Song Cycle

Song Cycle

Editorial Reviews
Amazon.com
Former child actor Van Dyke Parks had reinvented himself as a songwriter, arranger, raconteur, and budding conceptualist when Warner Bros. bankrolled this brave, baroque 1968 debut, which has achieved true notoriety in the annals of '60s California pop. More heard-of than heard, Song Cycle sailed against the tide of guitar-driven, blues-drenched rock to bet on the orchestral ambitions of Sgt. Pepper, weaving a conceptual tapestry from folk, Tin Pan Alley, and classical strands. In place of generational anthems or confessional love songs, Parks's coy, modest tenor offered intricate, impressionistic wordplay ripe with puns, multiple-entendres, and geopolitical allusions far beyond the pale of countercultural rock. On songs such as "The All Golden," "Palm Desert," and "Laurel Canyon Blvd.," you'll hear poetic links to Brian Wilson's most convoluted, internalized soundscapes, as well as a wily musical intelligence that will either intoxicate or infuriate you. Not unlike a brattier, Californian cousin to Stephen Sondheim, Parks revels in musical and thematic puzzles, and Song Cycle offers his most seductive and challenging ones. --Sam Sutherland

Song Cycle,Van Dyke Parks,Warner Bros / Ada,Baroque Pop,Experimental,Folk,Folk & Traditional,Pop,Popular Music,Psychedelic,Psychedelic Pop,Singer/Songwriter

Elgar: Cello Concerto; Sea Pictures; Cockaigne Overture
Average customer rating:

Wonderful performances and remastering

DuPre at her best

Don't even think about buying another performance!

Sea Pictures, a life changing event, Lord Elgar, I worship thee!

The Definitive Elgar Cello Concerto

Elgar: Cello Concerto; Sea Pictures; Cockaigne Overture

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002VEQGG
Release Date: 2004-09-07

Tracks:

Concert Overture: Cockaigne (In London Town) Op.40 - Philharmonia Orchestra
I. Adagio - Moderato - Jacqueline Du Pre
II. Lento - Allegro Molto - Jacqueline Du Pre
III. Adagio - Jacqueline Du Pre
IV. Allegro - Moderato - Allegro, Ma Non Troppo - Jacqueline Du Pre
I. Sea Slumber-Song - Janet Baker
II. In Haven (Capri) - Janet Baker
III. Sabbath Morning At Sea - Janet Baker
IV.Where Corals Lie - Janet Baker
V. The Swimmer - Janet Baker

Customer Reviews:

Wonderful performances and remastering.......2007-02-19

This legendary Du Pre recording of the Elgar Cello Concerto is certainly one of the titles I've been waiting to see in the Great Recordings of the Century. Du Pre gives a passionate reading of the concerto, capturing all the pathos in this immensely tragic work, with able support from Barbirolli and the London Symphony Orchestra, drawing upon his expertise in this music. Barbirolli and the LSO also ably support Dame Janet Baker in her rendition of the Sea Pictures. Dame Janet sings with a light touch and a tonal beauty that befits the music, and one can hear everyone making the most of this underrated Elgar work and unearthing the many nuances in his depiction of the sea.

You'll wonder what the Cello Concerto and the Sea Pictures have in common besides boasting great performances in this disc. Well, from my reading of it, they both harbour sentiments of unpredictability in life. The Cello Concerto is laden with yearning for a lost world, a world torn apart by the First World War, and the Sea Pictures features some depictions of how the sea destroys love.

As expected, this reissue in the Great Recordings of the Century series offers the best remastering that these performances could ever deserve. They emerge as if they were clean, full and vibrant recordings that sound like they were only recorded yesterday. My only quibble is that the CD producers decided to throw in the Cockaigne Overture, which is a rather frivolous piece in relation to the deep, sober mood of the original record. I know that we must get bang for our dollars with the capacity of a CD, but the Cockaigne really spoils the mood of the other two pieces. Thankfully the listener can programme it out and get to the Concerto and the Sea Pictures.

But don't let this deter you from grabbing a copy of this legendary recording that surely deserves its coveted place in this superb EMI series.

DuPre at her best.......2007-02-19

The Elgar belongs to no other. Jackie may have been a bit high-strung, but there's more emotion in this recording that one can find in any other recording of anything in the universe.

