Ten 13

Ten 13

Editorial Reviews
Amazon.com
It's fitting that perennial party boy Sammy Hagar would title a CD after his own birth date, as every day of his life is seemingly a celebration for the stalwart rocker. The malleable Hagar moved on quickly following his successful stint in Van Halen. But while the frontman's trademark intense vocals and classic-rock core are present, many songs on Ten 13 feel updated. "Serious Juju" is a dark, slightly mechanized entry that would almost be at home on a Godsmack album. On the other hand, "The Message" is akin to some of Hagar's polished work with Van Halen. Ballads such as "Deeper Kinda Love" are decent, but it's on energetic rockers ("Shaka Doobie," "3 in the Middle") where Hagar shines. However, even where Ten 13 is more introspective, it's also energetic, muscular, and dynamic. --Katherine Turman

Tracks:

Tuning Up
Amques (Original Version)
Po ectronique
Arcana
Nocturnal
Un Grand Sommeil Noir (Orchestral Version)

Tracks:

Un Grand Sommeil Noir (Original Version)
Offrandes: Chanson de laut
Offrandes: La Croix du Sud
Hyperprism
Octandre: Assez lent
Octandre: Trvif et nerveux
Octandre: Grave - Animt jubilatoire
Intales
Ecuatorial
Ionisation
Density 21.5
Drts: 1st Episode
Drts: 1st interpolation of organized sound
Drts: 2nd episode
Drts: 2nd interpolation
Drts: 3rd episode
Drts: 3rd interpolation
Drts: 4th episode
Dance for Burgess

Amazon.com essential recording

For a composer who is (now) recognizably part of the 20th-century classical canon, the French émigré Edgard Varèse's output was astoundingly meager. Just 15 compositions from his entire life (he destroyed the compositions from his early years, and was a merciless editor of his own material in general) made it out to the listening world. Varèse was caught in the chasm between the music of yesterday and the music of tomorrow: scoring music for modified theremin, steamboat whistles, or air sirens, all balanced with the force of a large orchestra; writing pieces based on the flows of water and wind because that's what shapes the earth; using the concepts of chemical reactions and specific gravity as a basis for his music. Using extremes of contrast, dissonance, and variety in sound, Varèse's pieces had power in the way he attacked and shaped the sound he imagined. From Ionisation (1929), scored almost entirely for unpitched percussion, to the electronic-only, three-dimensionally produced Poeme Electronique (1958), he's provided a foundation that many genres, musicians, and composers were to build from not only for the next 40 years, but inevitably beyond. --Robin Edgerton

Customer Reviews:

Superb with just one reservation.......2006-11-10

This complete works of Varèse, superbly performed and recorded, is a fine accomplishment. My only disappointment was its version of Poème Elèctronique being the sole representation of that ground-breaking work that still holds up for me today as one of the finest pieces of electronic music yet created. It is interesting to be able to hear the version in this collection, which appears to be a loving restoration of what must have been primarily the raw, performing version, to be further enhanced during its performances in a very large space? What I miss in the present version is the more clearly heard textures of its huge sound palette; the resonant and often humerous interplay between them, and its dramatic sweep as it was presented on a sparcely documented stereo mix that first appeared on a Columbia Records LP, later reissued on a CD, now out of print. That one is surely more like an actual performance, presumably mixed to re-create as well as possible then what it might have sounded like over its four hundred loudspeakers in the Philips Pavillion. I hope there will be further reissues. To me the CBS version's drama and energy are more like that of the performances of the other pieces in this wonderful Complete Works set. -Curt Wittig

Go ahead, test your intelligence..........2006-06-18

Frank Zappa used to play Varese to test the intelligence of his friends, and most of them used to look at him like he was "out of his f---ing mind" as he put it. As a major Zappa fan, I bought this compliation, and I love every minute of it. This 2 CD set contains all of Varese's work (needless to say, Edgar wasn't very prolific). You really hear Varese's influence in Zappa's work. Some favorite pieces are Deserts, Poem Electronique, and Un Grand Sommeil Noir (Original Version). Varese's music reminds me of universes being created, in all their violence, beauty, and glory. Instruments crashing down upon one another. This music is reminiscent of Zappa's Weasels Ripped My Flesh and his orchestral work especially. Varese is one of the great American composers, like Aaron Copland, John Cage, and Conlon Nancarrow. Superb....

The definitive recordings........2005-11-09

Riccardo Chailly once said Varèse was going to be the Brahms of the XXI Century. I really don't know if he will be right or wrong, specially because of the very conservative auditoriums we have all around the world, but it should be this way, as the french composer has died too many years ago and his music should be understood but most of the public. It's sad to know that composers, like the own Mahler said, use to be years, decades, even centuries in advance to the general public .

Anyway, it's very important for the popular knowledge of this composers to have recordings like this, in which everything works perfectly as if it was a clock. After many years having some good recordings conducted by Boulez (Sony) and Nagano (Erato) mainly, we have now the possibility of listening one of the most musical and technical orchestra & baton of this time: The Concertgebouworkest and Riccado Chailly.

Most of the versions in this 2CDs set are the best I know, specially the orchestral works, played with conviction and precision by the Concertgebouworkest, an orchestra that had some problems with Mr.Chailly when they begin to play this, for them, `rare' music. The way Arcana sounds its incredible, full of power, mistery and perfection, the performing of Ameriques is breathtaking and I can only compare it with the truly outstanding version by Pierre Boulez with the CSO for DG. Deserts is a new dimension in Chailly's hands, really terrible and full of dark emotions.

Of course, there are little things that could be a bit better, like the Spanish sung in Ecuatorial, better sung in Nagano's version, but generally the performing is marvellous and the instrumental and ondes Martenot's playing in this piece is perfect in Chailly's version.

The ASKO Ensemble versions are outstanding too, showing a very modern Varèse. The performing of Ionisation, that great jewel, listened with a good Hi-Fi system is a experience not to be lost.

The recordings are very good, not outstanding, as it sounds like distant sometimes, but clear and with good definition, of course better with good electronics.

Booklet and presentation of the box is marvellous too; as it has to be in real event in recorded music in the last decades.

Sound Splitting Music.......2002-06-25

First, let me state that I am a long-time Varese fanatic. I first heard Ionisation live at a contemporary music concert in my town when I was 12, and I was hooked. I immediately bought the old Robert Craft double album on Columbia and played it until there were scratches on the scratches. So I was overjoyed to see a modern "complete" recording with up to date sonics. For the most part, I haven't been too disappointed with the performances either.

Chailly is great on much of this music. Ameriques and Arcana are sonic extravagazas. And this is the best recording I've heard of Nocturnal and Ecuatorial. Chailly does a good job with the chamber pieces of the 20s and 30s, though I agree with other reviewers, Boulez is much clearer on Ionisation. Chailly misses some of my favorite parts, and I find it hard to hear the first snare drum theme. (I'm also quite partial to Craft's version, but I don't think it's available anymore.)

I also must add to the chorus of exceptions on the questionable material. The orhestrated version of the solo song has no place on this CD. It doesn't sound like Varese, more like Debussy, and though the song is quite impressionistic, I think we presume too much to orchestrate it and pass it off as "complete" Varese. And neither Tune Up nor Dance for Burgess really add much to our understanding of Varese, and are of questionable value. I suspect that Varese would have destroyed them completely had he been able. Much better to have a recording of the revised version of Ameriques. The revision is so extensive, that a side by side comparison would be illuminating.

