a man who's entirely on his own, looking for his soul while wandering trough the beautiful Switzerland - I can't say it better than B. Johnson already did. It's Romantic nonsense, of course, but in Liszt's days it was a common idea, and it can still sweep me away. Bolet's superior tonal colouring - beautiful, but not too far-driven, for the risk it would almost be too intimidating - and his peaceful nature lift this music to the greatest heights. My only complaint would be the `Orage' piece: Bolet's technique can't quite handle it, and its aggressive nature is much less overwhelming as a result. Nevertheless, the rest of the pieces show him at his very best. So does the second year of the Années (that is oddly placed in the set before the first year by Decca). The Dante Sonata, one of Liszt's greatest pieces, fares very well under Bolet's hands.

Equally excellent were the Schubert Song Transcriptions. The transcriptions aren't very different from the original songs, but they are definitely interesting. Especially when someone like Bolet takes them under his hands! All songs are terrifically played, with real standouts like `Auf dem Wasser zu singen', `Der Mueller und der Bach' and `Erlkoenig'. Bolet's romantic touch (he may have been the last of his kind) lets the music unendingly flow. Brilliant!

These comments also apply to Liszt's Consolations, which are placed on another disc. Liszt shows here how much he's in debt to Schubert, and wrote music of a disarmingly lyrical nature. Bolet gives almost naively innocent readings of these pieces. Talking about singing music, why not include the Liebesträume, `Venezia e Napoli' and many, many other pieces as well. Although some people still regard Liszt as a bombastic composer, he was in fact much more active on the spiritual and lyrical area. It is largely this nature of Liszt that is put into the spotlights by Bolet. He is really terrific whenever music ought to sound peaceful and meditative.

But Liszt was also a stunning virtuoso. People may eschew him for that, but that's often without any good ground. The B minor Sonata and the Transcendental Etudes, to give some names, are not only pianistically but also musically amazing works. It takes to be both a good technician and a musician to play them well, and this is where Bolet occasionally fails. He was over 65 when he made these recordings, and I can't help but say that his technique was not anymore what it used to be. In many pieces you can hear him struggle.

In what may be the most difficult music Liszt wrote, the Transcendental Etudes, Bolet takes tempi that are almost too easy (e.g. no.10 should be `Allegro molto agitato' but Bolet plays it very moderately), perhaps because his technique was by then too limited to give the pieces a really impressive treatment. Even then, I do feel a ertain nobility in Bolet's slow approach that gives every study a dignified stature (and that's something you won't find with Kissin or Cziffra!). The sonata is similarly noble and yet tremendously powerful in its scope, even though Bolet may lack some technial control at isolated spots.

Anoter treacherous piece is the `Reminiscences de Don Juan', which is a transcription of no less an opera than -of course- Don Giovanni! Bolet plays this 20-minute piece with a lot of humour and swing: it's a great way to clean up your mind! Also recommendable are the Etudes de Concert (e.g. Waldesrauschen), whose light spirit is very well captured.

A treasure trove set overall, I can recommend it without any limitations. There's no other composer that suited Bolet as well as Liszt, and the vice versa may be true as well. But the pianist also has his weaker points, particularly regarding his technique, that wasn't what it used to be. Oh, and the piano sound is not always equally convincing: the instrument sounds a little shrill at times. But there's an amazing amount of colour in the instrument, and it allows Bolet to reachfor the deepest, darkest sonorities you've heard. This collection is therefore not just THE best Liszt: there are many more pianists who made supreme recordings of him (e.g. Arrau, Brendel, Richter) and I definitely recommend searching them out as well. After you've heard this!

An excellent collection of Liszt interpretations........2003-12-03

I was very impressed with Bolet's playing. His rendition of La Campanella is the best I've ever heard.

Liszt for the ages........2001-12-05

Both for those that would like to find out for the first time what Liszt is all about, and for those few that are very familiar with the Paganini of the 88: LOOK NO FURTHER!

It doesn't get any better than this.

After I heard throughout the seventies about this "unknown" great of the romantic repertoire, I was fortunate enough to see him for the first time about a month after he recorded the first issue of this now legendary Liszt series. While his technique may not have exactly been what it used to be before (e.g. Orage in Suisse of Les Annees), all the performances benefit from the wisdom of many, many years. While all the performances are of a uniform Olympic level, two issue stand out in my mind.

First, there is the cd of Schubert Liszt transcriptions. Bolet really sets the standards for "singing" on the piano. His version of "Der Muller und der Bach" has to be believed to be heard.

Most importantly though, there is "Suisse" the first year of Liszt's years of pilgrimage. I own this disc from the day it appeared on the shelves and still listen to it every month. Surely, there are more technically brilliant versions. For the true "Liszt Nuts", I would certainly advise Leslie Howard's version of "L'Album d'un voyageur", that contains the first version of many of the "Suisse" pieces, and some additional pieces that Frenz (for reasons that escape me completely) excluded from the later Suisse. Yet, nobody, not even Brendel or Berman, have come close to Bolet on delivering on the central theme of Suisse, man finding himself back in an exploration of nature.

While they stem from the earlier days of digital recording the recordings are still more than respectable and benefit greatly from Bolet's attention for color, aided by his favorite Bechstein.

Many of these recordings have not been available for a while. Get them before they're history!

Schubert: Die Winterreise / Fischer-Dieskau
Average customer rating:

A haunting cd for those winter days !

