The Incomplete

The Incomplete

Track Listings

1. Voo-It

2. Sweet Marijuana Brown

3. Them There Eyes

4. Sunrise, the End of a Perfect Day

5. Boogie Woogie Country Girl

6. Boy Got Burned

7. Don't Give Your Heart to a Heartbreaker

8. It's Hard to Find a Good Man in the City

9. Lie Down by Me

10. Oo Papa Do

11. Howlin' at the Moon

12. Red Rooster

13. I Can Cook Too

14. Carolina Rice Commercial

15. Stay a Little Longer

16. Moonglow

17. You've Been a Good Old Wagon

18. Saloon Song

Customer Reviews:

Not Thrilling.......2007-01-05

I have been online for 3 hours tonight reading Amazon's reviews of various medieval CD's. I really wanted to find a Waverly Consort CD comparable to their marvelous, magical, exuberant "A Waverly Consort Christmas," but nothing seems to match that one. I have a dial-up modem and for some reason none of Amazon's musical selections will play even though I have no problems with video games and music uploads from other sources. Thus, I have to rely upon written reviews.

Among the many albums for which I read reviews tonight was one for "A Medieval Banquet" by the Newberry Consort. The title & group rang a bell so I checked my collection and found that it was originally called *Il Solazzo" (as others have already noted among these reviews). I bought it in early 1995 but never wrote any comments in the attached booklet, which is unusual for me.

I have now played the CD twice and understand why I made no comments: it was simply not thrilling. I am no musicologist -- just someone who loves early music because it makes my soul sing. This CD is "nice," but my soul goes ho-hum when I hear it. (The one exception is the #9 selection with rebec, vielle & lute -- and no voices.)

The instrumentals have a certain charm but they generally feel more Renaissance than medieval to me. The vocals leave me completely cold. In some of the reviews I read tonight I came across the concept of "operatic" applied to some of this early music. I had no idea what the authors meant since there was no opera at such an early period. But in playing this CD, I understood -- there is indeed a bloated, elaborate vocal quality that really does feel "operatic." It seems entirely unsuited to "Music for a Medieval Banquet."

If your soul wants to sing, this proably isn't the CD for you. Try the Waverly Consort's "Christmas" along with a glass of fine wine

Good CD.......2004-04-30

One of the reasons why I bought this recording is the interesting choice of pieces, which range from the often-recorded instrumental dances to the less-known sung tracks.

When I played it, the first thing that struck me of this CD is the thinness of the sound in the dances. Although the performance is spotless, it lacks the body that other medieval-dance groups add to their sound - notably the older but still great Studio der Fruehen Musik. Is this an unfair statement? Perhaps - but these dances have been recorded so many times that it is only natural to compare versions.

Also, the use of percussion instruments would have been a nice touch, besides being perfectly historical. Then, a more varied instrumental arrangement may have been a good addition, especially in the longer numbers such as Chominciamento di gioia.

The other point that puzzled me is that in the first track (La Badessa), the singer sounds as if she is playing a losing game of catch-up with the instruments, which results in a mediocre performance of that particular piece. It is a pity, because the song is very catchy and the singer's voice is stylistically spot on.

Having said all this, the selections of songs and dances is first-choice, the performance is good and well researched and the CD remains one of the most played in my household.

Re-release of Il Solazzo.......2002-10-10

Just a quick note on this CD: It's a re-release of the Newberry Consort's "Il Solazzo" disc without the texts and with less nice packaging. Since that disc can be hard to find, this CD is welcome, but if you can find the other release cheaper it's a better deal.

A good, simple bargain, with a sweet reward.......2002-06-11

This simple little album reminds me of what it is that I love most about the Italian Renaissance - its barefaced passion and gut level power. So playful and raucous at times that I felt as if I were in a scene from Pasolini's irreverent "Decameron" and at other moments, so serene that I was in a chapter from Chaucer. The music is simple and unpretentious. Not resorting to gimmicks, they allow the music to be expressed in a way that it very probably was in the age when it reigned: unashamed, expressive, brazenly colorful and just a bit flamboyant.

So much for the performers. As for the producers...

On the downside, it is painfully obvious that they made this album on a shoe-string budget. That can be a good thing in forcing the artists to stick to the music's purity instead of hiring a team of sound engineers to make it "sound" better, but there is absolutely no documentation about the songs, other than their titles and playing times. A sickly-thin album insert has a blurb in English and Italian about polyphony, told in allegorical style, with each paragraph in an alternating language instead of one section in each language. Go figure! Maybe the AltaVista translator they used for free had a one-paragraph limit.

Tracks:

Toccata And Fugue In D Minor, BWV 565
Herzlich Tut Mich Verlangen, BWV 727
Wachet Auf, Ruft Uns Die Stimme, BWV 645
Fantasia And Fugue In G Minor, BWV 542
Liebster Jesu, Wir Sind Hier, BWV 730
Passacaglia And Fugue In C Minor, BWV 582
Prelude And Fugue In E Flat Major ('St. Anne'), BWV 552
Nun Komm, Der Heiden Heiland, BWV 659
Fantasia And Fugue In C Minor, BWV 537

Tracks:

Toccata, Adagio And Fugue In C Major, BWV 564
In Dulci Jublio, BWV 729
Prelude And Fugue In A Minor, BWV 543
Fantasia In G Major, BWV 572
Prelude And Fugue In D Major, BWV 532
Nun Freut Euch, Lieben Christen G'mein, BWV 734
Wo Soll Ich Fliehen Hin, BWV 694
Fantasia In C Minor, BWV 562
Toccata And Fugue In D Minor ('Dorian'), BWV 538

Customer Reviews:

organ works by bach.......2007-01-10

excellent. unforgettable works by one of the masters, the grand organs have their own place in time mostly heard in church surroundings. this brings it home.cigar, brandy, toccata and fugue d minor, heaven.

Hurford plays very musically.......2006-11-24

Peter Hurford is a wonderul musician.. his interpretations of this music are musical.. (esp. with the St. Anne Fugue where each of the three variations are connected with beatiful transitions..)
A wonderful recording.. in an era where everything has to be perfect,
it's nice to hear an artist take some risk and give us their own
personal, unique, and original interpretations.