All in all, I like this CD. Chailly's take on Varese is big and passionate, something that I think both Boulez and Craft miss. Abravanel comes close to this passion, but Chailly wins because of the gorgeous sonics. I highly recommend this CD to those interested in exploring the unique sound world of Varese.

An aural knockout.......2002-02-01

Here are two discs with some of the most exciting 20th-century music around. Chailly and the Concertgebouw give definitive readings of Varèse's complex pieces, some written for a huge orchestra, and recorded in typically opulent London sound.

My favorites are, without a doubt, "Ameriques" and "Arcana," two explosive showpieces that will give your sound system quite a workout. But far from being merely loud, the scores have many beautiful textures (including quiet ones) scattered throughout the orchestra, and Chailly captures much of the glittering detail.

I even like "Tuning Up," which may seem like a less substantial work to most ears. To be fair, if the piece is not the last word in Varèse's imagination, it is clever enough for its short duration, and as with everything on this disc, the orchestra sounds superb and totally undaunted. Their virtuosity is both satisfying and thrilling, especially in such seldom-performed music.

Make sure your neighbors are away before turning up the performance of "Ameriques," though - the last few pages will blow your roof off.

Tracks:

Ionisation
Ameriques
Density 21.5 For Solo Flute
Offrandes For Soprano: A) Chanson de La-haut
Offrandes For Soprano: B) La Croix du Sud
Arcana For Full Orchestra
Octandre For Flute, Clarinet, Oboe, Bassoon, Trumpet, Trombone, Double-bass: I. Assez lent
Octandre For Flute, Clarinet, Oboe, Bassoon, Trumpet, Trombone, Double-bass: II. Tres vif et nerveux
Octandre For Flute, Clarinet, Oboe, Bassoon, Trumpet, Trombone, Double-bass: III. Grave
Integrales For Small Orchestra

Customer Reviews:

It's OK..........2006-02-09

I can see that Frank Zappa would have been inspired by this music. As a longtime Zappa fan, I can hear plenty in Zappa's music that was modeled after Varese. Still, Varese's pieces on this CD are hardly monumental or awe-inspiring, and this seems to be the kind of music that very much depends on how it's played and interpreted. You don't get much better than Pierre Boulez; if it was, for example, me conducting an ensemble in performing Varese's work, nobody would listen. So it seems that it's not as much the music as the performance. And that Varese cannot be credited with.

definitely NOT Louie Louie.......2005-09-11

This album (CD) made it into my collection the same way as a few others who've commented here. One day after listening to Lumpy Gravy I was at the record store holding this CD in my mitts wondering if I really wanted to subject myself to one of Zappa's major musical influences.

This is music either for someone who knows a lot about the structure of sound and can appreciate it for that reason or someone who gets bored listening to the same sort of thing all the time and enjoys variety. This is not what most people would consider the easiest "stuff" to listen to. It has an overall disonance to it that many would consider an assault on their senses. At the same time it also has a mathamatical structure to it that makes it obvious to even the most musically uneducated dullard that this is unique, well thought out sound. To be honest I'd have to admit to not understanding much of this CD but it certainly is interesting and different. Arcana, for instance, reminds me a little of something Gustov Holst might have written if he had been spending time with Carlos Castenada. The entire CD takes the listener through a range of emotions that might go from sombre and desolate to momentarily uplifted likely ending up somewhere between confused and perhaps violated... maybe even satisfied.

This is NOT the sort of thing I could listen to all the time but when the mood strikes there isn't a rendition of Louie Louie that is going to hit the spot that this will. Recommended for someone with a musically adventurous disposition.

Incredible........2004-05-26

This is one of the finest set of recording of the Varese repetoire ever made. The french performances are particularly well done with right degree of ensemble and tone required of this difficult music.

The Octandre is especially good with super attacks from all players...not for the faint of heart.

absolute craziness!.......2002-04-06

I purchased this cd after reading Frank Zappa's audobiography, where he pays homage to the great Varese for inspiring him. I can see where Varese had an influence on him. This is a strange but good collection of pieces conducted by Boulez, who also worked with Zappa on "Perfect Stranger". If you like Zappa then you will probably appreciate this album. Varese was a very talented composer and this album proves it. Ionization alone proves it, but the rest of the disc is great also.

impeccable chaos.......2002-03-02

This disc doesn't contain all of Varese's music, but it comes close at 77 minutes. Varese was not nearly as prolific as he was creative! The first recorded Varese I heard was on the VoxBox (called "Ionisation"), and five of the pieces found here are also on that disk, conducted by Cerha. What a contrast! Cerha presents Varese delicately, transparently, without passion. The advantage is that the instruments are clearly delineated. But you are left wondering what the fuss is about -- it doesn't sound very radical. Boulez emphatically captures the chaos, the energy, the alien-ness of Varese! Of course the overall impact is heightened by the inclusion of "Ameriques" and "Arcana," two 20-minute pieces for full orchestra that are bigger and louder than anything included on the VoxBox. The production value is superb -- sharp and clear -- and the packaging is faultless as well. In short, if you only had one recording by Varese, this would be an excellent choice. If you like this, by all means look for Xenakis' "Orchestral Works and Chamber Music" on Col Legno. Varese is a key influence, especially the composition "Arcana"!

Average customer rating:

Two great songs
Sammy keeps hard rock (no not 80's hair metal) relevant. 3 1/2 stars
Almost up to Van Halen Standards
Sammy does it again
Sammy Hagar - The Real Deal

Ten 13
Sammy Hagar
Manufacturer: Hip-O Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music

Pop Metal | Hard Rock & Metal | Styles | Music

Hard Rock | Hard Rock & Metal | Styles | Music

Pop Rock | Pop | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

Arena Rock | Classic Rock | Styles | Music

$7.99 and Under | Blowout Music | Stores | Music

Pop | Styles | Blowout Music | Stores | Music

Classic Rock | Styles | Blowout Music | Stores | Music

Rock | Styles | Blowout Music | Stores | Music

Alternative Rock | Styles | Blowout Music | Stores | Music

Hard Rock & Metal | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

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

4-for-3 Classic Rock | 4-for-3 Music | Stores | Music

4-for-3 Hard Rock & Metal | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 Rock | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Not 4 Sale
Marching to Mars
Red Voodoo
I Never Said Goodbye
Livin' It Up!

ASIN: B00004ZBDA
Release Date: 2000-10-24

Tracks:

Shaka Doobie (The Limit)
Let Sally Drive
Serious Juju
The Message
Deeper Kinda Love
Little Bit More
Ten 13
Protection
3 In The Middle
The Real Deal
Tropic Of Capricorn

Amazon.com

It's fitting that perennial party boy Sammy Hagar would title a CD after his own birth date, as every day of his life is seemingly a celebration for the stalwart rocker. The malleable Hagar moved on quickly following his successful stint in Van Halen. But while the frontman's trademark intense vocals and classic-rock core are present, many songs on Ten 13 feel updated. "Serious Juju" is a dark, slightly mechanized entry that would almost be at home on a Godsmack album. On the other hand, "The Message" is akin to some of Hagar's polished work with Van Halen. Ballads such as "Deeper Kinda Love" are decent, but it's on energetic rockers ("Shaka Doobie," "3 in the Middle") where Hagar shines. However, even where Ten 13 is more introspective, it's also energetic, muscular, and dynamic. --Katherine Turman

Customer Reviews:

Two great songs.......2006-08-07

I can always find a couple songs on each of Sammy's albums that I listen to over and over. For me, the songs Deeper Kinda Love and A Little Bit More are the two standout tracks from this album.