Schubert's Winterreise

Hearing Schubert's Winterreise

A Great Interpetation

good but he surpasses himself in 1971

Schubert: Die Winterreise / Fischer-Dieskau

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Schubert: Die Schone Mullerin / Fischer-Dieskau, Moore

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Schubert: Schwanengesang; 4 Lieder

Mahler: Das Lied von der Erde

ASIN: B000001GQE
Release Date: 1996-02-13

Tracks:

Winterreise D 911, Op.89: Gute Nacht
Winterreise D 911, Op.89: Die Wetterfahne
Winterreise D 911, Op.89: Gefrorne Trn
Winterreise D 911, Op.89: Erstarrung
Winterreise D 911, Op.89: Der Lindenbaum
Winterreise D 911, Op.89: Wasserflut
Winterreise D 911, Op.89: Auf dem Flusse
Winterreise D 911, Op.89: Ruckblick
Winterreise D 911, Op.89: Irrlicht
Winterreise D 911, Op.89: Rast
Winterreise D 911, Op.89: Fruhlingstraum
Winterreise D 911, Op.89: Einsamkeit
Winterreise D 911, Op.89: Die Post
Winterreise D 911, Op.89: Der greise Kopf
Winterreise D 911, Op.89: Die Krahe
Winterreise D 911, Op.89: Letzte Hoffnung
Winterreise D 911, Op.89: Im Dorfe
Winterreise D 911, Op.89: Der sturmische Morgen
Winterreise D 911, Op.89: Tauschung
Winterreise D 911, Op.89: Der Wegweiser
Winterreise D 911, Op.89: Das Wirtshaus
Winterreise D 911, Op.89: Mut!
Winterreise D 911, Op.89: Die Nebensonnen
Winterreise D 911, Op.89: Der Leiermann

Amazon.com essential recording

Any great concert singer is likely to have a lifelong obsession with Schubert's greatest song cycle, which tracks the winter journey of a jilted lover wandering into the snow finding ever-greater depths of alienation. Dietrich Fischer-Dieskau seemed to record the piece every 10 years or so, but this 1966 outing is said to be his favorite, and it's easy to understand why. All of his customary intelligence is in full evidence, but the voice is particularly resplendent. While this carries an obvious sensual appeal--and every two minutes or so he does something that takes your breath away--the voice also illuminates his overall interpretive concepts with a clarity that can be achieved perhaps only by a voice in its absolute prime. Particularly gratifying is his emotional directness; later performances could be so refined, so worked over that the emotionalism (such an important part of this piece) seemed more remembered than felt. --David Patrick Stearns

Customer Reviews:

A haunting cd for those winter days !.......2007-04-10

This is one of the best versions of schubert's winterreise.It has been remastered in state of the art sound,and is very lovely to listen to.The baritone sings very expressive and intelligently.Fischer-dieskau has a very rich tone to his voice here,which reminds me of a stroll through the gardens of a bavarian castle on a cloudly and gloomy winter's day.
A classic!

Schubert's Winterreise.......2006-11-07

I'll keep this short and sweet.
This is Schubert's greatest song-cycle and I've yet to find a better album to listen to in the middle of winter.
Dietrich Fischer-Dieskau probably has more vocal control, sensitivity and tonal colour than any vocalist I've ever heard. I've never heard a recording of his that didn't amaze me and I believe this to be the best thing he's ever done. And that's saying something considering the wealth of material he's recorded.
The atmosphere on this is, quite frankly, a miracle. There has never been an album shrouded in such a wintery chill.
I could listen to this everyday for a long period of time and never tire of it. Believe me because I've done just that. So go ahead and check it out. You'll regret not doing it sooner.

Hearing Schubert's Winterreise.......2006-07-03

For reasons I don't fully understand, I have developed a custom over the past several years of listening to Schubert's Winterreise at around the time of the Fourth of July. Perhaps it is the contrast between the hot summer days and the icy, wintery setting of Schubert's songs. In addition, the one-day summer break, encouraging reflection in the midst of a busy year, draws me to Schubert's music. But more so, while occupied with public celebrations, such as fireworks, parades, and company (which I also enjoy), I find it valuable to do something private,pensive, and deeply sad. It is the feeling of being alone. Thus, this year, as in several years past, I have reheard "Winterreise".

Winterreise is a cycle of 24 poems by Wilhelm Muller that Schubert set in 1827, just months before his death. The singer is a man who has just been rejected by a woman he has met in a town to which he has wandered. "A stranger I arrived/ a stranger I depart again", he sings at the outset of the work. The work covers a range of feelings from rejection through loneliness, despondency, self-criticism, anger, dashed hope, thoughts of suicide, heartbreak, and, at the end, madness. It is wrenching music, utterly sad. It captures feelings that those who have been alone will know, regardless of musical sophistication. For all the sadness of the score, I never fail to feel restored upon hearing it.

Dietrich Fischer-Dieskau recorded at least seven studio versions of "Winterreise" during a long career. I am most familiar with his recordings with his long-time accompanist, Gerald Moore; but I find that this recording, dating from 1966, with pianist Jorg Demus surpasses the versions with Moore. The phrasing, dramatic power, and passion of Fischer-Dieskau's singing on this recording are extraordinary. In virtually all of these songs, Fischer-Dieskau displays contrasts in the protagonist's mood and feelings. Many of the songs begin with slow and melancholy lines as Fischer-Dieskau works up to climactic passages of fury and despondency and then, frequently, falls back again. He makes great contrast between a declamatory singing style, almost approaching speech, and a flowing lyricism. Demus's accompaniment is smoldering and subdued. He sets the stage for Fischer-Dieskau with the many preludes Schubert composed for the songs, some of which are tone-paintings for the falling of the snow, the coldness of ice, the blowing of the wind, the flying of crows, and the isolation of the heart.

Among the songs that moved me on this hearing of "Winterreise" were no. 4, "numbness"; no. 5. "Der Lindenbaum", the most famous work of the cycle; no. 12, "Loneliness"; no. 14. "the hoary head" ; no. 15, the haunting "the crow"; no. 19, "deception" with its heartbreaking line "Ah, anybody as wretched as I/ yields gladly to this bright deceit"; and the two final songs of madness, nos. 23 and 24, "The Phantom Suns" and "The Organ Grinder."