Disappointing.......2006-07-27

When you buy a CD like this, the one thing you expect of the artist is to nail the intro to Toccata and Fugue In D Minor, Bach's great masterwork and the lead piece on the CD. Unfortunately, the organist plays the intro robotically, truncating notes and overextending pauses. He rushes some passages so badly in the intro that one cannot distinguish the melodic line. Toccata and Fugue In D Minor is so musically advanced that it sounds modern even today, but you miss that with this recording.

This album belongs amongst the first four or five in every Bach collection........2006-07-27

What to say about these extraordinary works?

First of all, that this is a double-album full of titanic masterworks, intelligently and skillfully performed. These discs belong amongst the first four or five albums in every Bach collection. The famous Toccata and Fugue in D minor is here, together with another, lesser-known but equally awe-inspiring "Dorian" Toccata and Fugue in D minor. There are quite a few other familiar war-horses---the Prelude and Fugue in A minor, the St. Anne Prelude and Fugue, and the Tocatta, Adagio, and Fugue in C (which I first encountered in a piano transcription performed by Evgeny Kissin, on his album with the Mussorgsky Pictures at an Exhibition... well worth hearing next to the original organ writing here), among others---and some more obscure pieces as well to keep us out of "greatest hits" territory (almost always a drawback in recital albums). Like the Mozart piano concerti and the Beethoven symphonies, Bach's compositions for organ are amongst the towering summits of Western music; there is nothing else like them.

Since I'm playing critic here, I suppose I ought to offer at least a bit of actual criticism, rather than only effusive praise. While many would beg to differ, three composers (whose careers, interestingly, were almost exactly chronologically contiguous) are, by a long-standing historical consensus, recognized to occupy the highest tier of artistic achievement in "common practice," tonal music: Bach, Mozart, and Beethoven. Of those three masters, Mozart alone is recognized as having achieved a perfect or near-perfect balance between subject and object, style and substance: Bach tipped the balance just a bit in favor of objectivity and substance, and Beethoven in favor of subjectivity and style. And so, just as I find that Beethoven's music does not hold up quite as well as Mozart's to repeated listenings because his stylistic and emotive devices are less effective once you've heard them before, so that they no longer take you by surprise, so too do I find that Bach's music, especially in the long contrapuntal sections, is not always as worthwhile for listening as it is for theoretical analysis... it is perhaps not quite as valuable in practice as it is in theory, in other words. The organ pieces on these discs are sublime masterpieces, but if they do fall short of absolute perfection it is for being somewhat dry and academic.

In addition, the different organs Herford plays here so often produce, as good organs will, such a staggering, chest-rumbling roar that you have trouble discerning the pitches in these compositions. It's a similar problem to listening to harpsichord music, where at times you hear just a lot of clanging and can't tell what note or chord is being played. It's not a big problem on these recordings, but it is a little distracting at times.

Nevertheless, it's said that what makes a work of art a masterpiece is not its being perfect or flawless, but rather that its virtues are so meaningful and effective that they compensate for the piece's flaws and imperfections. In fact, in sublime pieces such as these, it's precisely that imbalance, or aesthetic asymmetry, you might say, that makes the music dynamic and exciting: it creates an inner tension, a sort of yearning or striving that, in the hands of the greatest of masters (of which Bach is uncontestably one), makes for a transcendent artistic statement and an invaluable testament to the human experience.

In short, buy this album and listen to it often!

Never a dull moment in this Bach recording............2006-05-29

Peter Hurford is perhaps one of the foremost organists of his time. He has not only studied music but law as well, giving a scholarly twist on his education. I have always been pleased by his interpretations of Bach. They are no-nonsense, with strict tempos, clean, accurate passages, and registrations which are very lush and vibrant. For the new fan of Bach, there is no better place to start, as this set contains all of the "big" organ pieces for which Bach became legendary, as well as a few well-known chorale preludes. For those who wish to explore Bach's organ contributions in more detail, buy Hurford's complete Bach recordings (Although I believe it is out of print or very hard to obtain, as I have not yet found one). If this is the case, buy Marie-Claire Alain's version on Erato. No two organists understand Bach better.

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

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Great price, great compilation. Lot of Mahler.

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

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

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

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

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

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

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

Average customer rating:

Excellent
E.Power Briggs Organ playing Bach's best
The benchmark of the four tocatta's and fugue's
Nothing can top this one!!!
A great recording by a great organist

Bach: The Four Great Toccatas & Fugues

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Wanamaker Legacy
Bach: Four Great Toccatas & Fugues

ASIN: B0000026HJ
Release Date: 1990-10-25

Tracks:

Toccata And Fugue In D Minor, BWV 565: Toccata
Toccata And Fugue In D Minor, BWV 565: Fugue
The Four Great Toccatas & Fugues: Toccata
The Four Great Toccatas & Fugues: Fugue
The Four Great Toccatas & Fugues: Toccata
The Four Great Toccatas & Fugues: Fugue
The Four Great Toccatas & Fugues: Toccata
The Four Great Toccatas & Fugues: Adagio
The Four Great Toccatas & Fugues: Fugue
The Four Great Toccatas & Fugues: We All Believe In One God
The Four Great Toccatas & Fugues: Jesus, My Joy
Fantasy In G Major, BWV 572

Customer Reviews:

Excellent.......2007-06-22

This is possibly the best recording made of classical music in history. The opening Toccata is backed by a number of excellent fugues, with the first track becoming extremely well known but usually not played in its entirety. What I really like is the futuristic gothic sound which is the look and feel I go for on a daily basis. The 1700s was right here right now but didn't date very bad at all. The sound is still modern and Bach is a lot better than Mozart. My social worker got me into some classical music, at least to the point where I wasn't shy to check it out at the library and rip it on my hard drive. Better than Handel's Messiah. I love it!