The next best song is Ten 13. Slade fans out there will recognize this song as virtually identical to the Slade song Ready To Explode (Part II The Grid) from their 1984 album KEEP YOUR HANDS OFF MY POWER SUPPLY.

As for the rest of the album, it's good, if for nothing else than because of Sammy's always-present enthusiasm and delivery, but the songs just seem to lack the killer hooks.

Overall a good rocking album, but not as consistent as his other albums in the 1997-2002 period.

Sammy keeps hard rock (no not 80's hair metal) relevant. 3 1/2 stars.......2006-05-01

Sammy solo post Halen rocked more than his former band and there was far less of the sap that kept some people away. This album starts off with four great songs. There's two great rockers Shaka doobie and Let Sally ride. This is simply what good hard rock music is and there's none better than Sammy right now to remind us that real rock music is alive.

Serious Juju is also a rocker but there's some semi industrial (well not quite) stuff going on as well. The Message is my pick for best song on the album, it's one of Sammy's inspirational songs, but it's got crunching guitars all through and doesn't go too far into sap territory. The next songs do however, Deeper kinda love, Little bit more. I guess hardcore fans must like these two but it's just too classic Hagar ballad like for me. Ten 13 brings the fun back again, I get a sort of Wings/Rock show vibe off this. It's just that sort of live show opener, "Let's celebrate, don't be late".

That's where the album starts to drag for me. Protection is a bore. 3 in the middle and Real deal picks up a bit but it's nowhere as good as the first four songs. Tropic of Capricorn sounds like something off Balance not something I like. For me this is about 3 1/2 stars, but if you liked the Hagar years in Halen then you should like it a lot more. But even otherwise get it anyway because you don't get many good rock albums like this nowadays and hard rock needs all the support it can get.

Almost up to Van Halen Standards.......2005-10-02

This CD is criminally underrated!!

It starts off really rockin' with "Shaka Doobie" and "Let Sally Drive". "Deeper Kind of Love" and "A Little Bit More" are great softer songs.

"Tropic of Capricorn" is my favorite song on this CD though. "Tropic of Capricorn" is similar to "Cabo Wabo" or "Take Me Back (DejaVu)" from the Van Halen era.

For less than $10, this CD is a STEAL! If you like Sammy's old stuff or Van Halen, this Ten-13 will not dissapoint.

Sammy does it again.......2005-08-08

I live in Australia and am an avid fan of SH (he actually toured here about 7 years ago). However, over the last few years, I've noticed a lack of product at our record stores. Having tracked down his website I discovered this album which was never released here. It's interesting to get an album that is actually "between" others I've heard - it allows you to judge it on its own merits as opposed to comparing it to the last offering.

I reckon this is one of his best, good punchy riffs and his voice is at full stretch - much more consistent than, say, Marching to Mars or Red Voodoo (sorry couldn't help myself).

It rarely let's up and as such is a perfect driving companion.

Can't wait for any new stuff!

Sammy Hagar - The Real Deal.......2003-11-09

This is the best solo album Sammy Hagar has released after the Van Halen era.

The CD opens with "Shaka Doobie"(The Limit), "Let Sally Drive" and "Serious Juju" which are all ROCKIN tracks although "Serious JuJu" is darker and heavier than anything Sammy has ever done.

"The Message", "Deeper Kind of Love" and "Little Bit More" are all strong songs in thier own context but for me "Deeper Kind of Love" stands out from these three as the best ballad type song.

Sammy kicks into party mode with "TEN 13" followed by "Protection" which is probably my least favorite track (if i had to choose one) and "3 In The Middle" is a hard edged track set at a frantic pace.

Sammy has guest Roy Rogers on slide guitar for the bluesy "The Real Deal". "The Tropic of Capricorn" is a free-flowing, "feelgood" song and was a good choice with which to end the CD.

Tracks:

Waltz In G Flat, Op. 70 No. 1
Predule In B Flat Minor, Op. 28 No. 16
'Paganini' Variations, Op. 35, Book 1: Variations 13 & 14
Transcendental Etude No. 5 In B Flat 'Feux follets' (excerpt)
Etude In G Sharp Minor, Op. 25 No. 2
'Annees de pelerinage' II: Sonetto 47 del petrarca
Etude In C, Op. 23 No. 2 'Staccato' (excerpt)
Sonata In D, Hob. XVI: 42 (Finale)
Suite No. 2 'Silhouettes: Coquette
Pieces de Clavecin: Le rappel des oiseaux
Mazurka In D, Op. 33 No. 2
The Months: Song Of The Lark
'Preludes', Book I: La fille aux cheveux de lin
Impromptu No. 4 In F Minor, D. 935 (excerpt)
Etude In G Flat, Op. 25 No. 9 'Butterfly'
Intermezzo, Op. 4 No. 6
Ich ruf zu dir (Chorale-Prelude)
Sonata In C, K. 330 (finale) (excerpt)
Waltz In D Flat, Op. 70 No. 3
Standchen
Nocturne In E Flat, Op. 55 No. 2
Romeo And Juliet: Dance Of The Girls With Lilies
'Preludes,' Book I: Minstrels
Prelude In B Minor
'Paganini' Etude No. 5: La chasse
Carnaval: Chopin & Estrella
Suite Bergamasque: Passepied
French Suite No. 6 In E, BWV 817a: Bourree
Sonata In B Flat, D. 960 (Scherzo)
Jesu, Joy Of Mans Desiring
La jongleuse
Valse oubliee No. 1
Etude In F, Op. 10 No. 8

Tracks:

'Iberia,' Book I (excerpt): Evocation
Hungarian Dance No. 1 In G Minor
Fantasies, Op. 116: Intermezzo In E
Etude Op. 2 No. 3
Lyrical Pieces, Op. 43: To The Spring
Intermezzo In C, Op. 119 No. 3
El Pelele (excerpt)
Etude In G Sharp Minor, Op. 26 No. 6 'Double-thirds'
Waltz In C Sharp, Op. 39 No. 6
Kinderszenen, Op. 15: Gluckes genug
Tarantelle, Op. 43
'Preludes,' Book II: General Lavine - eccentric
Concert Etude No. 2 In F Minor 'La leggierezza (excerpt)
Mazurka In F Minor, Op. 63 No. 2
Paganini Etude No. 3 'La campanella' (excerpt)
Minuet In G (excerpt)
Sonata In A, K. 212
French Suite No. 2, BWV 813: Courante
The Sleeping Beauty: Gavotte & Le canari qui chante
Berceuse, Op. 57
The Man I Love (excerpt) - Andre Previn
Etude-Tableau In C, Op. 33 No. 2
Prelude In G Sharp Minor, Op. 32 No. 12
Waltz In D Flat, Op. 64 No. 1' Minute'
Moment Musical In F Minor, D. 780 No. 5
'Diabelli' Variations, Op. 120 No. 8 (Poco vivace)
Sonata No. 3 In F Sharp Minor, Op. 23 (2nd movement)
'Annees de pelerinage' I: Au bord d'une source
Partita No. 1 In B Flat, BWV 825 (Prelude)
'Etudes,' Book I: Etude No. 6
Nobody But You
Sonata In F, K. 107
Embraceable You
'Diabelli' Variations, Op. 120 No. 8 (Poco vivace)
'Preludes', Book I: La danse de Puck