Anyone who know what it is to be alone will love "Winterreise" regardless of the time of year. This recording is an unparallelled way to get to know this music.

Robin Friedman

A Great Interpetation.......2006-02-22

Fisher-Dieskau is at his best, portraying so much emotion it's almost hard to believe. The listener feels so connected to the story, and you just can't wait for the next piece to start. Highly reccommended to anyone who is serious about voice. Take note of how he nails the phrasing and uses it to portray all of the emotion.

good but he surpasses himself in 1971.......2005-12-15

DFD has a great voice here, yes. but I yhink in 1971, with still great vocal flexibility, achieves greater richness in phrasing (1st song as an example). And Demus!!! With repeated listening he plays quite boringly for my taste. For me a great combination is pregardien-staier (1825 fortepiano, with fantastic colours not available in modern steinways) or that 1971 DfD-Moore. Buy this only if you are a completist or can`t find these 2 recommendations. This is very good, but he recorded later a better version.

Average customer rating:

SImply Untrue
an extra star for all the guest artists
An Homage to a Great Artist
superb vocals

The Very Best of Thomas Hampson
Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Song of America
No Tenors Allowed: Famous Duets for Baritone and Bass
Arias - Haydn, Mozart, Beethoven, Schubert
Christmas with Thomas Hampson
Leading Man

ASIN: B0006VYEI2
Release Date: 2005-04-26

Tracks:

La Ran La Lera...Largo Al Factotum
O Sainte Medaille...Avant De Quitter Ces Lieux
Ce Breuvage...Vision Fugitive
C'est Toi...Au Fond Du Temple Saint - Placido Domingo
La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
Ecoute!...Dieu, Tu Semas Dans Nos Ames
C'est Mon Jour Supreme
Tout Est Desert...Son Regard
Ove Son Io?...Vada In Fiamme
Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
Di Provenza Il Mar, Il Suol
E Sogno? O Realta?
Komm!
Der Garten Des Herzens
Lied Des Venezianischen Gondoliers
Le Lazzarone
L'Ultimo Ricordo

Tracks:

Mein Sehnen, Mein Wahnen
Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
Wie Todesahnung...O Du Mein Holder Abendstern
Gruss Op.48 No.1
Im Wunderschonen Monat Mai
Aus Meinen Tranen Spriessen
Die Rose, Die Lilie
Ich Will Meine Seele Tauchen
Ich Grolle Nicht
Gute Nacht
Die Post
Blicke Mir Nicht In Die Lieder
Ich Atmet' Einen Linden Duft
Ich Bin Der Welt Abhanden Gekommen
Von Der Schonheit
O Vaterland, Du Machst Bei Tag
Als Flotter Geist
Komm, Zigany
An Old Song Re-Sung
At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
Jeanie With The Light Brown Hair
Beautiful Dreamer

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

SImply Untrue.......2006-08-16

The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

an extra star for all the guest artists.......2006-05-08

The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

An Homage to a Great Artist.......2005-10-30

EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

superb vocals.......2005-08-07

Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.

Average customer rating:

Bach Would be Smiling
Did not like it at all
Hewitt tames the Toccatas
Good, average...
A.H. is among the very bests

Bach: The Toccatas
Johann Sebastian Bach , and Angela Hewitt
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000069CVA
Release Date: 2002-08-13

Tracks:

Toccata in C minor
Toccata in G major
Toccata in F sharm minor
Toccata in E minor
Toccata in D minor
Toccata in G minor
Toccata in D major

Amazon.com

A toccata--from the Italian word meaning "to touch"--was originally a glorified keyboard warm-up, in which scales and arpeggios were tossed off with improvisatory abandon. But as Angela Hewitt shows, Bach's youthful forays into this genre were finely wrought gems, masterpieces in miniature. This dazzling CD matches the extraordinarily high standards she has set herself in the complete keyboard Bach she is building up year by year. Her touch is springy and muscular, her pulse rock-steady; the more anarchic Bach's fancy becomes, the more rigorously she controls its expression. Taking her cue from the absence of autograph manuscripts, she puts these works into a satisfying running order, so we can savor them as we would at a recital. The liner notes are--as usual with this coruscating communicator--a performance in themselves. Musical commentary is seldom so fresh, or so illuminating for those who want to follow in her footsteps. And yes, she makes a brilliant case for the piano in Bach: in these 65 glorious minutes, there's not one dull moment. --Michael Church

Customer Reviews:

Bach Would be Smiling.......2006-12-22

Listen to the Fugue from BWV 915 (No 6 on this Album) and try not to smile. It is pleasant and bouncy and irresistable. I keep playing this part over and over. Angela Hewitt plays it freely and boldly like a child skipping in the park.

She plays cleanly and accutrately, but what adds to the beauty is how improvisational she sounds; and we know the Baroque masters excelled at improvisation.

Did not like it at all.......2006-09-12

I really did not like it at all. It looks like all the magic that Gould did put in those pieces is gone. Gould's interpretation is an introspective journey in a music that seems to be just born under his fingers.
A total dispointment after reading other reviews.

Hewitt tames the Toccatas.......2005-08-17

Many know the famous story of how an eager, young Bach journeyed 10 days by foot to a distant village to hear the great organist Buxtehude, staying many months longer than he was given permission. It is fortunate probably that he stayed so long to learn from this master - for such early yet luminous works like the toccatas here clearly show the influence of this virtuositic organist and his free, improvisatorial manner of composing (termed "stylus fantasticus"). In her abundant and well-written liner notes, Hewitt quotes one authority on this style: "It is the most free and unrestrained method of composing; it is bound to nothing, neither to words nor to a melodic subject; it was instituted to display genius and to teach hidden design of harmony and the ingenious composition of harmonic phrases and fugues." While not purposely written as a grouping or teaching tool, these seven so-called Toccatas were assembled together based on these characteristics. They are free displays of virtuosity with daring runs of scales, arpeggios and the like - music full of vitality yet free of form for the most part.