E.Power Briggs Organ playing Bach's best.......2007-03-16

This is simply the best recording of Bach's Toccata & Fugue D-minor on an organ; or, should I say organs, as this recording was made while Briggs played simualtaneously on the four antiphonal organs in the Cathedral of Freiburg Germany. The set-up was made possible by the ability of one organ keyboard to play all of the four organs in the cathedral at once. A totally unique organ system in all of the world I understand.
But this special set-up is just a great addition to the best recorded playing of this most famous (and best work in my view)of Bach's Toccata & Fugue in D- minor. I'm no expert...just a listener...but man, this guy Briggs could really play that thing.
Turn this up as high as the law will allow and engulf yourself in this best organ piece ever written, played by one of the best organ players ever and played on one of the best organ set-ups ever recorded.
You just won't find better.

The benchmark of the four tocatta's and fugue's.......2006-06-05

This has been, by far, my favorite album in my collection. This is the best way to experience Bach's true genius. By having available four instruments controlled by one console allowed Mr. Power-Biggs to let the listener hear what Bach wanted you to hear in his music. If he were alive today, I'm sure Bach would have been the greatest proponent of multi-channel recording. If only Michael Murray would go to Freiburg and re-create this great performance, perhaps adding the Passacaglia and Fugue in c, and the 'Great' Fantasia and Fugue in g, or the Prelude and Fugue in a (BWV543). What an awe inspiring album this would be, recorded in DTS!

Nothing can top this one!!!.......2005-04-27

This recording has a long history for me. It is the first album I ever ordered. I was 12 years old at the time (1977).
I had the stereo pressing and wore it out. I was thrilled when this album was finally issued on CD. Even though I don't have the Super Audio CD version, the original CD release can hold its own against any disc. The Chorale Preludes ("We all believe in one God" and "Jesus, my joy") and the Fantasy in G major - none of which appeared on the original LP release - are also quite enjoyable.

My only complaint is that the original 1974 album cover for "The Four Great Toccatas and Fugues" was not reproduced for the CD release. It does, however, appear on the Super Audio CD.

This is the CD by which I measure all other performances of these works, including earlier recordings made of them by E. Power Biggs. In some instances, I believe that once you're accustomed to hearing a piece performed a certain way, then you will use that approach as your yardstick to measure other performances of that same work. That hasn't applied to me in all cases. I replaced my first recording of Brahms' "Haydn Variations" with a version I heard by a different conductor and orchestra. I made the same switch with Haydn's "Surprise Symphony" a few years later.

Happily, I feel I have the definitive rendition of Bach's Four Great Toccatas and Fugues. Buy it, crank it up and enjoy it!!!

A great recording by a great organist.......2003-08-12

This recording of Bach's four great Toccata & Fugues is noteworthy for two reasons. First, Biggs' performance in all four is exceptional, leading me quickly from indifference to the two least-known to being a great fan of all of them. Second, this recording, heard in a good pair of headphones, gives you not only left and right stereo but an astonishing sense of forward and back. The way the engineers managed to create this effect, in a way that's easily reproduced without expensive audiophile equipment, is simply amazing.

At the time of this recording, the Freiburg Muenster boasted two large organs in the crossing, a choir organ, and a supplemental set of pipes (mainly trumpets and other ornamental stops) near the main entrance on the nave, all of which could be operated from one console. Biggs handles this awesome array of organ power superbly, choosing his stops for maximum musical -- and spatial -- effect. While the rare effect of playing four organs at once is apparent with speakers, the front/back effect is best heard through headphones.

Despite its age, this recording holds up well to comparison. If you want to split hairs, some recordings of individual Toccatas may be more faithful to a live experience in the lowest bass and harmonics. And if you have been raised on (spoiled by?) subwoofers, there are probably more floor-thumping renditions captured by newer recording equipment. But I have yet to encounter one recording of all four Toccatas which is so much fun to listen to. If you only buy one recording of these pieces, this is the one to get!

Bach: Fantasia in C minor; Two-Part Inventions; Three-Part Inventions; Chromatic Fantasia & Fugue
Average customer rating:

The first of Hewitt's monumental Bach cycle

Sophisticated, understated Bach

Bach: Fantasia in C minor; Two-Part Inventions; Three-Part Inventions; Chromatic Fantasia & Fugue

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002ZUY
Release Date: 1994-08-30

Tracks:

Fantasia In C Minor, BWV906
Fifteen Two-Part Inventions, BWV772-786: Invention 1 In C Major
Fifteen Two-Part Inventions, BWV772-786: Invention 2 In C Minor
Fifteen Two-Part Inventions, BWV772-786: Invention 3 In D Major
Fifteen Two-Part Inventions, BWV772-786: Invention 4 In D Minor
Fifteen Two-Part Inventions, BWV772-786: Invention 5 In E Flat Major
Fifteen Two-Part Inventions, BWV772-786: Invention 6 In E Major
Fifteen Two-Part Inventions, BWV772-786: Invention 7 In E Minor
Fifteen Two-Part Inventions, BWV772-786: Invention 8 In F Major
Fifteen Two-Part Inventions, BWV772-786: Invention 9 In F Minor
Fifteen Two-Part Inventions, BWV772-786: Invention 10 In G Major
Fifteen Two-Part Inventions, BWV772-786: Invention 11 In G Minor
Fifteen Two-Part Inventions, BWV772-786: Invention 12 In A Major
Fifteen Two-Part Inventions, BWV772-786: Invention 13 In A Minor
Fifteen Two-Part Inventions, BWV772-786: Invention 14 In B Flat Major
Fifteen Two-Part Inventions, BWV772-786: Invention 15 In B Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 1 In C Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 2 In C Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 3 In D Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 4 In D Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 5 In E Flat Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 6 In E Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 7 In E Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 8 In F Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 9 In F Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 10 In G Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 11 In G Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 12 In A Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 13 In A Minor
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 14 In B Flat Major
Fifteen Three-Part Sinfonias (Inventions), BWV787-801: Sinfonia 15 In B Minor
Chromatic Fantasia And Fugue In D Minor, BWV903: Fantasia
Chromatic Fantasia And Fugue In D Minor, BWV903: Fugue

Customer Reviews:

The first of Hewitt's monumental Bach cycle.......2006-03-25

In 1994 a mostly unknown 'Canadian' pianist signed with Hyperion Records to begin recording the whole of Bach's keyboard works. Eleven years - and some 14 discs later - the dream was complete, but the pianist was now well known and respected as one of the great Bach interpreters of her generation. This CD was the first of these recordings and the logical place to begin.