Don't even think about buying another performance!.......2006-09-28

... unless you already have this one and want to appreciate it even more!

This is Du Pre's signature piece and she OWNS it.

And Janet Baker, knowing she is dying of cancer, sings Sea Pictures like there is literally no tomorrow.

This is one of those rare recordings where the planets perfectly align to give you music, performers, recording and MOMENT that together exceed the sum of the parts.

Sea Pictures, a life changing event, Lord Elgar, I worship thee!.......2006-01-01

Hello my name is Marcus. You may remember me from such films as the Flintsto... well I'll save my Troy McKlure impersonation for later. Right now its all about Elgar. Or should I say "SIR" Edward Elgar.

The rules for entry into my own "Immortal Composers Club" are insanely strict. I myself a music instructor, composer recording artist have not even been allowed in the club officially as a member yet. I'm like an apprentice to these masters. Or dare I say I am a "padawan learner" still learning.

The Yoda master of the club is of course J.S. Bach, the Obi-Wan of the club, easily Elgar. Myself a practitioner of the archaic non-commercial art of "Art Song" have been moved to tears a few times by both Elgars Sea Pictures and the flawless mezzo performance on this awesome recording. Everything on the CD is of course great but in my opinion the Sea Pictures is one of the greatest art song cycles in human history.

Myself just completing my first modern art song cycle called " Harmonious Haiku " (which you can check out with any basic Google search,) can greatly appreciate the unfortunately to unappreciated form of Art Song.

Sea Pictures is one of my favorites of the Genre. Forget the movies, forget drug store fiction, put on some Sea Pictures, close your eyes and experience what song writing could have been if not for the L. A. Record companies and the well I can't say "Fab" but you know, those four guys with the hair.

Elgar is how a real Englishman makes music! Ride on Brother! Ride on!

Thank you,
Your friend in great music
~ MarcusUnlimited :)

The Definitive Elgar Cello Concerto.......2005-05-04

This performance is hands down the single best recording of the Elgar Cello Concerto. Other accounts are good -- Tortelier, Navarra, Yo-Yo Ma -- but only one stereo reading was good enough to replace the composer's own historical recording with Beatrice Harrison and that is this one by Jacqueline du Pre. Sir John Barbirolli and the Halle Orchestra accompany the cellist in this definitive 1965 performance, which for all intents and purposes, launched her career. Du Pre's playing has the quality and delivery of a great singer, so it is only fitting that the Concerto be coupled with another legendary performance -- Janet Baker's "Sea Pictures" again with JB and the lads from Manchester. This CD has been available for years as a full-price title, but it is great to see it now at midline in the "GROTC" series. In fact, for more in depth reviews of these performances, including one from esteemed music critic David Hurwitz, you should consult this reissue's predecessor.

Elly Ameling ~ Schubert · Schumann - Songs

Average customer rating:

One of my favorite recordings ever
wonderful
Truthful & Sincere Singing
Beautiful
More than just a pretty voice ...

Elly Ameling ~ Schubert · Schumann - Songs
Franz Schubert , Robert Schumann , Elly Ameling , Jörg Demus , and Hans Deinzer
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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$7.99 and Under | Classical Music Blowout | Stores | Music

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Artistry of Elly Ameling (Coll)
Ave Maria--Lieder
Schubert: Quintet in C D. 956; The Shepherd on the Rock
Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn)
Songs by Robert & Clara Schumann

ASIN: B000001TWU
Release Date: 1991-11-05

Tracks:

Der Hirt Auf Dem Felsen
Seligkeit
Gretchen Am Spinnrad
Du Liebst Mich Nicht
Heimliches Lieben
Im Fruehling
Die Vogel
De Jungling An Der Quelle
Der Musensohn
Widmung
Auftrage
Sehnsucht
Frage
Mein Schonster Stern
Schneeglockchen
Erstes Grun
Er Ist's
Die Sennin
Sehnsucht Nach Der Waldgegend
Jasminenstrauch
Schmetterling
Der Nussbaum
Marienwurmchen
Kauzlein
Waldesesprach
Loreley
Die Meerfee
Der Sandmann

Customer Reviews:

One of my favorite recordings ever.......2007-06-08

Elly Ameling is in glorious voice, and Demus's instrument here is fortepiano, which suits the music exquisitely. Der Hirt auf dem Felsen alone is worth the price, but all the Schubert and Schumann songs are well chosen. I'm so happy that this 1965 performance is available on CD.

wonderful.......2007-03-21

I also owned this on vinyl and have wonderful memories of this perfect blend of voice, clarinet and piano. Truly haunting melodies and the greatest musical integrity. Can't wait to get this one next month!