The 2005 Gramophone Guide gave this CD the top "Gold Star" rating (3/3 stars) and concluded: "Her performances could hardly be more stylish or impeccable, more vital or refined. Hewitt's playing is personal and characterful without resorting to self-serving or distorting idiosyncracy." Moreover, the Penguin Guide summarized this recording this way: "We have no hesitation in declaring this the most stimulating and rewarding CD of these complex and episodic works on any instrument, consistently showing Bach's youthful explorations at their most stimulating."

Indeed, there is much variety, inventiveness and drama in this music that Angela Hewitt brings out to the fullest - from the songful and even contemplative slower interludes to rippling demisemiquaver scales that open some pieces to the powerful, complex fugues. Perhaps the richest aspect of Hewitt's playing here is her ability to skillfully and subtly shape the repeating episodes within the fugues by her nuances of color and dynamics. Many of these fugues have short themes that Bach incessently repeats throughout the piece (a famous trait of Bach that he is able to pull off to great effect). With most composers or playing, such repeated motiffs would quickly become monotonous or grating to the ear - as some Toccatas can be on the harpsichord as Hewitt points out. But, with Bach's skillful contrapunctal writing and Hewitt's imaginative playing, she transforms these repetative fugal sections into music of wonderous appeal and fascination - building an unfolding drama within the piece to great effect. The G-minor and D-minor Tocattas are fine examples of how Hewitt's subtle touches transforms these incessent fugues into lumanscent wonders.

One recording of the Toccata in C-minor that is quite interesting by comparison is that of Martha Argerich. While not noted for her playing of Bach, Miss Argerich in the early 80's put to disc a dynamic performance of this Toccata (along with a Partita and English suite on DG). Where Ms. Argerich's bold performance reminds one of Bach's legendary powerful tone and command, Hewitt's touch is worlds apart in its subtltry, charm, inflection and nuance. Hearing Argerich's version along side Angela Hewitt's performance helps to illuminate Miss Hewitt's style more clearly - which is one of longer, more-lyrical flow with a notably beautiful tone and something intangible that might be best called a "heartfelt quality." Hewitt's C-minor Toccata exudes a more songful flow and subtle artistry compared to Argerich's more punchy and "intellectual" reading. Actually, Hewitt's reading can easily be described as "pretty" by comparison (perhaps too pretty for some). She is always a pianist and utilizes the greater expressive range of her Steinway to achieve maximum emotional qualities and tonal beauty.

So, overall, Angela Hewitt's Toccatas are at the top of the class as Penguin Guide and Gramophone notes. With repeated listening, it has become a favorite of her entire discography - part for Bach's fascinating composing and part from Hewitt's sparkling and full-of-life pianism. Compositions - 5 stars; Performance - 5 stars; Sound quality - 4.5 stars.

Good, average..........2005-07-07

All things considered, this performance is far less impressive and interesting than Gould's. Counterpoint lacks, very quiet and smooth playing, no flagrant and uprising dynamics shifting. No take offs, no surprise. Ideal as muzak, in elevator or restaurant.

A.H. is among the very bests.......2005-04-15

First I sent my opinion to my friend, a man of erudition -he was who bid me to publish it here. Maybe this is premature a bit.

To form a better opinion of these recordings I had to listen several times with maximum attention. So now I can write more about the two Hewitt discs, the Bach Toccatas (comparison: Glenn Gould) and the Italian Concerto etc. disc.
The latest development in Bach pianism (and also in playing Beethoven Quartets) is that perfect technique is not an unreachable goal but an obvious point of origin. Looking at today's greatest Bach master, Koroljev, he reached , we believe, unsurpassable perfection exactly this way. To achieve this, several months of seclusion and monastic concentration is required.
Hewitt is also among the giants. Different from Koroliev, she doesn't worry about one-hundredth of seconds, but instead we are rewarded with an increased joy of life. This is Bach we dream about, we know about but couldn't attain. Koroliev's Bach is heavenly, but Glenn Gould's Toccatas are examples of a deeply involved and serious savage subjectivity.
Hewitt knows that seriousness is not the voice of passion. Homage, but not worship. The piano toccatas lead us into a different world than the organ toccatas. The organ toccatas in spite of all their grandeur are still just organ pieces. The piano toccatas, however, are stylized; they are like suites and serious tests of endurance. This CD is the opposite side of the Capriccios, but Hewitt's both sides are wonderful. She understands the Bach spirit completely. She is not hammering, but not too light hearted either. Has weight, but not heavy like of the previous generation, say Brendel. Just as much as needed. Maybe this is her real strength.

Average customer rating:

A cult recording!
Fischer-Dieskau Sings Winterreise

Winterreise
Schubert , Fischer-Dieskau , and Moore
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
Similar Items:

Great Recordings Of The Century - Schubert: Die Schone Mullerin / Fischer-Dieskau, Moore
Schubert: Schwanengesang; 4 Lieder
Schubert: 24 Lieder
Schubert: Goethe-Lieder / Fischer-Dieskau, Demus, Moore
Schubert: Lieder

ASIN: B00006I0DH
Release Date: 2002-09-17

Tracks:

Gute Nacht
Die Wetterfahne
Gefror'ne Tranen
Erstarrung
Der Lindenbaum
Wasserflut
Auf Dem Flusse
Ruckblick
Irrlicht
Rast
Fruhlingstraum
Einsamkeit
Die Post
Der Greise Kopf
Die Krahe
Letzte Hoffnung
Im Dorfe
Der Sturmische Morgen
Tauschung
Der Wegweiser
Das Wirtshaus
Mut
Die Nebensonnen
Der Leiermann

Customer Reviews:

A cult recording!.......2007-03-23

It's only fair to concede that Schubert made of the Lied his major artistic contribution. Somehow Franz drew the unconscious curtain, that remained nestled during centuries in the German feeling. On the other the cultural environment was propitious, due the echoes of the Romantic voices still resounded in the world. To my view, the arousing of the Romanticism with such vigor was product of the final distillation of the French Revolution. With the arrival of a new audience, neither precisely illustrated nor involved in art, the Opera was a very pleasant substitute for entertaining, undoing you are an analphabet, you might enjoy the spectacle, that was an expanded reflect of the environment they lived.