The program here ranges from the more simple of Bach's compositions (Two-Part Inventions) to some of the more trecherous, virtuostic masterpieces (the two fantasias). Written by Bach for his son and students around 1723, the Two-Part and Three-Part Inventions form the foundational know-how and skills of Bach's countrapuntal keyboard art. For centuries now these works have been essential for any piano student learning the "basics" of figuration, melodic line, smooth legato, clarity of two and three voices and so on. The Three-Part pieces are fairly advanced pieces possessing complex voicing and passagework. As such they are pre-requisite for learning the more complex preludes and fugues of "The Well-Tempered Clavier." Like the pieces in the WTC, both sets of Inventions show Bach as both a master educator and deft lyricist with their range of emotive qualities. There is delicacy, pensiveness, vivacity, virtuosity and sorrow expressed in these miniatures - all while building the foundational skills (like seamless legato w/o use of the pedal) necessary for performing the major piano repertoire. Pianists worldwide owe a world of gratitude for Johann Sebastian Bach for such foundational compositions which have been reverently played by many of the great composers who followed Bach.

I'm not sure if it is more Bach's multi-faceted compositions or Miss Hewitt's varied and expressive playing of them, but these so-called "piano excercises" sound anything but that. Likely, it is both of the above factors. It was in this first recording that Hewitt showed the music world her ever-so delicate, poised and artistic pianistic mannerisms, transforming these student pieces into delightful little concert performances in themselves. Her readings are worthy role models for students focusing on the long, clear, lyrical line that is essential to Bach's music as well as rewarding to admirers of Bach's art. Perhaps what Miss Hewitt most brings to this music is her tasteful, expressive nuances: a subtle rubato, an enticing dynamic shading and an artistic variety of tone summoned forth from her Steinway Grand. Such qualities create more of an unfolding story within each piece than showcasing mere "finger dexterity exercises." Gramophone recognized this more sensitive tunement to the musical aspects too and gave this CD a solid recommendation.

If the Inventions are the "main course" of this set, then the two virtuostic Fantasias which open and close the program are the delectable "appetizer" and "dessert" on the menu. Both show Bach as master of the extemporaneous "Style Fantasticus" that he most likely gleaned in his youth from his visit to hear the great organist, Buxtahude. Even in Bach's day supposedly, the great Chromatic Fanasia in D-minor was among his most popular piece as it is today. Both are exciting, daunting works played to perfection by Hewitt. As noted by Gramophone, "her readings of the fantasias are as eloquent and stimulating as any yet recorded by a harpsichordist." Also in support of the pianist is a fine recording ambiance by Hyperion that is hard to fault. Its rather ironic that this first CD of Hewitt's Bach recordings was the last of her entire discography I acquired. But even after hearing all her glorious performances of Bach's music - from the WTC and Goldbergs to the Toccatas, Suites and Keyboard Concertos - hearing these earliest and more straightforward pieces still brings great refreshment and satisfaction that is so common in Bach's music - and so common too in Angela Hewitt's masterful and colorful playing of them. Compositions - 4.5 stars, Peformance - 5 stars, Sound - 4.5 stars.

Sophisticated, understated Bach.......2002-03-24

I have several recordings of the Inventions and Sinfonias, both on harpsichord (Gilbert, Koopman) and piano-- but this is easily the most satisfying. Less quirky than Gould's, Hewitt's performance is the furthest thing from flashy or idiosyncratic and really allows the clarity and contrapuntal elegance of Bach's keyboard writing to shine through. The result is the furthest thing from didacticism, always a risk with works that have such a central position in every pianist's early training. While eschewing every excess, Hewitt is also unafraid to take some liberaties-- hear, for example, the octave-doubling in the f-minor Sinfonia, easily a highlight of the set and of this performance in particular. Excellent fill-ups as well, the virtuosic c-minor Fantasia (though performed, as is almost always the case, without its fragmentary companion fugue) and the "Chromatic" Fantasie & Fugue. Unhesitatingly recommended.

Average customer rating:

Every track is beautiful

Telemann: Les Plaisirs

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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$9.99 and Under | Classical Music Blowout | Stores | Music

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Similar Items:

Telemann: The Six Paris Quartets
Handel: The Complete Sonatas for Recorder
Telemann: Wassermusik (Water Music); 3 Concertos /Musica Antiqua Koln * Goebel
Telemann String Concertos Musica Antiqua Koln Goebel
The Art of the Recorder

ASIN: B0000007J3
Release Date: 1997-12-09

Tracks:

Concerto In A Minor For Recorder, Viola da gamba And Strings: Grave
Concerto In A Minor For Recorder, Viola da gamba And Strings: Allegro
Concerto In A Minor For Recorder, Viola da gamba And Strings: Dolce
Concerto In A Minor For Recorder, Viola da gamba And Strings: Allegro
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Ouverture
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: La Trompette
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Sarabande
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Rondeau
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Bourree
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Courante - Double
Suite In D Major (Ouverture) For Viola de gamba And Strings, TWV 55:D 6: Gigue (Presto)
Suite In A Minor (Ouverture) For Recorder And Strings, TWV 55:a 2: Ouverture
(Ouverture) For Recorder And Strings, TWV 55:a 2: Les Plaisirs I - II
(Ouverture) For Recorder And Strings, TWV 55:a 2: Air a l'Italien (Largo)
(Ouverture) For Recorder And Strings, TWV 55:a 2: Menuet I - II
(Ouverture) For Recorder And Strings, TWV 55:a 2: Rejouissance
(Ouverture) For Recorder And Strings, TWV 55:a 2: Passepied I - II
(Ouverture) For Recorder And Strings, TWV 55:a 2: Polonoise - Double
Sinfonia In F Major For Alto Recorder, Viola de gamba And Strings, TWV 50:3: Alla Breve
Sinfonia In F Major For Alto Recorder, Viola de gamba And Strings, TWV 50:3: Andante
Sinfonia In F Major For Alto Recorder, Viola de gamba And Strings, TWV 50:3: Vivace

Customer Reviews:

Every track is beautiful.......2005-11-03

I can't get over how beautiful this CD is, and I'm not using the word "beautiful" loosely. I love every track. My daughter-in-law was at my house recently for a day of bed rest. I left her with a stack of CDs, including this one. When I got home from work she said, without any prompting from me, "This CD is beautiful," and she said "beautiful" with feeling. I bought four more copies for Christmas presents.