Truthful & Sincere Singing.......2006-11-25

Ameling's reading of Schumann and Schubert Lieder is sincere and noble, at times even awe-inspiring. There's always something genuinely beautiful, a sense of respect for music itself, when she sings with her etherial yet warm voice.

The sublimity of "Mein schonster Stern" only makes this CD worth purchasing. Her Schumann recordings are so scarce now that it is joy to find 19 Schumann Lieder both well known and obscure gems on this disc. Accompanied by an original master piano of Schubert's days. Recorded in 1965/67.

Beautiful.......2006-11-11

What a gorgeous voice! It's a true delight to listen to this set.

More than just a pretty voice ..........2006-09-17

It is tempting to dismiss Ameling as a "pretty voice" and reach for Elisabeth Schwarzkopf instead, as a previous reviewer suggests. Ameling's interpretations place a premium on simplicity and directness - two traits that are often undervalued. To my ears, however, Ameling's self-effacing approach is ideally suited to lieder performance. Schwarzkopf's recording with Edwin Fischer on EMI, while admirable in its own way, is too fussy for my tastes. Take, for example, the rendition of "Im Fruehling" by each singer: where others find Schwarzkopf to be intense and dramatic, I find her to be mannered and melodramatic. Ameling's version strikes closer to the heart and shows greater insight and intellect, in my view. Note: on this CD, Ameling's ravishing voice is at its peak.

Average customer rating:

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

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

General | Symphonies | Classical | Styles | Music

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

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Great price, great compilation. Lot of Mahler.

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

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

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

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

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

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

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

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
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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:

Late Christmas present
Mahler-iffic!!!!
Three Brilliant Mahler Works Perfectly Melded
THe Mahler Bargain of a lifetime
Why pay more?

Mahler: Symphonies Nos. 1 & 5; Lieder
Gustav Mahler , Leonard Bernstein , and Thomas Hampson
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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Mahler: Symphony No. 2 / Mehta, Vienna Philharmonic Orchestra
Mahler: Symphony No. 4
Sibelius: The Complete Symphonies 1
Mahler - Symphony No. 8 / Popp · Auger · Minton · Harper · Kollo · Shirley-Quirk · Talvela · Chicago SO · Solti
Dvorak: 3 Great Symphonies

ASIN: B00004XT2A
Release Date: 2001-01-23

Tracks:

Sym No.1 'Titan': 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich - Concg O/Leonard Bernstein
Sym No.1 'Titan': 2. Kraftig Bewegt, Doch Nicht Zu Schnell - Trio. Recht Gemachlich - Concg O/Leonard Bernstein
Sym No.1 'Titan': 3. Feierlich Und Gemessen, Ohne Zu Schleppen - Concg O/Leonard Bernstein
Sym No.1 'Titan': 4. Sturmisch Bewegt - Concg O/Leonard Bernstein
Songs Of A Wayfarer: 1. Wenn Mein Schatz Hochzeit Macht - Thomas Hampson
Songs Of A Wayfarer: 2. Ging Heut Morgen Ubers Feld - Thomas Hampson
Songs Of A Wayfarer: 3. Ich Hab Ein Gluhend Messer - Thomas Hampson
Songs Of A Wayfarer: 4. Die Zwei Blauen Augen - Thomas Hampson

Tracks:

Sym No.5: First Part: 1. Trauermarsch. In Gemessenem Schritt. Streng. Wie Ein Kondukt - VPO/Leonard Bernstein
Sym No.5: First Part: 2. Sturmisch Bewegt. Mit Grosster Vehemenz - VPO/Leonard Bernstein
Sym No.5: Second Part: 3. Scherzo. Kraftig, Nicht Zu Schnell - Friedrich Pfeiffer
Sym No.5: Third Part: 4. Adagietto. Sehr Langsam - VPO/Leonard Bernstein
Sym No.5: Third Part: 5. Rondo-Finale. Allegro - Allegro Giocoso. Frisch - VPO/Leonard Bernstein

Customer Reviews:

Late Christmas present.......2007-01-23

Thank you Amazon for this CD. It was well received from my brother in law who is a Mahler Fan. It did arrive sooner than promised from USA and he was delighted when it came in the early new year!
Thank you for the prompt reply I will use this service again.