So the Romanticism began to emerge as a logical answer of an artist confined by the noisy voices of the masses without the kind support of the ruling aristocracy that had been put in disbandment and confined to listen chamber music and symphonies inside the frontiers of their castles and palaces.

So these conditions allowed Schubert focused with major earnestness to this musical genre, that claimed to manifest itself, but that obviously needed of a genius like him to materialize itself without hindrances or deformations.

Schubert just made free use of models and forms of his musical predecessors. Himself a pathfinder, .he never followed the footsteps of his ancestors. So Schubert made a musical canvas that depicted with pristine eloquence the inner demons of the existential anguish, that easily may link with let' s say Gustav Mahler through his song of Earth or Kindertotenlieder.

That's in resume, the transcendental importance of these compositions that carve in relief the gestalt of those times.

Fischer-Dieskau Sings Winterreise.......2005-10-18

Schubert's song-cycle "Winter's Journey" is wrenching music that sings of rejection, loneliness, a broken heart. The cycle describes the rejection of a young man by his beloved, his wanderings, and his probably unsuccessful attempts to find solace or redemption. For most listeners, the work ends in despondency or madness. The work is the product of Schubert's last years and consists of a setting of 24 poems by Schubert's friend, Wilhelm Muller (1794 -- 1827) who, as did Schubert, died young. Schubert's friend, the poet Johann Mayrhofer wrote of his experience with Schubert and Winterreise:

"He [Schubert] had been seriously ill for a long time; he had depressing experiences, and life's rosy color had vanished; winter had come for him. The poet's irony, rooting itself in misery, appealed to him; he expressed it in cutting tones. I was seized with pain."

Dietrich Fischer-Dieskau recorded Winterreise many times during the course of a long career. The performance on this CD dates from 1963 with Gerald Moore, Fisher-Dieskau's most frequent accompanist at the piano. The performance has been reissued as part of EMI's "Great Artists of the Century" series and sells at a modest price. It includes texts and translations of Mueller's poems, and this is important in hearing Schubert's music. Fischer-Dieskau and Moore offer an emotional performance. It is an outstanding choice for the new listener in getting to know Winterreise.

The songs in Winterreise are seemingly simple but contain great depth and complexity. The vocal line is sometimes melodic and lyrical but is more often than not declamatory, approaching the style of speech. The piano part is fused with, and frequently follows, the vocal line and adds immeasurably to the intensity of the music. Rhythmic patterns and accents change repeatedly in simple short songs which also shift, as I have suggested, between lyricism and declamation. Fischer-Dieskau's performance here is full of passion and drama, emphasizing, I think, the declamatory character of the work.

There are several different types of songs in Winterreise, and some I would like to mention as memorable in my listening. The opening song, "Good Night" opens with a repeated piano figure in the lower register, followed by a haunting four-stanza melody in which the protagonist leaves his home in the midst of night following his unsuccessful suit. It sets the stage for the entire cycle. The fifth song, "Der Lindenbaum" is perhaps the most famous single work of the cycle and, with its quivering piano figure and flowing melody, has become proverbial and a folk-song in Germany. There are two songs, the "Dream of Springtime" (no. 11) and "The Post" (no. 13) in which the protagonist temporarily sees a glimpse of hope, shown in simple melody, only to have it dashed. The song "In the Village" (no 17) is sometimes regarded as the climax of the work as the speaker contrasts his own unhappy state, as he wanders on his way with the peaceful lives of the residents of a small town.

There are several songs of deep and intense introspection, including "loneliness" (no. 12), "the hoary head" (no. 14), "last hope (no. 16), and "the tavern" (no 21). But for me the greatest moments of the cycle are those which capture the feeling of abject deterioration, disintegration, and madness, including the songs "the crow" (no. 15) and the two final songs, "phantom suns' (no 23) and "the organ-grinder (no. 24), In their free-form rhythmic and harmonic character and declamatory style, these songs reach emotional depths rare in music. They are also startingly modern.

There is room for endless exploration and listening in Winterreise, and many choices for lovers of this music. The new listener will be amply rewarded by Fischer-Dieskau and Moore in this classic performance.

Robin Friedman

The quotation from Mayrhofer, above, is taken from Arnold Feil's study, "Franz Schubert: The Lovely Miller Maiden; Winter Journey" p. 27. Feil's book explores in detail both of Schubert's great song-cycles.