Amazon.com

Philips' 100-volume Great Pianists of the 20th Century series is one of the most ambitious projects ever put together by a record company. For all the debate that will surely ensue over who was chosen and who was passed over, it's obvious that careful, loving attention has gone into the selection of content for the happy 72 to be admitted to this special pantheon (certain especially significant pianists are allotted two or even three volumes, such as Vladimir Horowitz). Each of the handsomely designed, sepia-tinted volumes--adorned with a black and white photo--contains two CDs and a thoughtful essay on the artist in question. Prospective buyers should be aware that this sampler volume offers only short vignettes (averaging between two and three minutes), along with a thumbnail sketch, for each pianist. Still, it's a smorgasbord of morsels that allow you to taste some of the major trends in philosophy and approach to the instrument throughout the century (and reaching well back into the 19th), and the overlap of repertory permits some fascinating quick comparisons as style and technique have evolved. Delve into some of the artists in the series--say Alfred Brendel or Martha Argerich--and trace in greater depth the piano's identity crisis. Is it, for example, a resonantly string-like instrument ideal for pastel shadings or a steely, percussive machine meant to express the hardness of the 20th century? There are countless discoveries to be made here, both for the connoisseur and for anyone taking the first step into getting acquainted with great keyboard artistry. --Thomas May

Customer Reviews:

Tantalizing preview of good things to come.......2003-01-07

This is an introductory 2-CD set to introduce a very grand series of CD's featuring the 20th Century's greatest pianists.
As a sampler, there are some incredible jewels here, for example Nikita Magaloff's sparkling Chopin Tarantelle and Paganini Etude No.3: 'La Campanella' played excitingly by John Ogdon. There is even an early recording of Paderewski playing (predictably) Paderewski.

This sampler seems a bit of a Euro-centric, but the editors wisely chose to include Earl Wild doing Gershwin and Roslyn Tureck doing Bach. I ended up purchasing the Andre Watts volume from this series, and wondered what it would be like to own the whole shootin' match. I saw the entire CD series on display in a top notch music store in Germany--it was overwhelming to see the line of brown covers stretching impressively across an entire wall. The sampler is a good way to have a taste of this ambitious series of the giants of piano in the 20th Century. I listen to it often with great enjoyment.

RE: Glenn Gould.......2001-05-23

RE: Those of you who complained/rejoiced about Gould's abscence: he is not on the sampler, true, I believe for... purposes or something along those lines. Rudolf Serkin is also not included, but both are among the "greatest pianists of the 20th Century" set.

Missing no one except Katia Skanavi.......2001-04-19

I was pleased after reading the list of performers to see that Gould's machine-gun jiffy-pop piano "playing" is not included. I would like to hear more of Skanavi tho.

Forget Somebody?.......2000-09-21

Although I understand that it must have been very diffiult to decide which pianists got put in the collection, let alone a two-disc sampler, I still feel that any anthology of the piano (other than one highlighting the romantic era)should contain at least one piece by Gould, yet this one doesn't. Gould has been almost unanimously hailed as one of the most influential artist of the twentieth century, yet he is not included on this disc. Other than that, a great buy.

Unparalled Excellence (Mark G. Davis).......1999-08-01

If you only purchase one classical piano cd in your entire life, this one should be it. All the masters, at their very best on it.

Tracks:

Zapateado
Rondena
El Testament D'Amelia
Canco Del Lladre
La Filadora
Lo Fill Del Rei
Lo Rosinyol
Plany
El Mestre
L'Hereu Riera
La Filla Del Marxant
La Nit De Nadal
Scherzo-Vals
Estudio Sin Luz
Anecdotas 2
Anecdotas 5
Remembranza (Estudio II)
Seguidilla
Impromptu
Triquilandia (Jugando Al Escondite)
El Abejorro
Cancion Amatoria
Festivola (Danza Catalana De Espiritu Popular)
Tango
Tonadilla (Manola De Lavapies)
Guajira

Amazon.com

These 65 minutes of solo guitar playing--handsomely, intimately recorded--are a pleasure to listen to. Russell is a true virtuoso, playing with an ease and assurance which gives the recital the great subtle, variety it should have. He's equally at home with the catchy, playful "Zapateado" by De La Maza that opens the program as he is with Llobet's lyrical, singable, relaxed "El testament d'Amelia." The beautiful, lullaby-like "La filla del Marxant" (also by Llobet) is as smooth as silk, and the four pieces by Andres Segovia have a flavor all their own. The downright odd, but alluringly discordant "El Abejorro" by Pujol will enchant and puzzle you. The program is songlike, dancelike, familiar and new-sounding, and Russell's graceful way with each style is ideal. Every note, every delicate harmonic, is audible and important, but there's never a sense of underlining either a melodic or rhythmic phrase. Russsell lets the music, diverse and fascinating, speak for itself. A must for those who love the classical guitar, especially with a Spanish flavor. --Robert Levine

Complete Recordings on Deutsche Grammophon

Average customer rating:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ
Horowitz: A Digital Legacy

Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | 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

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Complete Masterworks Recordings, 1962-1973
Beethoven: Piano Sonatas
Original Jacket Collection: Vladimir Horowitz
Horowitz Live and Unedited [includes Bonus DVD]
Rachmaninov: His Complete Recordings

ASIN: B00008RWRI
Release Date: 2003-10-14

Customer Reviews:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ.......2007-07-13

If you have any Horowitz music in your collection. THEN YOU MUST GET THE COMPLETE RECORDINGS ON DEUTSCHE GRAMMOPHON. Quality of recording is superb.

Horowitz: A Digital Legacy.......2004-11-15

This set includes all of the recordings Vladimir Horowitz did for Deutsche Grammophon in the 1980s, including his historical concert in Moscow.

While the context of his return in Moscow is moving, the studio recordings are simply wonderful. The sound quality is impeccable. The Steinway piano sounds warm but yet crisp and sharp. Horowitz still has plenty of power, and if you don't have a good sound system, you will notice that your speakers will literally fail, due to the overwhelming wall of sound that Horowitz creates in the intense parts.

The tender moments are just as exciting, as they are enhanced by the very quiet and clear digital recording process. Liszt's Standchen and Mozart's Piano Concerto No 23 are only two of a myriad of highlights contained on this boxed set. Having these high quality digital recordings of this piano legend is a blessing that you can't afford to miss. And at this price, it's simply irresistible.