Mahler-iffic!!!!.......2006-08-16

I have heard that Symphony 1 is considered Mahler's weakest but I find myself listening to this CD over & over.

Movements #2 & #3 are just beautiful to hear. Sound quality is good and it's a great value for the $.

Symphony 5 has been quoted as being 'overdone' (but nothing compared to Symphony 8). It's OK. A little too pretty for me.

Three Brilliant Mahler Works Perfectly Melded.......2005-11-01

Remember the days in the 1960s when we all waited for the next Mahler Symphony from Leonard Bernstein to be unveiled? As I recall that was the same time frame when the Solti recordings of Wagner's 'Ring' were slowly being released. So many music lovers 'found' Mahler through Leonard Bernstein and this splendid set of CDs reminds us why.

Here are perfect performances. The Symphony No. 1 "The Titan" with Bernstein conducting the 'Mahler orchestra' AKA the Concertgebouw Orchestra Amsterdam. The response from the orchestra to Bernstein's penetrating approach is sensitive and breathtaking - some of the finest recorded sound the orchestra ever made.

On that first CD the remainder of the disc is rounded out with the still-respected partnership of Bernstein with Thomas Hampson in a performance of 'Lieder eines fahrenden Gesellen', this time with the Vienna Philharmonic Orchestra. The communication among conductor, soloist and orchestra is on the highest level. This is the young Hampson when his approach feels not only secure but also very fresh. Listen to the way he uses his head tones for the higher notes in 'Die Zwei Blauen Augen': this is as close to Mahler's vision as a singer can get.

The second CD is devoted to a performance of the Symphony No. 5 again with the Vienna Philharmonic Orchestra. Bernstein is at the height of his powers here, able to rush into the heady movements with steady will and then bask in the Adagietto in as perfect a reading as any conductor has produced. This, too, is a perfect performance.

At Amazon.com's low price this is a recording that is easily accessible to every budget and one that is a must in the libraries of all those who love Mahler's wondrous music. Highly recommended. Grady Harp, October 05

THe Mahler Bargain of a lifetime.......2005-06-28

Bernstein in his later wisdom filled years gives us a 1st symphony bursting with edge of your seat tension and bombast.
Each movement is played with passionate articulate phrasing and sharp precision to reveal the wondrous worlds of nature,ghouls,enigma,struggle, and triumph.
Bernstein does have a tendency to extend certain passages out for maximum effect but he does it successfully without any sense of routine or premeditation.
This 1st sounds totally spontaneous as it is live and it feels like it but Mahler's soundworld is kept sharply intact.
As for Mahler's 5th, expect an over the top milk it till it bleeds interpretation.
Bernstein digs and digs deep to uncover all of the darkness of the 1st movements funeral march with plenty of phrasing that makes the tragedy all the more vivid but natural unforced phrasing.
The 2nd movement is off the chain chaotic madness with the vpo whipping up a storm of violence and destruction and the scherzo counterpoint and waltz schizophrenia is brought forth with precision and style.
Now the Adaggietto is done very expansively as it lasts over 11 minutes but Bernstein knows how to pace and phrase it well enough to where it doesn't drag and the climactic concluding full string fortissimo really hits your heart when it finally kicks in.
Now some people say that Mahler intended this movement to be done in a slightly brisk manner as Mahler's student Bruno Walter interpreted it at about 8 minutes but Bernstein chooses to caress every note which doesn't erase the romantic love letter concept of the movement as one critic had mentioned but it actually enhances that concept.
The final rondo movements triumphant jovial spirit is aplenty with the v.p.o. again providing technical and musical fireworks and sounding as if they're having a ball doing it.
So in this 5th expect highly individualistic phrasing and dynamics from Bernstein with emotions teetering on the edge resulting in a most compelling and convincing performance.
The Lieder performed by Thomas Hampson is simply icing on the cake as he sings with wonderful heartfelt musical eloquence with Bernstein as his trusty and enthusiastic partner.
Trully a Bargain to scoop up before they yank it like they do so often in classical.
Happy Listening.