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Nothing but hits

Essential Hyperion, Vol. 2

Manufacturer: Hyperion UK
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Beethoven - The Complete String Quartets / Alban Berg Quartet

ASIN: B00004RITB
Release Date: 2001-01-09

Customer Reviews:

Nothing but hits.......2001-01-31

As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

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Beautiful Winterreise
I must be out of step
A Mild Winter
Just adding my praise to the fray of more eloquent voices
A Journey Through the Winter of Schubert and Muller

Schubert: Winterreise

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002I8UGG
Release Date: 2004-09-07

Tracks:

Gute Nacht
Die Wetterfahne
Gefror'ne Tranen
Erstarrung
Der Lindenbaum
Wasserflut
Auf Dem Flusse
Ruckblick
Irrlicht
Rast
Fruhlingstraum
Einsamkeit
Die Post
Der Greise Kopf
Die Krahe
Letzte Hoffnung
Im Dorfe
Der Sturmische Morgen
Tauschung
Der Wegweiser
Das Wirtshaus
Mut
Die Nebensonnen
Der Leiermann

Amazon.com

The Bostridge-Andsnes team has emerged as one of the top lieder recital duos on disc, and their devoted fans will want their controversial interpretation of Schubert's greatest song cycle. The controversy lies in what many will feel is Bostridge's excessive emphasis on textual explorations. For his admirers, this is his great strength, and here he sings Schubert's grim cycle with a dramatic intensity that portrays the desperation of the young protagonist. This is indeed a frozen winter's journey, presented with an admirable sense of drama and intimacy. But some will find it difficult to make the trip, considering Bostridge's staccato dramatics more an acting than a singing performance. In several songs, including "Auf dem Flusse" and "Rückblick," he ventures perilously close to the edge of what many listeners will accept. The singer contributes a booklet note that explains his interpretive stance and his textual changes. Andsnes, on his part, contributes some stunning pianism that's worth hearing. A fascinating journey then, if too individual a trip for many lieder fans to take. --Dan Davis

Customer Reviews:

Beautiful Winterreise.......2007-01-10

I own the version with Dietrich Fisher-Dieskau and could never really get into it. I thought I would give this version a try because of positive reviews because Winterreise is so famous. I am glad I did. I find Ian Bostridge's singling to be subtle, yet dramatic and emotional. I am a big fan of pianist Leif Ove Andsnes. His playing brought out melodies in the music that I just didnt hear before.A soft, non-bombastic recording that retains the melancholy and drama.

I must be out of step.......2007-01-08

Since Ian Bostridge and Leif Ove Andsnes both garner their fair share of raves at Amazon, I doubt I'll influence anyone by differing. EMI has a long-term commitment to these artists, a token of their standing in the world of clasical msuc, but I find their Winterreise (which I also heard live in Carnegie Hall) wrong-headed. In Lieder singing there has to be a balance between natural songfulness and artistic license. For me, Bostridge crosses the line. He overstates every emotion, underlines every point he makes, and projects every word of Mueller's not exactly great poetry with intense drama.

But I am not a fair judge. The reason I flew to NY to heqr this concert was, in part, to see if I really did find Bostridge's voice creepy. I did and do. There's no accounting for these quirks of personal taste. As for Andsnes, I sat and listened for any particular insights much less revelations, but all I heard was recessive, polite playing that was only a cut or two above any outstanding professional accompanist. So there it is. Fling your arrows.

A Mild Winter.......2006-07-12

I have been a fan of Ian Bostridge for many years, and have always been most enamored of his numerous recordings of Schubert lieder. Needless to say, I was thrilled to pick up a copy of his recording of Winterreise. Before I bought this disc I was already in posession of two other recordings of this cycle (Hampson and Goerne, respectively). It was impossible for me to not compare Bostridge's attempt with that of Goerne and Hampson. While I've enjoyed both the aforementioned recordings equally, I found the Bostridge considerably less palatable. This is not to say that the entire recording was a disaster; a song cycle as immense as Die Winterreise often becomes a collection of small triumphs and small failures.

To me the Andsnes/Bostridge version is just a bit too uneven to garner a full five stars. It pains me to say that most of the gaps in quality come from Bostridge rather than Andsnes. There are occasions in the cycle in which Bostridge affects a style of singing that is far too mannered to be effective. Die Post is perhaps the biggest sore thumb in the cycle. The whole song comes off as plodding and labored, with Bostridge's vocal swells often resulting in compromised pitch accuracy. Bostridge's thick voiced interpretation of the song must have rubbed off on Andsnes whose ordinarily crisp, effervescent style sounds chunky and rhythmically imprecise. A minor distraction throughout the entire work is Bostridge's tendency to spit out his German, making one think that some of the more consonant rich songs may have required a toweling off of the mic after they were recorded.Der Leiermann is a rather perplexing interpretation of a stark song with stark imagery. To those familiar with standard versions, Bostridge's take is surprisingly clipped,a sound as barren as the landscape of Winterreise. Whether or not this is effective is up to the listener to judge.

In short, this is a recording that takes many risks vocally, and doesn't totally succeed. While Bostridge was most likely trying to create an emotional rendition of Die Winterreise, it sometimes tips the scale, becoming rather ham-fisted. Be aware, however, that thare are still some wonderful moments on this CD. Bostridge's superb sotto voce makes its normative round of appearnces, and Andsnes' accompaniment is nothing if not stellar (with the above mentioned exception). I'll end here with a caveat to the buyer: This is a Winterreise that will challenge the listener, as much a difficult journey for the listener as the singer.

Just adding my praise to the fray of more eloquent voices .......2005-09-04

I have listened to this disc only a few times but already Ian and Leif Ove have both given me an appreciation, even a liking, of Schubert that I had not expected. Grady Harp has noted Ian's emphasis on the poetics, and I think that this aspect is actually what makes me like it so much. One has the impression that the music and the text are given equal consideration by the performers and that Ian is very conscious of what he is singing. I am tempted to call it an intellectual interpretation, not that such a description would detract from the musicality or musicianship of these artists.

My only complaint is that Ian tends to aspirate very heavily on consonants at the end of words, so the T and S in particular are very sharp, almost spat/hissed. At times it can be distracting or even annoying (I don't remember German ever sounding like that). Nevertheless, this disc will be inhabiting my CD player for quite some time to come.