Tracks:

Chorale Prelude 'Nun komm'der Heiden Heiland': Adagio
Piano Sonata In C Major: 1. Allegro moderato
Piano Sonata In C Major: 2. Andante cantabile - Mozart
Piano Sonata In C Major: 3. Allegretto - Mozart
Mazurka In A Minor, op.17 no.4: Lento, ma non troppo
Scherzo no.1 In B Minor, op.20: Presto con fuoco
Improptu In A Flat Major, D 899 no.4 (op.90 no.4): Allegretto
Consolation no.3 In D Flat Major: Lento placido
Novellette In F Major, op.21 no.1: Markiert und kraftig
Prelude In G Sharp Minor: Allegro
Etude In C Sharp Minor, op.2 no.1: Andante
Polonaise no.6 In A Flat Major, op.53: Maestoso
Etude In F Major, op.72 no.6: Presto

Customer Reviews:

Speechless.......2007-03-06

Towards the end of his career as a pianist as well as his life, Horowitz's playing reached such peaks of wisdom and beauty that it defies any attempt at description and ultimately renders the human language completely powerless and unable to fully capture and express its vast world of ideas and feelings. On his last recordings he doesn't emerge as an elderly pianist who was sadly past his prime, but rather as a consumate musician who had reached by then the pinnacle of his art and therefore was capable of getting from his piano the most exquisite and profound statements one's able to listen to in the whole piano discography of the 20th century. He imbues his rendition of the famous Chopin's Polonaise Héroïque with so much emotional power and intellectual depth that he turns it into something like a highly condensed philosophical treatise written in poetry. Don't miss it by any chance.

81 Years Young.......2005-11-18

The career of Vladimir Horowitz had many ups and downs. When he retired after a series of disastrous concerts in 1983, very few thought he would ever play again. It was learned that Horowitz's was off his game during that time due to anti-depressant medication which affected his memory and coordination. Horowitz dropped the medications in 1984, and spent much of that year enduring withdrawal symptoms. He didn't begin practicing again until late-1984.

By 1985, he felt well enough to begin performing again, but didn't want to immediately face a live audience. It was decided that a documentary would be made, and thus "Vladimir Horowitz: The Last Romantic," filmed in the pianist's townhouse, came to fruition. The performances in this CD are taken from that film, although in some cases different takes were used.

Horowitz, 81 years young at the time, plays well here--although his performance is not quite on the same level it would be one year later at his legendary Moscow recital. The Bach-Busoni Chorale, Mozart Sonata, and Schumann Novelette reveal the playing of a grand master in sovereign command of his resources. The Bach-Busoni is especially noteworthy for Horowitz's ability to separate musical lines. The Chopin Mazurka and Liszt Consolation are wonderfully poetic, and the Rachmaninoff Prelude is appropriately brooding.

It must be admitted however, some of the more bravura pieces do not match his best playing from earlier years. The Chopin Scherzo betrays hints of frailty (although some of the tempos are astonishing), and the "Heroic" Polonaise is taken at a rather cautious tempo. Any doubt about the coordination of Horowitz's fingers, however, will be banished by the Moszkowski Etude. Lightning fast, with very little pedal, the pianist reportedly did it in one take.

The sound is rather airless and confined, but clean and focused.

Who cares that Horowitz was past his prime?.......2002-07-09

This is the sound recording of a famous video of Horowitz performing in his home. There is a great deal to love on this disk. The Bach/Busoni is tremendously beautiful. The Mozart is just wonderful as is the Chopin Mazurka.

The Scherzo shows that Horowitz was once a titan of the keyboard, but as he himself says in the video "pretty good for an old man". The resto of the program are other shorter pieces that show Horowitz's remaining strengths - his tone color, his line, his interpretive abilities.

This is a great disk to have and is an important historical disk of one of the all time great pianists even if it is in his old age. The charisma pours out and you know why he was still selling out any auditorium whenever he cared to play.

Hear the origins of modern music -.......2000-01-25

This is a phenomenal CD. First, there is the sound, this recording is crystal clear, the piano is in your listening room with you. The difference between the sound of the new digital recordings and at least some of the older recordings is like day and night.

Then there is Horowitz. Before Horowitz, I could not discern the intent of classical music. But with Horowitz, you hear not only the notes but also the intention behind the notes, it's as if Horowitz is a master operator behind the glass booth, and he controls the technical facilities necessary to produce the sound with no effort, making it bend to reflect his every nuanced emotion. With Horowitz you hear emotion and personality; is it how Mozart, or Chopin, would have played it? Who knows, could be. Maybe not, but it has a depth and complexity that brings the music to life.

And of course there is Horowitz's famous touch and technique. Fully revealed on this disc.

But it is the program that really knocks me out. The first track is a Bach Choral Prelude, which sounds like its name implies. Peaceful, reflective, and then finally moving to a heart wrenching poignancy anchored by left hand octaves. Next comes a three part Sonata by Mozart. Here we can picture a Viennese ball, with singing and dancing. Music full of exuberance and joy in the first and third sections, and calm reflection in the second, with some fairly strong opinions stated with the help of left hand octaves. This is classical music at its finest.

The hammer drops with the third selection (fifth track), Chopin's "Mazurka in A minor". The tempo is uncertain, the chords have only a few close notes, and the first phrase seems tentative and unfinished. Modern music! Completely neurotic, and in stark contrast to the Mozart that preceded it. The melancholic ruminations give way to a tranquil melodic section which is then called up short, and then repeats, and then is ended with a sharply stuck dissonance; the remainder of the piece is completely unsettled, with the dominant emotion changing every few bars. This piece could be played in a piano bar today, and reminds me of Bill Evans' "Peace Piece".

If the "Mazurka in A minor" was the anguished neurotic of modern music, the next piece, Chopin's "Scherzo in A minor", is the raving lunatic bouncing off the asylum walls. This music reflects wild abandon. Two handed banging, with ferocious runs and arpeggios. The first section is a rollercoaster ride. This music is as wild as any modern jazz, and in fact, it sounds to me (a big Coltrane fan) like Trane could have copped some of his licks from this piece. The second section is, as I understand, taken from a Polish Christmas song. This time Chopin plays it straight, a calm in the midst of the storm, a beauty you can feel. But, the storm does return before the piece ends. This may have been one of the pieces written in the aftermath of a failed love affair.

Tracks:

Integrales For Small Orchestra And Percussion
Offrandes For Soprano And Chamber Orchestra: Chanson de la haut
Offrandes For Soprano And Chamber Orchestra: La croix du sud
Density For Flute
Octandre For Flute, Clarinet, Oboe, Horn, Bassoon, Trumpet, Trombone And Double Bass (Assez lent; Tres vif et nerveux; Grave)
Hyperprism For Small Orchestra And Percussion
Helmut Reissberger: Ionisation For Percussion Ensemble Of 13 Players
'Emanationen', For 2 String Orchestras
Sonata For Cello And Orchestra
String Quartet No. 1 (1960)

Tracks:

Stabat Mater
Miserere
Miniatures For Violin & Piano (1959)
Aventures-Nouvelles Aventures, For 3 Singers & 7 Instrumentalists: Aventures
Aventures-Nouvelles Aventures, For 3 Singers & 7 Instrumentalists: Nouvelles aventures
Aventures-Nouvelles Aventures, For 3 Singers & 7 Instrumentalists: Volumina (Original Version 1961-62) - Dedicated To Hans Otte And Karl-Erik Welin
Aventures-Nouvelles Aventures, For 3 Singers & 7 Instrumentalists: Etude No. 1 'Harmonies' (1967) - Dedicated To Gerd Zacher

Customer Reviews:

great sample of 20th century modernism!.......2001-08-27

Just as I was familiar with Gyorgy Ligeti's music because of "2001," I was familiar with the name Varese through Frank Zappa long before I learned much of anything else about 20th century composition. It wasn't until this disc, though, that I finally heard Varese's music. Frankly it took several listens before I really heard it -- I didn't find it as immediately compelling as, say, Carter or Ligeti. But give it time, and you can hear why such uncompromising later radicals as Xenakis considered Varese to be absolutely pivotal in developing a new language of space, rhythm and intensity. "Ionisation" for percussion is the culminating piece here, complete with sirens! I wish Varese had been more prolific, and realized his "vision" more fully with electronics.