It's hard to put in words why I find it so beautiful. The music is fresh, bright, delightful. It's not just beautiful, it's movingly beautiful. I like baroque music, but this sounds somewhat different from most of my baroque CDs, perhaps partly because one of the instruments is a viola da gamba.

This is a review of "Telemann: Les Plaisirs", with Marion Verbruggen, Sara Cunningham, and Monica Hugget. I have several CDs with pieces by Telemann, but this is the first one I've bought that is all Telemann. (I once had a set of phonograph records with only Telemann, but that was long, long ago.) I have several CDs with Marion Verbruggen, whom I have recently discoverd and whom I like very much. I also have several CDs with Hugget and Cunningham, and I like them too. I bought this CD mostly because I read somewhere that Verbruggen plays the recorder beautifully in track 13. I didn't know what to expect of the rest.

Mahler: Symphonies 1-10; Das Lied von der Erde

Average customer rating:

Good -- but not great
Outstanding, yet Affordable Mahler Set
Ignore the name(s): Listen to the Music!
An exceptionally fine bargain
best overall cycle

Mahler: Symphonies 1-10; Das Lied von der Erde

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Mahler: Symphonies Nos. 1-9; Adagio
Mahler: Symphony No. 2 in c minor [Hybrid SACD]
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Shostakovich: The Complete Symphonies - Mariss Jansons (10 CD)
Beethoven: Piano Sonatas (Complete) [Box Set]

ASIN: B000BQ7BX2
Release Date: 2006-01-10

Tracks:

I. Langsam, Schleppend, Wie Ein Naturlaut - Im Anfang Sehr Gemachlich - Kolner Rundfunk-Sinfonieorchester
II. Kraftig Bewegt, Doch NIcht Zu Schnell - Kolner Rundfunk-Sinfonieorchester
III. Feirlich Und Gemessen, Ohne Zu Schleppen - Kolner Rundfunk-Sinfonieorchester
IV. Sturmisch Bewegt - Kolner Rundfunk-Sinfonieorchester
I. Allegro Maestoso. Mit Durchaus Ernstem Und Feierlichem Ausdruck - Krisztina Laki

Tracks:

II. Andante Moderato. Sehr Gemachlich - Krisztina Laki
II. In Ruhig Fliessender Bewegung - Krisztina Laki
IV. Urlicht: Sehr Feierlich, Aber Schlicht - Krisztina Laki
V. Im Tempo Des Scherzo. Wild Herausfahrend - Krisztina Laki
Wieder Sehr Breit - Krisztina Laki
Ritardando...Maestoso. Sehr Zuruckhaltend - Krisztina Laki
Wieder Zuruckhaltend - Krisztina Laki
Langsam, Misterioso - Krisztina Laki
Etwas Bewegter - Krisztina Laki
Mit Aufschwung, Aber Nicht Eilen - Krisztina Laki

Tracks:

I. Kraftig. Entschieden - Gwendolyn Killebrew
II. Tempo Di Menuetto - Gwendolyn Killebrew
III. Comodo. Scherzando - Gwendolyn Killebrew
IV. Sehr Langsam - Gwendolyn Killebrew

Tracks:

V. Lustig IM Tempo UNd Keck Im Ausdruck - Gwendolyn Killebrew
VI. Sehr Langsam - Ruhevoll - Empfunden - Gwendolyn Killebrew
I. Bed Achtig. Nicht Eilen - Lucia Popp
II. In Gemachlicher Bewegung. Ohne Hast - Lucia Popp
III. Ruhevoll - Lucia Popp

Tracks:

IV. Sehr Behaglich - Lucia Popp
I. Trauermarsch (Im Gemessenem Schritt - Streng - Wie Ein Kondukt) - Kolner Rundfunk-Sinfonieorchester
II. Sturmisch Bewegt, Mit Grosster Vehemenz - Kolner Rundfunk-Sinfonieorchester
III. Scherzo (Kraftig, Nicht Zu Schnell) - Kolner Rundfunk-Sinfonieorchester
IV. Adagietto (Sehr Langsam) - Kolner Rundfunk-Sinfonieorchester
V. Rondo - Finale (Allegro) - Kolner Rundfunk-Sinfonieorchester

Tracks:

I. Langsam - Allegro - Kolner Rundfunk-Sinfonieorchester
II. Nachtmusik I - Kolner Rundfunk-Sinfonieorchester
III. Scherzo: Schattenhaft - Kolner Rundfunk-Sinfonieorchester
IV. Nachtmusik II. Andante Amoroso - Kolner Rundfunk-Sinfonieorchester
V. Rondo - Finale - Kolner Rundfunk-Sinfonieorchester

Tracks:

I. Allegro Energico, Ma Non Troppo - Kolner Rundfunk-Sinfonieorchester
II. Scherzo. Wuchtig - Kolner Rundfunk-Sinfonieorchester
III. Andante Moderato - Kolner Rundfunk-Sinfonieorchester

Tracks:

IV. Finale: Sostenuto - Allegro Moderato - Kolner Rundfunk-Sinfonieorchester
I. Andante Comodo - Kolner Rundfunk-Sinfonieorchester
II. Im Tempo Eines Gemachlichen Landlers - Etwas Tappisch Und Sehr Derb - Kolner Rundfunk-Sinfonieorchester

Tracks:

III. Rondo Burleske: Allegro Assai. Sehr Trotzig - Kolner Rundfunk-Sinfonieorchester
IV. Adagio: Sehr Langsam Und Noch Zuruckhaltend - Kolner Rundfunk-Sinfonieorchester
I. Adagio - Kolner Rundfunk-Sinfonieorchester

Tracks:

Veni, Creator Spiritus - Maria Venuti
Imple Superna Gratia - Maria Venuti
Infirma Nostri Corporis - Maria Venuti
Accende Lumen Sensibus - Maria Venuti
Veni, Creator Spiritus - Maria Venuti
Gloria Patri Domino - Maria Venuti
Poco Adagio: Waldung, Sie Schwankt Heran - Maria Venuti
Ewiger Wonnebrand - Maria Venuti
Wie Felsenabgrund Mir Zu Fussen - Maria Venuti
Gerettet Ist Das Edle Glied - Maria Venuti
Uns Bleibt Ein Erdenrest - Maria Venuti
Hier Ist Die Aussicht Frei - Maria Venuti
Hochste Herrscherin Der Welt - Maria Venuti
Dir, Der Unberuhrbaren - Maria Venuti
Bei Der Liebe, Die Den Fussen - Maria Venuti
Neige, Neige, Du Ohnegleiche - Maria Venuti
Blicket Suf Zum Retterblick - Maria Venuti
Alles Vergangliche - Maria Venuti

Tracks:

I. Das Trinklied Vom Jammer Der Erde - Marjana Lipovsek
II. Der Einsame Im Herbst - Marjana Lipovsek
III. Von Der Jugend - Marjana Lipovsek
IV. Von Der Schonheit - Marjana Lipovsek
V. Der Trunkene Im Fruhling - Marjana Lipovsek
VI. Der Abschied - Marjana Lipovsek

Customer Reviews:

Good -- but not great.......2007-07-07

Having listened intently to this set two times now, once with scores in hand, once without, I have to give this set less than a 5 star rating. The sound is adequate, compressed at times, muddy at others. The later symphonies fare better than 1 & 2. Conducting is fine: very straightfoward and unfussy. Plays it straight. And maybe that's a problem. The sixth in particular never really scales the heights or depths. Same story with 8. Layout is weird, but economical. My biggest beef is the orchestral execution. There are a LOT of bloopers that should have been fixed. In a live concert you can accept, even expect, some error in music this difficult. But on recordings they become very irritating. I grant that most people would never notice any, but if you have a good ear and really know this music there are some problems. The worst is an abundance of wrong notes in the 4th movement of the 7th, which otherwise is a superb version -- one of the best. Another easy to spot example occurs at the end of the 6th: why did the cellos leave the bass clarinet to fend for itself just a few bars before the end? Why didn't someone fix this?
I'm glad I heard this set, but there are better, albeit more expensive. As a complete set there isn't any that is altogether perfect, but Solti/Decca, Haitink/Philips, Kubelik/DG and deWaart/RCA come closer.

Outstanding, yet Affordable Mahler Set.......2007-06-10

If you are looking for a great Mahler set that doesn't give you the Walletdämmerung syndrome, yet you also want excellent musicians and soloists and a conductor with a most refreshing and philosophically true understanding of Mahler's music, I would recommend that you purchase this box set of Mahler symphonies with Gary Bertini. Although Gary Bertini was not a big name in the recording industry, he was deemed as a highly esteemable conductor in Europe. His Mahler offers a completely different sound from what you would hear from Bernstein, Abbado, Walter, and Klemperer, much closer to what Rafael Kubelik did with his Mahler, but Bertini offers a degree of transparency in his music that you cannot hear in any other conductor. Despite the transparency, his Mahler does not lack passion. If you want to know what I mean, you must listen to his Symphonies no. 1,2,4,5,6,7,8, and 9. These renditions are ranked with the very best Mahlerians in a very competitive field. Bertini is also supported by an ensemble of an extremely high calibre--the WDR or the Kölner Rundfunks Orchester. They play with a finesse and a grace that rivals the very best Mahler orchestras, including the Vienna Philharmonic, the Bavarian Radio Symphony, and the Concertgebouw. In terms of virtuosity and beauty, the orchestra offers some of the most glorious playing and a crystalline sound balance that you would want in a world-class German orchestra.

The soloists are all excellent too. You have Florence Quivar, Paul Frey, Lucia Popp, Julia Varady, Julia Hamari, and Alan Titus, among others. You must simply hear the alto part that Quivar sings in the Resurrection Symphony!

Included in this already sparkling box set is a Das Lied von der Erde with Marjana Lipovsek and Ben Heppner. While I will always love Klemperer, Ludwig, and Wunderlich, I think this Das Lied von der Erde comes close to being one of the very best recordings of the work. Heppner sings with his usual golden tone and security, and sings the tenor's songs with an abandon and an elan that makes his interpretation very attractive. Lipovsek sings the mezzo parts with a tragically imbued tone that improved over her recording with Solti years earlier. You must listen to what she does in the Abschied. I have never heard a more resentful and reflective understanding of this very complex movement other than Christa Ludwig, Janet Baker, and Kathleen Ferrier.

All in all, a Mahler box set that everyone should get along with Haitink, Chailly, and Kubelik.

Ignore the name(s): Listen to the Music!.......2007-05-07

Gary Bertini and the Cologne Radio Symphony? The Mahler symphonies have been recorded in toto by many of the "biggest" names in music Leonard Bernstein (three times), Solti, Kubelik, Haitink and so on with the best known orchestras in the world ---- Vienna Philharmonic, Concertgebouw, New York Philharmonic, Chicago Symphony, Berlin Philharmonic, and so on and so on. I've given away my bias by those I've chosen to list and the sequence I've put them in.
And along comes a little known conductor, now deceased, with an orchestra I would not rank with those above; and by virtue of their sheer musicianship they belong alongside all the above. Mr. Bertini's performances hew closer to Mr. Kubelik and Mr. Haitink in being moderate in both tempo and phrasing. At the same time, Mr. Bertini still beings a far greater feeling of intensity and passion than either. Mr. Bertini's performances have a sweep and a grandeur that places them on the same plane as Mr. Bernstein's performances without entirely going "over the top" as Mr. B. was inclined to do.
No: Bertini's recording of the Sixth Symphony does not take us emotionally to the depth of Mr. Bernstein's last recording (DG digital). Nor has Mr. Solti's magnificent performance of the Eighth been surpassed. But I were asked to choose one cycle to live with for the rest of my life, it would be this one.

