Metamorphoses

Track Listings
 
1. Je Me Souviens - Laurie Anderson, Jean Michel Jarre
2. C'est la Vie - Natacha Atlas, Jean Michel Jarre
3. Rendez-Vous À Paris - Sharon Corr, Jean Michel Jarre
4. Hey Gagarin
5. Millions of Stars
6. Tout Est Bleu
7. Love Love Love
8. Bells
9. Miss Moon
10. Give Me a Sign
11. Gloria, Lonely Boy
12. Silhouette

Metamorphoses,Jean Michel Jarre,Sony International,Adult Alternative,Club/Dance,Ethnic Fusion,New Age,New Age / Meditation,Pop,Progressive Electronic

Metamorphoses

Metamorphoses
György Ligeti Edition 1: String Quartets and Duets - Arditti String Quartet
Average customer rating: 5 out of 5 stars
  • Important, but not as interesting as the vocal works.
  • Not really my style...
  • String works, includes his must-have glorious Second Quartet
  • Great Recordings of Modern String Quartets
  • you must listen to Ligeti.
 György Ligeti Edition 1: String Quartets and Duets - Arditti String Quartet
Gyorgy Ligeti , David Alberman , Irvine Arditti , Garth Knox , Rohan deSaram , and Arditti String Quartet
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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  1. György Ligeti Edition 3: Works for Piano (Etudes, Musica Ricercata) - Pierre-Laurent Aimard
  2. György Ligeti Edition 2: A Cappella Choral Works - London Sinfonietta Voices
  3. Ligeti: Mechanical Music
  4. György Ligeti Edition 4: Vocal Works (Madrigals, Mysteries, Aventures, Songs) - The King's Singers / Philharmonia Orchestra / Esa-Pekka Salonen
  5. György Ligeti Edition 6: Keyboard Works (Piano, Harpsichord, Organ) - Irina Kataeva / Pierre-Laurent Aimard / Elisabeth Chojnacka / Zsigmond Szathmáry

ASIN: B0000029OY
Release Date: 1997-01-21

Tracks:

  1. String Quartet No. 1 'Metamorphoses Nocturnes': Allegro Grazioso
  2. String Quartet No. 1 'Metamorphoses Nocturnes': Vivace, Capriccioso
  3. String Quartet No. 1 'Metamorphoses Nocturnes': Adagio, Mesto
  4. String Quartet No. 1 'Metamorphoses Nocturnes': Presto
  5. String Quartet No. 1 'Metamorphoses Nocturnes': Andante Tranquillo
  6. String Quartet No. 1 'Metamorphoses Nocturnes': Tempo Di Valse, Moderato, Con Eleganza, Un Poco Capriccioso
  7. String Quartet No. 1 'Metamorphoses Nocturnes': Allegretto, Un Poco Gioviale
  8. String Quartet No. 1 'Metamorphoses Nocturnes': Prestissimo
  9. String Quartet No. 2: Allegro Nervoso
  10. String Quartet No. 2: Sostenuto, Molto Calmo
  11. String Quartet No. 2: Come Un Meccanismo Di Precisione
  12. String Quartet No. 2: Presto Furioso, Brutale, Tumultuoso
  13. String Quartet No. 2: Allegro Con Delicatezza
  14. Hommage A Hilding Rosenberg
  15. Balada Si Joc: Balada Andante
  16. Balada Si Joc: Allegro Vivace
  17. Andante And Allegretto: Andante Cantabile
  18. Andante And Allegretto: Allegretto Poco Capriccioso

Amazon.com essential recording

This is a fine collection of moving, muscular performances by this seminal postwar composer. Surely the best known of the works on this disc is the Second String Quartet, one of the masterpieces of 20th-century music--although you might not know it's a masterpiece until the heartbreaking last movement. But the First String Quartet, written before Ligeti emigrated from Hungary to the West, is fascinating: it shows Ligeti working through the influence of Bartók, particularly Bartók's Third and Fourth Quartets--music Ligeti knew only silently, from the score, since performances of Bartók's music were banned by the Hungarian communist regime. This excellent recording provides a complete overview of Ligeti's compositional career through the medium of string chamber music, from homages to Bartók to the achievement of Ligeti's own groundbreaking style. --Joshua Cody

Customer Reviews:

5 out of 5 stars Important, but not as interesting as the vocal works........2006-08-30

Sony's "Gyorgy Ligeti Edition 1: String Quartets and Duos" is the first in this series of, I believe, complete works by Ligeti, but it is always the third or fourth disk I go to whenever I get around to listening to Ligeti once again, about once every year.

To me, the average amateur 'classical music' consumer, it is interesting, imaginative, and certainly 'new' when compared to 19th and early 20th century music, but it just doesn't seem to have the same cachet as the vocal works. While I would sooner listen to Ligeti's vocal works than most other modern music, I actually prefer Bartok, Berg, and Schoenberg for their instrumental works.