I'm not sure what the logic was of including Penderecki and Ligeti with Varese, but the music is great! Penderecki's instrumentation is conventional compared to Varese, and the music is somber and tragic, with bursts of terrifying dissonance. The string quartet is splendid. Then comes Ligeti with music first for vocals, and then for organ, and any previous concept of music is out the window. I can't help but laugh at "Adventures"! Here is an excerpt from the equally amusing liner notes on Ligeti by Dr. William B. Ober: "...Ligeti's "Poeme Symphonique"..., certainly atonal, directs the 'listener' to meter without distracting his ear by melody or harmony... [H]e escapes the solecism of structural coherence, enabling the 'listener' to concentrate on texture."

I was led by this disc to seek out more 20th century music. It serves as an excellent bargain introduction, and I'm now discovering how right Stravinsky was to emphasize the importance of multiple interpretations of compositions, so it's great to eventually duplicate some of these pieces on other recordings.

Varese was the first record Frank Zappa ever bought........2001-08-26

This is a personal note, not a review. I am only just now buyng this CD. My interest is in tracing the influences on Frank Zappa. In his autobiography, Zappa explains that a Varese album, "The Complete Works of Edgard Varese, Volume I," was the first record he ever bought while still a teenager in El Cajon, California. He talks of the profound affect it had on him and often credited Varese on his album covers in the 60's and 70's. I find Zappa's music rich, deep, and incredibly original -- as well as funny. The pieces in his album, "Hot Rats," give evidence of a composer able to find inspiration in doo-wop, dada, rock, and, apparently, Varese.

Take your bottle of aspirin; you'll need it.......2000-11-08

I figured I would find at least one interesting and LISTENABLE piece of contemporary music on this value priced two cd set so I bought it. Boy, was I wrong! This is some of the most annoying, nerve deadening music (I use that term loosely) I have ever heard. The Ligeti organ piece sounds like someone pulling the plug on an electric organ as it slowly dies out. The Varese pieces are just unlistenable. Penderecki is praised by a number of modern music lovers but I could not find one redeeming fragment in the works contained here. The liner notes show how far gone contemporary music has gone. They appear to be a veiled apology for the crimes committed here. The author of them seems to make one excuse after another for why these pieces will appeal to so few people, as if that was something to be proud of. If composers of "serious" music don't care if their music has an audience, that's fine with me. Perhaps, in their minds, having people who actually enjoy their music is a sign of failure or serious miscalculation on their parts. They can all join the list of contemporary poets who are writing for no one but other contemporary poets as no one bothers with them either. I just do not believe that this music will survive the decades to come. No one even listens to it or buys it now. Farewell, and good riddance!

One of recorded music's greatest bargains!.......2000-02-03

I bought this recording because I was looking for a sound version of Varese's Ionisation. What I got was a wonderful version, perhaps the best, plus an additional 125 minutes of incredible 20th Century music! This bargain-priced two-disc set surveys three of the previous centuries most exciting composers, Varese (French), Penderecki (Polish), and Ligeti (Hungarian). All works share one thing in common, they are all extraordinarily ground-breaking compositions. From the intense percussion of 'Ionisation', the tense, paranoid strings of 'Emanationen' and vocal extremes of Ligeti's 'Adventures' to the quiet beauty of Penderecki's 'Stabat Mater' and 'Misere', this recording covers a lot of compositional territory. And thankfully it provides great notes to help you along the journey. Now that we've left the 20th Century behind, perhaps its finally safe for the world to explore its fine music. Mahler's outstanding, but aren't we ready to move on?

Most perfect recording of Aventures and Nouvelles Aventures.......1999-06-22

The Varèse has been never recorded better than with "die reihe". The most perfect recording of my "Aventures and Nouvelles Aventures" is on "Vox Box" says György Ligeti

Mozart - Don Giovanni / Raimondi, Te Kanawa, Berganza, Moser, van Dam, Opera de Paris, Maazel (1979 film)

Average customer rating:

Excellent
The Best Don Giovanni On Record
If only.....
Like Amadeus, Terrific! A Must have!
Not the best by a long shot

Mozart - Don Giovanni / Raimondi, Te Kanawa, Berganza, Moser, van Dam, Opera de Paris, Maazel (1979 film)
Wolfgang Amadeus Mozart , Lorin Maazel , Ruggero Raimondi , Kiri Te Kanawa , Chorus & Orchestra of the Paris Opera , Edda Moser , José van Dam , Teresa Berganza , John Macurdy , Kenneth Riegel , and Malcolm King
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
OPERA 101: A COMPLETE GUIDE TO LEARNING AND LOVING OPERA
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

ASIN: B0000025CF
Release Date: 1990-10-25

Tracks:

Don Giovanni: Ouverture
Don Giovanni: Act I - Scene I -Introduzione: (Leporello) (Donna Anna) (Don Giovanni) (Commendatore)
Don Giovanni: Act I - Scene 2 - Recitaivo: Leporelli, ove sei? (Don Giovanni) (Leporelli)
Don Giovanni: Act I - Scene 3 - Recitativo: Ah! del padre in periglio (Donna Anna) (Don Ottavio)
Don Giovanni: Act I - Scene 3 - Duetto: Fuggi, crudele, fuggi! (Donna Anna) ((Don Ottavio)
Don Giovanni: Act I - Scene 4 - Recitativo: Orsu, spiccati presto (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Terzetto: Ah! chi mi dice mai (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Recitativo: Chi e la? (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Aria: Madamina, il catalogo e questo (Leporello)
Don Giovanni: Act I - Scene 7 - Duetto & Coro: Gioveinette, che fate all'amore (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 8 - Recitativo: Maco male, e partita (Don Giovanni) (Leporelli) (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 8 - Aria: Ho capito, signor si! (Masetto)
Don Giovanni: Act I - Scene 9 - Recitativo: Alfin siam liberati (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 9 - Duettino: La ci darem la mano (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 10 - Recitativo: Fermati, scellerato! (Donna Elvira) (Zerlina) (Don Giovanni)
Don Giovanni: Act I - Scene 10 - Aria: Ah! fuggi il traditor (Donna Elvira)
Don Giovanni: Act I - Scene 11 - Recitativo: Mi par ch'oggi il demonio (Don Giovanni) (Don Ottavio) (Donna Anna)
Don Giovanni: Act I - Scene 12 - Recitativo: Ah, ti ritrovo ancor (Donna Elvira) Quartetto: Non ti fidar, o misera (Donna Elvira) (Donna Anna) (Don Ottavio) (Don Giovanni)
Don Giovanni: Act I - Scene 12 Recitativo: Povera sventurata! (Don Giovanni)
Don Giovanni: Act I - Scene 13 - Recitativo: Don Ottavio... son morta! (Donna Anna) (Don Ottavio)
Don Giovanni: Act I - Scene 13 - Aria: Or sai chi l'onore (Donna Anna)
Don Giovanni: Act I - Scene 14 - Recitativo: Come mai creder deggio (Don Ottavio)
Don Giovanni: Act I - Scene 14 - Aria: Dalla sua pace (Don Ottavio)