O.f.

Why pay more?.......2004-10-08

Both the First and Fifth Symphonies are considered to be the gems of Bernstein's later Mahler cycle on DG. Previously, they were available separately at full price each. But now, thankfully, they have been released together, along with Songs of a Wayfarer featuring Thomas Hampson, at a 2 for 1 price. Shame on Amazon for not recommending this one instead of the 2 CDs separately. I guess it has to do more with profits than with recommendations.

Average customer rating:

Enfin, Finn
Poignant.
Elegies: A Nasal Song Cycle
A Light Beyond Death
what more can i say...?

Elegies - A Song Cycle by William Finn
William Finn , Carolee Carmello , and Betty Buckley
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

Classic Vocalists | Broadway & Vocalists | Styles | Music

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Infinite Joy: The Songs of William Finn (Live at Joe's Pub)
A New Brain (1998 Original Cast)
In Trousers (1979 Original Off-Broadway Cast)
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ASIN: B00009V7TL
Release Date: 2003-06-24

Tracks:

Looking Up Quintet
Mister Choi & Madame G - Christian Borle, Carolee Carmello, Keith Byron Kirk
Mark's All-Male Thanksgiving - Michael Rupert
Only One - Betty Buckley
Joe Papp - Keith Byron Kirk
Peggy Hewitt & Mysty del Giorno - Carolee Carmello
Passover - Carolee Carmello
Infinite Joy - Betty Buckley
Ballad of Jack Eric Williams (And Other 3-Named Composers) - Michael Rupert
Monica & Mark - Christian Borle, Keith Byron Kirk, Michael Rupert
Anytime (I Am There) - Carolee Carmello
My Dogs - Christian Borle
Venice - Michael Rupert
14 Dwight Ave., Natick, Massachusetts - Christian Borle, Betty Buckley
When the Earth Stopped Turning - Christian Borle
Goodbye/Boom Boom - Carolee Carmello, Keith Byron Kirk
Looking Up - Betty Buckley
Goodbye (Finale)

Amazon.com

William Finn's career in the musical theater is pretty remarkable considering that he doesn't write traditional show tunes--much less traditional shows. But Finn has a gift for catchy melodies and his emotionally engaging work has a way of intimately connecting with audiences (during the initial run of Elegies, hardened New Yorkers could be seen trying to hide their tears). Though no storyline links these songs, they are united by the underlining idea of loss; in turn funny, tender, witty, biting and quietly devastating, they form a unified tapestry. Musically, Finn can turn out perky little numbers and powerful ballads--"Anytime (I Am There)" could conceivably be a hit if some contemporary pop diva did it. Led by Betty Buckley and Carolee Carmello, the cast is completely in sync with the material. Some of the narrative-heavy pieces recall Michel Legrand's sung-through work (and there are Legrand-like flourishes on "Monica & Mark"), but in the end Finn is very much his own man: There's nobody quite like him in the American musical-theater world, and Elegies just brings more evidence of that. --Elisabeth Vincentelli

Customer Reviews:

Enfin, Finn.......2006-03-08

A friend has been pushing Finn's work at me for a while now, especially extracts from Putnam County Spelling Bee and Elegies. I finally ordered the Elegies CD (from Amazon), received it and have listened to it a few times now, some tracks more often than others. The concept of the cycle is wonderful, and as many others have stated, one is left with an ache that somehow contains optimism. Each song is a polished gem, though some shine more than others. I would have to list "Dogs" as a low point, and "Mark and Monica" as the high point for me. All 6 performers are wonderful-----the 5 singers and the amazing pianist. As a pianist myself, I can hear how much work went into preparing to play this music, and feel that the gentleman is not given enough credit.