A Journey Through the Winter of Schubert and Muller.......2005-04-01

WINTERREISE is not only a demanding song cycle for the listener with its dramatic implosions and dark verse relentlessly sad; it is likewise a treacherous work for both singer and pianist. The twenty-four songs that comprise this cycle challenge the extremes of both baritone and tenor ranges and though it has been recorded frequently, it has rarely found the right voice that can convey the power of both the music and the poetry.

Until now. Ian Bostridge owns a voice that surveys the highs and lows of the range Schubert seemed to cruelly challenge the performer. Whether his is an extended tenor voice or an extended baritone voice is for the individual to decide. His high notes are clarion: his low notes are robust and rich. The real marker of success for this particular cycle however is the marriage of words to music, and it is this power of communication that sets Bostridge apart. While others have tried to convey the pathos of these songs, they usually resort to mannerisms that simply become annoying. It is true that Bostridge concentrates on word values and succeeds where others fail, and if some find this poetic emphasis demeaning to the musical line then there are other versions available.

As far as the total experience of the 'Winterreise' credibility, it depends greatly on the musicianship on both the keyboard as well as the vocal cords. Whoever is responsible for the partnership idea of placing Bostridge and Leif Ove Andsnes together deserves kudos. Their temperaments are so similar that it is uncanny. While other pianistic collaborators offer solid support, Andsnes is an equal voice. His mastery of the 'Schubertian sound' is amazing. The journey here is truly a partnership and it is hard to imagine another as effective for this cycle. Highly recommended. Grady Harp, March 05

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Schubert: Winterreise

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Schubert: Goethe-Lieder / Fischer-Dieskau, Demus, Moore

ASIN: B0001HAH8W
Release Date: 2004-03-23

Tracks:

Gute Nacht
Die Wetterfahne
Gefror' Ne Tranen
Erstarrung
Der Lindenbaum
Wasserflut
Auf DEm Flusse
Ruckblick
Irrlicht
Rast
Fruhlingstraum
Einsamkeit
Die Post
Der Greise Kopf
Die Krahe
Letzte Hoffnung
Im Dorfe
Der Sturmische Morgen
Tauschung
Der Wegweiser
Das Wirtshaus
Mut
Die Nebensonnen
Der Leiermann

Decca Legends--Schubert: Winterreise / Pears, Britten

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Humanity through Schubert, Britten and Pears
Peter Bleedin' Pears . . . arrggh!
A curdled voice expressing great musical depth
Magical interpretation
One of the most memorable "Winterreise" performances.

Decca Legends--Schubert: Winterreise / Pears, Britten
Franz Schubert , Peter Pears , and Benjamin Britten
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Bach: Goldberg Variations

ASIN: B00004TEUT
Release Date: 2000-07-18

Tracks:

Gute Nacht
Die Wetterfahne
Gefrorene Tranen
Erstarrung
Der Lindenbaum
Wasserflut
Auf dem Flusse
Ruckblick
Irrlicht
Rast
Fruhlingstraum
Einsamkeit
Die Post
Der greise Kopf
Die Krahe
Letzte Hoffnung
Im Dorfe
Der sturmische Morgen
Tauschung
Der Wegweiser
Das Wirtshaus
Mut!
Die Nebensonnen
Der Leiermann

Customer Reviews:

Humanity through Schubert, Britten and Pears.......2007-07-21

To many music lovers, Winterreise is an extremely sacred work. It puts the German Lied on a very high pedestal as well as the whole idea of romanticism. I've studied and sung the cycle myself and own about twenty recordings of it. Some people will scoff and claim that this is really a cycle for baritones, some people will not be able to get past Peter Pears' voice, one of the least conventional voices of the 20th century. It is also one of the most magnificently expressive voices.

While I was working on Winterreise, my voice teacher suggested I listen to this recording. He then went on to tell me that I shouldn't try to make any of those sounds myself, but that I should hear the commitment to the text and to the music. There are many singers that convince me through their performances of their musicality, their vocal ability, and their acting skills. Only Peter Pears actually convinces me that he's LIVED this and isn't just singing someone else's song cycle. It feels like he's telling me his own story.

As a musician, Britten had accompanied Pears in recitals for well over twenty years when this recording was made; the two of them do not come apart for a single bar the entire time. To say nothing of their personal relationship, this kind of artistic unity is extremely rare to find. They also had to decipher this cycle without the aid of the recordings that we have today; in post-WWII England, the German Lieder recordings that were around weren't easy to come by.

Britten and Pears' interpretation is therefore not directed as much by tradition as a singer like Dietrich Fischer-Dieskau or Hans Hotter. It serves the text and music and the listener. When you really get down to it, this is a creepy song cycle. It starts out with broken love and goes downhill from there, through false hope, cold comfort, utter delusion, angry denial, and finally to complete desolation. Pears' Leiermann is sung with a complete absence of emotion until the very last line, where it feels like he summons every last bit of strength in his exhausted soul to ask the organ grinder "will you turn your organ to my songs?"

This recording finds its way into your heart. This performance is what singing and music are about. Maybe you don't find Peter Pears' voice attractive, and maybe the emotions he evokes within you aren't comfortable. I cry practically every time I get to the end of it. But this isn't a comfortable piece, it's a journey (Reise) through human emotion, irrationality, insanity, and loss. At the end, you may feel like you've been dragged through it all, but THIS is what true artists can do for us.

Peter Bleedin' Pears . . . arrggh!.......2005-12-20

The immediately preceding reviewer writes of "the curdled, almost baritonal voice that Pears possessed" but then goes on to justify a five-star rating by saying that Pears' "noticeable wobble, not to mention his innately peculiar timbre, is the price one pays to hear a great musician." Such is the honestly held opinion of that reviewer and I respect both it and him. I, however, am absolutely not prepared to pay that price for the abominable Pears--not here, not anywhere, not anytime.