An exceptionally fine bargain.......2007-03-26

Gary Bertini's EMI Mahler cycle is more or less contemporary with Tennstedt's Mahler cycle on the same label. But, according to the gossip, the company decided to keep Bertini in the vaults since the former and LPO where more publicly known. In my view, however, Bertini's set is clearly superior. The orchestra - Kölner Rundfunk Sinfonieorchester - is outstanding, far better than LPO, and so are most of Bertini's interpretations as well.

Considering that Bertini and the orchestra are not among the obvious "stars", it is an exceptional sleeper. In fact, Bertini was virtually unknown before this cycle made him famous, post mortem.

The cycle combines both live and studio recordings. The live ones were recorded in Japan where the audience knows how to behave. Excellent stereo sound adds to the pleasure.

But one could note that some of Bertini's tempi are among the slowest on record. The final movement of symphony no. 9 stops at 28:34, which is ten minutes more than Walter's 1939 classic. It's even a few seconds slower than Chailly's very slow account on Decca. The finale of the third is six minutes longer than Tennstedt's on EMI. But the adagietto in the fifth stops at just above 10 minutes, so Bertini is not consistently very slow when Mahler's music may invite sentimental conductors to drag. Unlike such conductors, however, Bertini has the ability to keep tension during a long breath, bringing forth interesting details in contextual balance.

Thus the performances of symphonies 1, 5, 7, 8, 9 and Das Lied von der Erde are outstanding, challenging almost every recording in the current catalogue. The remaining symphonies are also convincingly presented, in perfectly consistent performances.

However, one irritating thing with this set is that the fourth symphony is divided over two discs. That EMI decision was not necessary. The cycle could still fit on 11 CDs with a different editing. The policy for all record companies should be to avoid unnecessary splitting.

At a super-bargain price, this is of course the first choice among boxed sets, especially the contemporary ones. All the recordings in this box have something that attracts repeated listening. This is true of Gielen's outstanding cycle too (Hänssler), but it requires you to pay four times the price. Still, Kubelik (DG) remains my favourite cycle. But Bertini's is better recorded.

Warmly recommended!

best overall cycle.......2006-12-09

There's little that I could add to the testimonials that have already been written here . While none of these performances would be an absolute first choice for me, save Bertini's Mahler 8th (which IS extraordinary), all of them have an amazing consistantcy in style, sound quality, and orchestral execution. The inclusion of a really fine "Das Lied von der Erde", expertly sung by Ben Heppner and Marjana Lipovsek, makes this a clear front runner. While Bertini didn't record a complete Mahler 10th symphony (finished by Deryck Cooke and others), his M10 Adagio is outstanding - giving the feeling of completeness on to itself. In fact, other than Leonard Bernstein, I can think of no other conductor who has been so satisfying in capturing the complete emotional range of Mahler's symphonies; going from the fresh and youthful first symphony (and Bertini is truly fresh and youthful); working on up to the cosmic orgasm that is the 8th symphony (and Bertini is cosmically orgasmic here), and still making the drastic shift to the zen-like, other-worldliness of the so-called farewell trilogy: "DLvdE", 9th symphony, and 10th symphony adagio. He runs the entire gamut, Janet.

Much positive has been written about Gielen's fine Mahler cycle. But his box set doesn't include his recording of the Cooke 10th (Chailly's does!), which is really a very good 10th. It's also more expensive. In addition, getting Gielen's Mahler 6th separately also gives you a really fine performance of Alban Berg's "Three Pieces For Orchestra" - a very natural coupling for that dark work. Better to pick and choose with Gielen, I think. If you want a box, get the Bertini.

Average customer rating:

Totally infectious
Surprisingingly enjoyable stuff

Shostakovich: Waltzes

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

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Movie Soundtracks | Soundtracks | Styles | Music

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Similar Items:

Shostakovich: The Jazz Album
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Shostakovich: Cheryomushki, The Bolt, The Gadfly (The Dance Album)
Jazz Suites 1 & 2

ASIN: B00001IVR2
Release Date: 1999-08-31

Tracks:

Shostakovich Waltzes

Customer Reviews:

Totally infectious.......2003-01-07

Shostakovich is mostly known for his serious works, his symphonies and string quartets, however he wrote a large number of film, incidental, and ballet music. This CD compiles many of his waltzes and some other pieces from these. While this is mainly what could be considered "light" music, many of the pieces have wonderful melodies and coloful orchestrations.

Some of my favorite waltzes include the one from Return of Maxim, the one from Golden Hills, and the one from The First Echelon (aka Waltz #2 from the 2nd Jazz Suite). Beyond the waltzes there are some other pieces, including the famous Polka from The Age of Gold and Folk Festival (Spanish Dance) from The Gadfly.

The only caveat is that some of the pieces don't reference their original source (rather they are listed as being from various ballet suites, when they in fact come from The Limpid Stream and other sources), but this is a very minor complaint. The performance and sound is wonderful, and unless you are one who can't stand this sort of compilation, it gets my highest recommendation.

Surprisingingly enjoyable stuff.......1999-10-04

After years of my hearing and not thinking very much of Shastakovich's symphonies, this Delos delight came as a total surprise. Containing just under an hour of mostly waltzes mixed with some polkas, a galop, and even setting of "Tahiti Trot" (inspired by "Tea for Two" of all things), this concert gives us a rare chance to hear a good deal of music this composer wrote for films seldom if ever seen outside of Russia as well as some more familiar stuff from his ballets. Not one really great piece, nor not really boring one. Just a boxful of what Thomas Beecham used to call "Bonbons" from a very unexpected source. Lots of fun from Delos.