Tracks:

Don Giovanni: Act I - Scene 15 - Recitativo: Io deggio, ad ogni patto (Leporello) (Don Giovanni)
Don Giovanni: Act I - Scene 15 -Aria: Finch;han dal vino (Don Giovanni)
Don Giovanni: Act I - Scene 16 - Recitativo: Masetto...senti un po (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 16 - Aria: Batti, batti, o bel Masetto (Zerlina)
Don Giovanni: Act I - Scene 16 - Recitativo: Guarda un po' come seppe (Masetto) (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 16 - Finale: Presto, presto, pira che venga (Masetto) (Zerlina)
Don Giovanni: Act I - Scene 17: Su svegliatevi, da bravi! (Don Giovanni)
Don Giovanni: Act I - Scene 18 - Tra quest'arbori celata (Zerlina) (Don Giovanni) (Masetto)
Don Giovanni: Act I - Scene 19 - Bisogna aver coraggio (Donna Elvira) (Don Ottavio) (Donna Anna) (Leporello)
Don Giovanni: Act I - Scene 19 - Protegga il giusto cielo (Donna Anna) (Don Ottavio) (Donna Elvira)
Don Giovanni: Act I - Scene 20 - Riposate, vezzose ragazze (Don Giovanni) (Leporello) (Masetto) (Zerlina)
Don Giovanni: Act I - Scene 20 - Venite pur avanti (Leporello) (Don Giovanni) (Donna Anna) (Donna Elvira)
Don Giovanni: Act I - Scene 20 - Ecco il birbo che t'ha offesa (Don Giovanni) (Leporello) (Don Ottavio) (Donna Anna) (Donna Elvira) (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 20 - Trema, trema scellerato (Tutti)
Don Giovanni: Act 2 - Scene 1 - Duetto: Eh via, buffone, non mi seccar! (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 1 - Recitativo: Leporello...Signore (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 2 -Terzetto: Ah! taci, ingiusto core (Donna Elvira) (Leporello) (Don Giovanni)
Don Giovanni: Act 2 - Scene 2 -Recitativo: Amico, che tim par? (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 3 - Recitativo: Eccomi a voi (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 3 - Aria: Deh! vieni alla finestra (Don Giovanni)
Don Giovanni: Act 2 - Scene 4 - Recitativo: V'e gente alla finestra (Don Giovanni) (Masetto)
Don Giovanni: Act 2 - Scene 4 - Aria: Meta di voi qua vadano (Don Giovanni)
Don Giovanni: Act 2 - Scene 5 - Recitativo: Zitto...lascia ch'io senta (Don Giovanni) (Masetto)
Don Giovanni: Act 2 - Scene 6 - Recitativo: Ahi! ahi! la testa mia! (Masetto) (Zerlina)
Don Giovanni: Act 2 - Scene 6 - Aria: Vedrai, carino (Zerlina)
Don Giovanni: Act 2 - Scene 7 - Recitativo: Di molte faci il lume (Leporello) (Donna Elvira)
Don Giovanni: Act 2 - Scene 7 - Sestetto: Sola, sola in buio loco (Donna Elvira) (Leporello) (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Scene 8 - Sestetto: Ferma, briccone! Dove ten vai? (Zerlina) (Masetto) (Donna Anna) (Don Ottavio) (Donna Elvira) (Leporello)
Don Giovanni: Act 2 - Scene 8 - Sestetto: Mille torbidi pensieri (Leporello) (Zerlina) (Donna Anna) (Don Ottavio) (Donna Elvira)
Don Giovanni: Act 2 - Scene 9 - Recitativo: Dunque quello sei tu (Zerlina) (Donna Elvira) (Don Ottavio) (Masetto)
Don Giovanni: Act 2 - Scene 9 - Aria: Ah! pieta, signori miei! (Leporello)
Don Giovanni: Act 2 - Scene 9 - Recitativo: Ferma, perfido; ferma (Donna Elvira) (Masetto) (Zerlina) (Don Ottavio)
Don Giovanni: Act 2 - Scene 9 - Aria: Il mio tesoro (Don Ottavio)

Tracks:

Don Giovanni: Act 2 - Scene 10 - Recitativo: In quali eccessi (Donna Elvira)
Don Giovanni: Act 2 - Scene 10 - Aria: Mi tradi quell'alma ingrata (Donna Elvira)
Don Giovanni: Act 2 - Scene 11 - Recitativo: Ah! ah! ah! questa e buona! (Don Giovanni) (Leporello) (Commendatore)
Don Giovanni: Act 2 - Scene 11 - O statua gentilissima (Leporello) (Don Giovanni)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Calmatevi, idol mio (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Crudele? Ah no! mio ben! (Donna Anna) Aria: Non mi dir (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Aria: Forse un giorno (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Ah, si segua il suo passo (Don Ottavio)
Don Giovanni: Act 2 - Scene 13 - Finale: Gia la mensa e preparata (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 14 - Finale: L'ultima prova (Donna Elvira) (Don Giovanni) (Leporello) Che grido e questo mai? (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 15 - Finale: Don Giovanni, a cenar teco (Commendatore) (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 15 - Finale: Da qual tremore insolito (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Final Scene - Ah! dov'e il perfido? (Tutti)
Don Giovanni: Act 2 - Final Scene - Or che tutti, o mio tesoro (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Final Scene - Questo e il fin (Tutti)

Customer Reviews:

Excellent.......2005-05-08

I just bought this set and I am very impressed. To start off I am a very big fan of the soprano and baritone voice. In addition to this I am of the belief that Kiri Te Kanawa and Ruggiero Raimondi can do no wrong when it comes to singing, so naturally it was not very hard for me to decide which Don Giovanni to add to my collection.

This set does not dissapoint. Both the Don and Elvira are in exceptional voice. In addition to this rest of the cast is terrific. Donna Anna, sung by Edda Moser, is truly remarkable especially in her first aria. I have read other reviews about her singing of this role and it seems that the reviewers are split in half. One half seems to think her Wagnerian sounding voice is far too heavy and aggressive for this role while the other half seems to find her perfect. Although, I must admit there are others that I have listened to and enjoyed just as much as Moser, it is nice to be able to hear "Or sai che l'onore" sung as though the soprano has just deiscoverd some horrifying fact and is ready to take action against it rather than faint. True, singing anything softer than forte is an alien concept to this woman, I feel that most people will be duly impressed.

Besides, if you do not enjoy Edda Moser's voice then any buyer can be certain to have loads of fun with Teresa Berganza, who sings the role of Zerlina. To put it plainly Berganza's singing and interpretation of this role may exceed even that of Bartoli's, who is yet another singer I firmly believe does no wrong when it comes to music.