The most haunting moments (for me) occur when ensemble singing is heard, such as the opening quintet, the wordless male trio interludes in "Mark and Monica", and the finale. The vocal writing at these moments is absolutely brilliant, taking advantage of each singer's strong points.

My only criticism (and it is perhaps just that I am unused to Finn's aesthetic) is that everything is is so self-referential. We do not have the memories that he does of his family and friends, and although these songs bring them to life for us to some extent, they are impressionistic portraits drawn from a cohesive whole that only he knows deeply. Writing this cycle must have been very cathartic for Finn.

That said, I am sure that repeated listenings of this work will allow me to hear things that are as yet not noticed. It would also be wonderful to see a live performance of Elegies, adding a new dimension to the overall experience.

Bottom line, then: Bravo, Mr. Finn! Thanks for sharing your world and the people it contain(ed).

Poignant........2005-03-29

The work here is about more than simple aesthetics of the voice. Hello...it's called ELEGIES for a reason. Trust me, if you want to be touched by some of William Finn's most personal work, then give it a listen.

Elegies: A Nasal Song Cycle.......2004-07-07

I love the pianist.

I was a fan of Finn's "A New Brain" (thanks, mostly, to it being Kristen Chenoweth's B'way debut) and was excited to purchase this album. However, I couldn't focus much on the music as all three of the male performers (who have the brunt of the music to sing) were incredibly nasal and very irritating to listen to. Most of the time I found myself skipping a track (aspecially "Mark and Monica" and "All Male Thanksgiving") because the performers' voices were soo obnoxious and nasal that I started getting a headache.

The only people I would recommend this album to are fans of the divine Carolee Carmello and Betty Buckley. Both are in excellent voice (although Carolee seems to have started pushing her voice since "Parade") and sing their songs with as much conviction as they have in all of their other works.

Except for the last song, I was not impressed by the material--what few rhymes there are are trite and commonplace, and Finn is even audacious enough to put praise forhimself in one of the lyrics. Sure he struck gold with "Falsettoland" and (well not so much) "A New Brain", but Finn's "Elegies" are less reminiscent of good times as they are whining about the unfairness of losing someone and how shocking everything is when someone you love is gone forever. Blah blah blah.

Mediocre at best.

A Light Beyond Death.......2004-01-04

I was initially concerned that an entire score about the passing of loved ones would be painful and dreary. And don't get me wrong, I like painful and dreary, but not for an entire cd. So I was greatly relieved when I listened to Elegies for the first time. I had already heard Anytime (I am There), Infinite Joy, and Turning on the Infinite Joy cd, so it's lovely to hear that the rest of the score lives up to those numbers, with the possible exception of the song about the dogs. The cast is vocally strong, and their passion comes through on the recording. Standouts are Keith Byron Kirk on "Mr Choi and Madame G", and with Carolee Carmello on "Goodbye", Betty Buckley on "14 Dwight Ave., Natick Massachussetts, Carolee on "Anytime" and "Passover", Michael Rupert on "Mark's All-Male Thanksgiving" and Christian Borle on "Turning". Overall, Elegies celebrates the lives of the departed with joy and light, and most importantly, the idea that life goes on.

what more can i say...?.......2003-12-03

if i were to summarize the experience of listening to this CD, it would be in a very simple sentence - great. now that's such a hollow and meaningless word as a response to "how are you?'s" casually asked of acquaintances. but it is the truth - this CD is great.

it evoked a myriad of emotions ranging - the lightness of the song "My Dogs", the mysterious depth of "Infinite Joy", and the peek into the singer's and the composer's soul in "Anytime".

Tracks:

Symphonie No. 1: Symphonie No. 1: 1. Langsam. Schleppend. Wie ein Naturlaut - Im Anfang sehr gemachlich
Symphonie No. 1: Symphonie No. 1: 2. Kraftig bewegt, doch nicht zu schnell - Trio. Recht gemachlich
Symphonie No. 1: Symphonie No. 1: 3. Feierlich und gemessen, ohne zu schleppen
Symphonie No. 1: Symphonie No. 1: 4. Sturmisch bewegt
Songs of a Wayfarer: Songs of a Wayfarer : 1. Wenn mein Schartz Hochzeit macht
Songs of a Wayfarer: Songs of a Wayfarer : 2. Ging heut morgen uber Feld
Songs of a Wayfarer: Songs of a Wayfarer : 3. Ich hab'ein gluhend Messer
Songs of a Wayfarer: Songs of a Wayfarer : 4. Die zwei blauden Augen