I agree with the top reviewer that the String Quartet No. 2 is the hit of the disk, but it doesn't blow me away in the same way that 'Lux Aeterna' does. That may be just the '2001' factor at work, but there you have it.

Still excellent and still evocative of other modernists, not the least of whom is Frank Zappa.

3 out of 5 stars Not really my style..........2006-08-23

This is a little too avant garde for me. I like my classical music to be just that: classical.

I bought the CD but I am returning it. Ligeti is very talented but his music (to me) is only tolerable in short bursts. I couldn't see myself listening to the whole CD time and again.

5 out of 5 stars String works, includes his must-have glorious Second Quartet.......2004-12-07

Sony's "Gyorgy Ligeti Edition 1: String Quartets and Duos" is the first disc of the 13-volume series--continued after the 8th installment by Teldec's "The Ligeti Project"---of Gyorgy Ligeti's collected works in performances overseen by the composer itself. It collects his impressive two strings quartets, a brief birthday greeting to another composer, a work inspired by an ethnomusical stint in Romania, and another early work. The works are performed by the Arditti Quartet, who have done so much to provide satisfying and lasting performances of modern string repetoire.

String Quartet No. 1 ("Metamorphoses nocturnes") was written between 1953 and 1954, as the composer was struggling to express himself creatively in Stalinist Hungary. The work shows clear inspiration from Bartok's third and fourth quartets, which Ligeti knew only from their score as they had been suppressed. Similarly, Ligeti had no hope his own work would be performed, and it was written essentially "for his desk drawer". Ironically, when Ligeti submitted the piece to a Western competition, it was deemed too traditional for recognition. This first string quartet is a study in the juxtaposition of unlike sections; under a thin verneer of normality, the music is heterogenous. I think this is a fine work, and it is one of the composer's few pre-emigration pieces that do not sound like juvenalia in comparison with his later works.

String Quartet No. 2 (1968) was composed long after Ligeti's move to the West and so is entirely avant-garde, linked with the techniques of his other works of the 1960's. Ligeti was quite proud of this piece, claiming it as his favourite of his works of the time, and feeling that he had made a permanent contribution to the string quartet tradition. The work is indeed a part of his micropolyphonic style of the 1960's, but there is a great deal more here. It is a twitching, paranoid, nervous, neurotic piece with a grimy, constantly shifting texture, like the soundtrack to a Kafka story. It really must be heard to be believed, and this second quartet is the high point of this disc.

"Hommage a Hilding Rosenburg" for violin and cello (1982) is a short birthday greeting to that Swedish composer. It is the least important work on the disc and is really nothing more than something of a fanfare.

"Balada si joc" for two violins (Romanian "Ballad and dance", 1950) is a short string duet inspired by Ligeti's time spent in Romania collecting folk music during his music studies. The result uses no actual folk material, but is an authentic imitation of the music Ligeti encountered both in his boyhood and in his return to Transylvania at this later time. When it was later expanded to use an orchestra, it became the first two movements of his "Concert Romanesc" (found on "The Ligeti Project II"). The string duet, however, manages to create with but two instruments nearly the same moving passion as the later orchestration. The following "Andante and Allegretto" for string quartet (1950) is another early work, again inspired by folk music. It is not as successful as "Balada si joc", indeed even forgettable.

While there are other recordings of these works available, such as the recent recordings reissued in Deutsche Grammaphon's "Echo 20/21" series, this performance by the Arditti Quartet can certainly be seen as definitive. It takes a lot of talent to please Ligeti, one of the most demanding composers, especially in a crushingly difficult work like the second string quartet.

While I think "Gyorgy Ligeti Edition 3: Piano Works" or "The Ligeti Project IV" are better places to begin on this series of Ligeti's collected works, this set of string works should be one of the first Ligeti works you buy, especially for the String Quartet No. 2.

5 out of 5 stars Great Recordings of Modern String Quartets.......2004-08-07

For those of you who haven't experienced Ligeti, this is the CD to purchase, especially if you like string quartets. If you're not accustomed to 20th century music, keep an opened mind and I promise you'll really enjoy his music.

The recording of the 2nd quartet is, as usual with the Arditti Quartet, phenomenal, but what makes this recording is their production of his 1st quartet. The performance is very clean and precise, yet still very musical. Most impressive of all, Arditti stays true to Ligeti's tempi, including the blistering tempo of the end!

As an added bonus, there are two very delightful duets for violins, which are very tonal and based on Hungarian folk tunes (these were written as part of graduation from the Budapest Academy of Music).