Another reviewer points out that "The Penguin Guide gave this recording a rosette (its highest rating)". This is quite true and it goes a long way to explain why the Penguin Guide--and the good, grey Gramophone Magazine, too, for that matter--are never, never to be relied upon when they review British performances.

With all the wealth of fine performances of Schubert's lieder available from people who actually can sing, why does anyone waste valuable time, money and shelf space on the unhappy groaning of Pears? And if, for some utterly incomprehensible reason, someone might actually want "a very British 'Winterreise'", as the same reviewer put it, there is always Ian Bostridge.

A curdled voice expressing great musical depth.......2005-12-19

This famous 1963 recording of Winterreise is sacred in England, and one can read any number of awed reviews that fail to mention the curdled, almost baritonal voice that Pears possessed by this time--he was only 53, but a noticeable wobble, not to mention his innately peculiar timbre, is the price one pays to hear a great musician. There are days when I cringe at the first note, and other days when I can go straight to the heart of Pears' unmatched exprssivity and intelligence. How strange that one of the most off-putting voices should be attached to one of the most involving musical imaginations.

He is more than aided by Britten at the piano; despite his often reticent placement, it's the composer who welds every song together. Britten is able to create unique poetic dramas out of each text--it's a miracle that Schubert's simple vocabulary makes this possible. The two performers are uncannily seamless. They follow a shattering emotional arc for their "winter journey," projecting plaintive melancholy from the start, only to move deeper into the shadows until the eerie, soul-killing bleakness of the last three songs renders the cycle's full tragic impact. But tragedy, we must remember, is transcendent, not simply depressing and self-pitying. It's the vehicle for beauty. That's really the secret of Pears and Britten, that they can elevate Winterreise to a noble experience. For that, any wincing Pears' voice may cause is negligible. Highly recommended.

(To hear Pears in much better voice, it's worth seeking out his 1959 Schone Mullerin, fully as remarkable as this performance. Britten is again the perfect accompanist, and a space of four years is enough to minimize the blemishes that vitiate the later Schubert recital.)

Magical interpretation.......2004-12-21

Fans of Schubert's masterwork are fortunate to have many great interpretations available - including those of Hans Hotter, Dietrich Fischer-Dieskau, and Peter Anders. The Pears-Britten performance, however, is something else altogether. It is one of those great recordings that capture a rare chemistry between the performers, where singer and pianist are so in sync with each other's conception of the piece that neither a single note nor silence seems out of place.

Britten, so well known as a composer, demonstrates his brilliance as a pianist here. From the bleak, sparse textures of "Die Krahe" to the chords of the hymnal "Das Wirtshaus," Britten shows off his extraordinary tone control and balance in every song. Meanwhile, the pacing of each song is completely unerring. Listen, for example, to the well-timed phrases - and the chilling silences - in the existential closer, "Der Leiermann." While Pears' voice is admittedly not the most naturally beautiful-sounding, he matches Britten's great performance with his superb phrasing and tragic, heartrending tone.

In summary, this recording is a supreme example of the art of lieder performance at its very finest. For those in search of a transcendent listening experience, this will mesmerize from beginning to end.

One of the most memorable "Winterreise" performances........2004-02-13

If I had to make a short list of "Winterreise" performances that I think every serious listener should hear, Pears/Britten would be on it. It seems to cast an entirely different light on the cycle than any other performance I have ever heard. It is sui generis, alien and profoundly "other," and it works in a bizarre way that I don't really understand, but which I find very intriguing. From the very beginning, Pears and Britten are in a different place, markedly distant from the "Winterreise" tradition that I have become familiar with. Every "Winterreise" performance (by a male singer)that I find persuasive, be it Hotter, Huesch, Fischer-Dieskau, Schmitt-Walter, or Anders, seems to move from a state of more or less normalcy into varying degrees of darkness and alienation. Pears and Britten, on the other hand, are alien from the first moment you hear them. You can well imagine why Mom and Dad are happy to find a more suitable husband for their little girl-- this guy is a geek, a weirdo, an outsider, not someone you could ever feel comfortable with. It's the quality of the voice, the strangely-flavored German, the little hitches and twitches in the rhythms, the occasional odd emphases. It's as if this protagonist is from another planet and the text and the music are being filtered through the Universal Translator. It's recognizable, yes, but everything is just that little bit "off," so that you are constantly off-balance and on edge. The expected progression away from what is comfortable and accustomed to a state of profound loneliness and alienation doesn't quite happen. When Pears sings "Fremd bin ich eingezogen, fremd zieh ich wieder aus," it seems exactly true: he was weird when he came and he is still weird when he leaves, and somehow, thanks to Britten's playing, the whole outside world reflects his weirdness. When I try to imagine this fellow, I think of Heine's "Der arme Peter"-- the people who see him say that he looks as if he has just stepped out of the grave, but he is actually on his way to the grave. And he has had a "kick-me" sign on his back since birth. This "Winterreise" protagonist seems very similar, someone who could never fit in and has nowhere to go but down to destruction. If I follow Fischer-Dieskau and Gerald Moore through "Winterreise," as I have done countless times, there is a mounting anxiety and uneasiness, as the wanderer feels himself drifting further and further away from life as everyone else lives it and finally realizes that he can never get back, that he will be isolated for the rest of his life. There is an underlying horror in "Der Leiermann," as if the wanderer is looking in a mirror and seeing his own face and realizing that this is what he has become. With Pears and Britten, on the other hand, it's almost as if he is going home to where he belongs. It's eerie. The cycle never resolves itself, you don't reach catharsis. Maybe it's what Schubert had in mind, I don't know. I just know that it makes me profoundly uncomfortable and I'm glad I have experienced it.

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