Average customer rating:

A true "Titan" of a recording
Best Recording of Mahler's First Symphony
Choosing between Bernstein's two Mahler Firsts
very good recording
99.9% of Brilliant "Titan" and Bernstein

Mahler: Symphony No. 1; Adagio

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Mahler: Symphony No. 4
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ASIN: B00000FCKW
Release Date: 1998-11-24

Tracks:

Langsam. Schleppend. Wie Ein Naturlaut
Immer Sehr Gemachlich
Sehr Gemachlich
Vorwarts Drangend
Kraftig Bewegt
Trio. Recht Gemachlich
Tempo Primo
Feierlich Und Gemessen, Ohne Zu Schleppen
A Tempo. Ziemlich Langsam
Sehr Einfach Und Schlicht Wie Eine Volksweise
Wieder Etwas Bewegter, Wie Im Anfang
Sturmisch Bewegt
Sehr Gesangvoll
Wieder Wie Zu Anfang. Sturmisch Bewegt
Sehr Langsam
Wieder Vorwarts Drangend
Andante
Andante Come Prima
A Tempo (Fliessend)
Measure 104
Measure 194
A Tempo

Customer Reviews:

A true "Titan" of a recording.......2007-05-14

This is my first recording of Mahler's First Symphony, as well as the Adagio from the Tenth. I must say that after reading the reviews of this recording I had my hopes up. And I was not in the least bit disappointed. The symphony as a whole is a gigantic masterpiece, truly deserving its name "Titan". Leonard Bernsteins' conducting of the work is as lively and vibrant as ever, and his handling of the orchestra is masterful. This is a must-own for all Mahler fans, and Leonard Bernstein fans alike!

Best Recording of Mahler's First Symphony.......2006-02-22

This is the best recording of Mahler's First that I have ever heard. I have four other recordings of this piece by well-known conductors and this is by far the best.

Choosing between Bernstein's two Mahler Firsts.......2005-10-31

Sometimes the later Bernstein significantly revised the ideas of the earlier Bernstein, but this isn't the case here. Bernstein recorded the Mahler First early on in his NY cycle. His 1960 version, coupled with a magnficient 1975 reading of the Adagio from the Tenth Sym., is virtually identical to the later live performance with the Concertgebouw released by DG in 1989.

In both cases the first movement is fairly deliberate--it slows down by over a minute in Amsterdam--and the nature painting of the hushed forest is enchantingly done. In its delicacy and musicalaity this could be the best movement in both interpretations. Contrary to some reviewers here, there is little exagerration or over-emphasis. The NY Phil. plays beautifully but without that special European stylishness which the Concertgebouw demonstrates. The later Bernstein also took more care to make the solo birdcalls and other nature sounds be more distinct.

In both readings the second movement is slow, deliberate, and heavy--a clog dance stamping on the earth--and Bernstein slows down even further for the trio sections. The third movement, with its parody of Frere Jacques as a funeral march, is not as satiric in either performance as one might anticipate. Certianly it isn't mannered in any way. Bernstein doesn't comically underline the Jewishness of the band which accompanies the dead to his grave (this movement was inspired by a comic engraving of forest animals acting as a solemn funeral procession for a fallen hunter). In both readings the last movmenet is a cosmic explosion, all stops out. It is as recklessly exciting as anything Bernstien ever found in Mahler. Perhaps the Concertgebouw is more unleashed, but it's close.

Reviewers have commented on the excellent digital sound of the DG release, which is true, but in 1960 CBS also gave Bernstein large-scale sound with great detail and imapct. Anyone will recognize these readings as extremely dramatic and committed, though not pushed and pulled around. The fact that the NY version contains such a powerfullly tragic reading of the Mahler Tenth Adagio, and comes at mid-price, may sway a buying decision in its favor. Otherwise, I found little to choose between them.

very good recording.......2004-09-13

I don't have much experience in listening to recordings done of this piece. The only other ones I've heard were of Solti with the Chicago Symphony, and one done by London. Of the three recordings i've heard, this is my favorite. The performance is by no means pristine. Specifically, brass (*cough*trumpet*cough*) intonation is obviously not perfect. The sound quality is also not exactly the best i've ever heard, though its good enough never to really become an issue. Its the impression that I get from hearing Bernstien's exciting interpretation, and the enthusiastic (if flawed) performance from the orchestra that makes this my favorite recording of this symphony. The first and second movements in particular make me want to go pull out my copy of this music and practice it again, which is sort of my guage for how effective a recording is. The strings in particular seem un-characteristically agile and synchronized. Especially when compared to other Bernstien Century recordings I have in my collection like the Rimsky-Korsakov Scheherezade, and the Berlioz Symphonie Fantastique, which are both guilty of being sporadically very messy. If you're looking to buy a recording of Mahler's 1st symphony I really don't think anyone could be disappointed by this CD.

99.9% of Brilliant "Titan" and Bernstein.......2004-06-20

Of all the symphonies Bernstein recorded in the first Mahler cycle for sony, I've really find the Seventh, the Eighth, and the Fourth highly favorable, but none other than the First Symphony "The Titan". (As for the second DG cycle the Second, the Sixth, and the Ninth, but let's resume what I should focus on...) Lenny's straightforward yet notoriously intense treatment of this composition, with the New York Philharmonic which had Mahler himself as director long decades ago, adds up to one of the best "Titan" performance ever (if not the best).

I especially loved the youthful vigor Lenny and the orchestra had built in the bright first movement, and the highly intense an glorious fourth movement... even though the only flaw would have to be a r-e-e-ally slight need of the trumpet's intonation in the finale... if only that was perfect. The sound quality could be another minor issue, but at least it's digitally restored, and with a performance that brilliant why should you bother. Forget the later Concertgebow performance Lenny did in DG, despite a more refined, cleaner performance with another great Mahler orchestra, this is the "Titan" to look for.

As for the Adagio of the incomplete Tenth, I do appreciate the point the Lenny decided to leave the finalized segments of the piece to Mahler himself, instead of having any of the many editors who would "finish" the symphony. The performance in the Adagio movement alone is great, and Lenny has done another excellent job with that.