The rest of the cast is also excellent. Don Ottavio, Leporello, and Masetto are all sung and portrayed as well as any. Overall this is a fine set and is well worth the purchase

The Best Don Giovanni On Record.......2004-09-15

Everyone has their pick of their favorite Don Giovanni, and recordings which they consider to be the ultimate. For me, this 1979 studio recording, which was also the soundtrack for the Joseph Losey film, is the greatest on record. It has the right voices for the dark and witty drama that is Don Giovanni, the right orchestration and there is a certain magic to the whole thing that is going to leave you an opera fan for life. Ruggero Raimond sings the role of the Don. He is convincing both as a singer and an actor, bringing life to the dark, predatory, perverted, scheming character. Don Giovanni is a wolf disguised as a gentleman. He is charming, elegant but beneath his mantle of aristocratic nobility, he is the Devil incarnate. His music, mostly through recitatives (he gets only a toast aria "Finc al vino" and a Serenade "Vieni A La Finestra"of elegance) is full of wit, sophisticated humor and bawdy ribald perversion. He is a man whore, who delights in making love to all women of any age, shape or size (but never twice). He is anti-marriage even anti-romantic love. He was married briefly to Dona Elvira who is still demanding her rights as a wife and follows him everywhere, obscessed with him, attempting to regain his love, warning other women of his deception and betrayal. The role of Dona Elvira is sung by Kiri Te Kenawa who is in excellent late 70's voice, her dramatic inflections are perfect for the role. Actually, she makes a convincing and less cartoonish Elvira. Dona Elvira is usually played quite histerically and even comically but Kiri Te Kenawa plays her with a dignity of her own. If she is dramatic it is because she is madly in love with Don Giovanni and conflicted. She has a love/hate relationship with him.

Donna Ana is performed by Edda Moser. A German soprano of lyric dramatic coloratura, she has the perfect category of voice for Dona Ana the way she ought to be sung. Nowadays it's popular for a light lyric soprano to sing the role, as Renee Fleming has done. But I am pretty sure Mozart intended for her to be a dramatic soprano with a heavier voice that is nevertheless lyric, beautiful, full of pianissimo and high top register. There is one coloratura aria "A Forse Un Giorno Il Cielo" and dramatic lines in her recitatives. Right from the start, she is screaming in horror as she discovers her father has been killed by Don Giovanni. There are also moments in which the dramatic music compliment the dramatic outbursts such as the moment when she recognizes Don Giovanni as the man who tried to rape her. "O Dei ! O Gods!" she cries. There is an intense quality to the aria "Or Sai Che L'Onore" in which she is resolved that Don Ottavio take revenge against the Don. Edda Moser has a Wagnerian voice that is quite good for Dona Ana, especially because in this "version" she has some feelings of temptation for the Don which she is vigorously fighting to kill.

Lorin Maazel is a good conductor, even if he makes an excess of strings and conducts some moments such as the Act I finale at a faster pace. Jose Van Dam is a perfect support for Raimondi as Leporello, the faithful, clever and comic servant. His basso buffo voice is perfect for the role. Zerlina is sung by the adorable Teresa Berganza who has a sweet, lyric voice and who plays the almost seduced peasant girl with great conviction. In the end, she loves Masetto and will not betray him. Malcom King's Masetto is quite good, adorably jealous. Jon Macurdy has a terrifying voice as the Commandatore. This is the perfect Don Giovanni. What are you waiting for ? See the movie and get this soundtrack.

If only............2004-05-07

This recording is exciting no doubt but it has a serious flaw- the sound. All of Mozart's orchestral brillance reduced to mush with the exaggerrated acoustics. An engineering disaster not helped by Maazels excessive use of string. Having said that wow- the singing catches fire. This version is comes close to comparing with the legendary Guilini recording with Schwartkoft and Sutherland. Kiri te Kanawa is phenomenal!!!. Very rarely does she sound so convincing dramatically but she is heavenly in this recording. Ah che di mai, Inquali eccesi, Masker's trio, Ah Fuggi.. are all sung excellently with a full throated creamy tone as golden as the morning sun and as smooth as silk. Not a note out of place or scooped. Schwartkopf occassional shows her troubles with Mozart- esp in Inquali eccesi but otherwise she is commanding. Her's is the more compelling potrait but te Kanawa outshines her in all other aspects of the role- youthful brilliance coupled with a voice that is truly unforgettable.

In the 1970's te Kanawa as a lyric soprano had no equal esp in Mozart. Freni, Riciarelli, Tomowa Sintow, Cotrubas, Popp comes nowhere near and four of her Mozart recordings then deserves to be ranked as some of the most sensational recordings ever committed to disc ( along with her Grammy award Four Lasts Songs ). Of her many Mozartian potraits; Fiordiligi and Pamina with Lombard and her Figaro with Boehm, this Elvira has to be the most breathtaking and quintessential of all. Her incredible voice, the manner of her delivery and the warmth of her superlative singing is magical.

Edda Moser is a wondefully dramatic Anna, not always focused and she sounds positively insecure in her entrance. Sutherland is incomparable. I find her 'Or sai' tellingly dramatic. Berganza is lovely and she manages the high tessitura well.

The men lack something of the spark in comparison. Van Dam is a most aristocratic Leporello. Terfel is more believable. Raimondi is commanding- his is the most sexually appealling of all recordings. Maazel has wonderful moments but tends to rush much of Mozart's orchestral colour.

Like Amadeus, Terrific! A Must have!.......2001-08-03

If you have seen the 1984 Milos Forman Best Picture Amadeus, you would have seen the Commandatore Scene from Don Giovanni. This soundtrack is to the 1979 film version of the opera, with the great conductor Lorin Maazel at the baton, Kiri Te Kenawa, Edda Moser, Berganza and Van Dam putting in their talents. This is a great performance, and if you loved the film, this is a must have. Dark, comic, it is Mozart's finest Italian opera. Popular for its beautiful melodies, such as "La Ci Darem La Mano" "Viva La Libertad " the Don's lusty champagne aria "Finch hal Del Vino" and of course the climatic encounter with the Commandatore, Don Giovanni remains one of the world's greatest operas. Before you listen to all the other recordings, try this one out. I think you will be pleasantly surprised. Of course, Maazel fans might appreciate it better, as well as fans of Te Kenawa and Moser.

Not the best by a long shot.......2001-05-09

Frankly, this is very overated recording, as is the so-called legendary Gulini. Best in my view are a) Josef Krips (Decca) and Mitropoulos (Sony Classics). The latter is live, which this opera can take and in fact it adds to the frisson and excitement particularly in the final act. And the singers. Nobody has yet bettered Grummer, or Della Casa as Donna Anna or Donna Elivira. Hear them and you won't be able to listen to others doing this opera. The sound for a 1956 recording is excellent as is the Krips one which was recorded around 1959. In both recordings Siepi is the Don and his voice is a marvellous mixture of suave, erotic and downright sinister. In short he encompases the whole role. Do yourself a favour and get BOTH these recordings.

Music Review:

Music Review

music review

Recommended Music:

Female of the Species [Import]

Ravel, Ponce, Kreisler and others

Leoncavallo: Pagliacci; Puccini: Il Tabarro

Music: When Above...

Queer as Folk: The Fourth Season [Soundtrack]

Mitchy Duz It