Amazon.com essential recording

Here's a delightful coupling: Mahler's First Symphony and the song cycle that donated many of its themes to the larger work. Best of all, both performances are superb. Rafael Kubelik is the dark horse among Mahler conductors. His interpretations are always fresh, unforced, and seemingly without exaggeration. However, he knows how to build a climax, and his generally swift tempos never permit a minute's boredom. There are many moments to cherish in his performance of the symphony, not least the delicious woodwind playing and the tangy trumpets in the third movement's Fiddler on the Roof music. Reissued at midprice in excellently remastered sound--better than most new digitals in many respects--this is a performance that remains one of the best, and as a coupling it's unbeatable. --David Hurwitz

Customer Reviews:

Dieskau Does Mahler.......2007-07-23

Combine Dieskau with Kubelik and you have a winning proposition! With the clarity and depth of emotion necessary for the music of Mahler, Dieskau brings the texts to life like no one else. The Bavarian Radio Symphony Orchestra responds precisely to Kubelik's baton, giving a stirring performance of the Mahler 1st and of the Songs of a Wayfarer. For all Mahler fans, this is a must!

Mahler Universal.......2007-01-04

I recently listened to officials of Israel's principal symphony orchestra being interviewed regarding the Venezuelan prodigy who was conducting the ring of Mahler symphonies in Tel Aviv. Not once was the issue of Mahler-in-Israel mentioned. Clearly, the conductor's reputation has been rehabilitated from its unfortunate association with the Führer and the musical predilections of his comrades-in-murder.

How fortunate, then, that one can celebrate this Deutsche Grammophon re-release of none other than Rafael Kubelik and the Bavarian Radio Symphony Orchestra making their briskly paced way through Mahler's First and then the Lieder without having to say more than a passing word about the constellation of musicians and composer. The performances were recorded in 1968 and 1970, respectively.

The BRSO sounds agile, almost petite, under Kubelik's baton. Those accustomed to linking Mahler to bombast may find themselves pleasantly surprised. The flute in the first movement lingers, but almost nobody else does.

Very fine Mahler, carried off with homeland panache.

Fantastic Performance, Recording Lacks Bass.......2006-09-01

Even with the DG "Original Image Bit-Processing", this famous account of Mahler's 1st symphony sounds a bit wiry and thin in the big climaxes, negating some of the grandeur in the work.

Nonetheless this is one of the best performances this symphony has ever received. It's fresh, it's fast and full of life, something that many other slower interpretations tend to forget. I'm positive that Mahler himself would conduct the music in this more upbeat, driving fashion than the more plodding shenanigans of Bernstein or Solti, fine as they may be on their own merits.

If you want to hear a great but little known account of this symphony in wide ranging, high impact digital sound, seek out Andrew Litton's recording on Virgin Classics coupled together with a great performance of Mahler's 9th symphony by Libor Pesek. Other alternatives are of course, Bernstein, Solti, Abbado and the usual suspects. Still for me, this Mahler 1st by Kubelik will never go out of style.

An amazing performance that plainly justifies its cult status!.......2006-07-07

About Mahler' s birthday's one hundred forty sixth, it particularly results interesting to underline this version is without hesitation, one of the most prodigious performances ever recorded before or even later, until this date. It would be risky to consider Rafael Kubelik as a Mahler' s specialist conductor, but he certainly was gifted of a clinical eye and the necessary wisdom to understand the universe of this kaleidoscopic musician who typifies as any other composer, the stressing and anguished world of the contemporary man, without emotional, affective center, profoundly desperate, immersed in a real existential whirlwind, without hindrances, imaginary futures, hopes and illusions.

This first symphony's performance is flamboyant, that reflects with lavish idiomatic spirit, the fears, but besides the hopeful and triumphal final climax in the last movement, that finds to Kubelik in the peak of his conductor powers, totally immersed in the core of the work.

A must-buy due, it's a collector item, deeply venerated and famously phrased by several generations