5 out of 5 stars you must listen to Ligeti........2004-03-06

Listening to Ligeti has been invaluable, for his music has brought me to a higher level of musical understanding. Just listen to these string quartets, for example. The aggressive, chromatic Bartokian first string quartet is incredible by itself. But then the ever-transforming second quartet is ever better, musically enlightening and original and yet still a work of passion. Ligeti describes the piece's nature as something where "there is no longer any motivic writing in this music, no contours, only sound textures, which are sometimes frayed and almost fluid (as in the first and last movements) and at other times grainy and machine-like (as in the middle pizzicato movement)." The performances and recording are mind-blowing. "Add to cart."
Metamorphoses
Average customer rating: 5 out of 5 stars
  • Jarre strikes again!
  • Masterpiece !
 Metamorphoses
Jean Michel Jarre
Manufacturer: Dreyfus
ProductGroup: Music
Binding: Audio CD

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ElectronicElectronic | Progressive | Rock | Styles | Music
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  1. En Attendant Cousteau
  2. Les Chants Magnetiques
  3. Equinoxe
  4. Chronologie
  5. Zoolook

ASIN: B00020HASI
Release Date: 2004-05-25

Tracks:

  1. Je Me Souviens (w/ Laurie Anderson)
  2. C'est La Vie (w/ Natacha Atlas)
  3. Rendez-vous A Paris (w/ Sharon Corr of The Corrs)
  4. Hey Gagarin
  5. Millions Of Stars
  6. Tout Est Bleu
  7. Love Love Love
  8. Bells
  9. Miss Moon (w/ Dierdre Dubois of Ekova)
  10. Give Me A Sign
  11. Gloria, Lonely Boy
  12. Silhouette

Album Description

"Metamorphoses" is Jarre's musical statement for the new millennium. It infuses kinetic grooves with global voices, world rhythms and staccato samples with Jarre's inimitable synthesizer sounds. An instant classic.

The ecstatic voice of worldbeat songbird Natacha Atlas cries out to the heavens on "C'est La Vie." Her impassioned, over the top performance, with a hint of humor, contrasts against the cool, disembodied delivery of Laurie Anderson, who reprises her role of digital diva from "Zoolook." This is Jarre at his most playful, and sublime, using singers as musical instruments, playing with phonemes and fragments. He skillfully integrates conventional instruments into his mix, using the violin of The Corrs' Sharon Corr as a Celtic oasis within the mechanized menace of "Rendez-vous Á Paris." Tracks like "Miss Moon," featuring the chameleon voice of Diedre Dubois, the American singer in the French band, Ekova, are updated variations on the kind of epic works we've come to expect from Jarre, but with an edgier, modern electronic vibe.

Customer Reviews:

5 out of 5 stars Jarre strikes again!.......2006-11-07

Is this album different from his other stuff -- oh yeah. Does it sonically sound like Jarre? Oh yeah. And that's the thing about it. Yeah it's got singing, and pop tunes, and what not, but if you listen, it has all the classic Jarre trademark sound that developed. No doubt whatsoever. It's different, but it's the same ingredients that makes him - well - him. Music for Supermarkets was bad. But that was on purpose. That was to reduce music to a commodity for the recording company. It was intentionally drab and dry to make a point. This album is not only vibrant, it's fun. It clearly demonstrates his artistic range and that his electronic style can be carried in other directions, not just Oxygene or Equinoxe's. How many times can an artist remake the same album. So he evolves, and it's pretty good.

5 out of 5 stars Masterpiece !.......2005-09-29

I have been a fan for a long time. just by accident I missed this one. I bought it recently and I have to say it is just amazing. it is a must have JMJ album. absoulute pure electronic joy.
Oboe Obsession
Average customer rating: 5 out of 5 stars
  • A very pleasing eclectic selection
  • Wide Ranging Oboe Repertoire
  • Lovely recital with a possible exception at the end
  • Oboe repertoire brilliantly played
 Oboe Obsession

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TKHF
Release Date: 2000-05-30

Tracks:

  1. Oboe

Customer Reviews:

5 out of 5 stars A very pleasing eclectic selection.......2003-01-08

CDs like this often don't quite work, because there seems to be either not enough contrast when there is some, or some of the pieces are simply not enjoyable. Luckily this CD garners no complaints to my ears, and there's a very nice variety as well, all played wonderfully by Allan Vogel.

Saint-Saens is a composer who was almost always "on", and the Oboe Sonata is no exception. Though written at the end of his life (along with the Clarinet Sonata), it could just have easily come 30 years earlier. It's a very nice late romantic piece, if not quite as tuneful as the Clarinet one.
The Poulenc sonata is a very lovely piece of French post-impressionism, akin to his choral music really. The Britten piece is typical Britten -- hovering around "modern" sound without quite going there.

The Schumann Three romances are also typical of the composer -- nice but not overly memorable. Still it's a pleasing piece. Now the W. F. Bach piece was a surprise -- the flute and oboe get equal treatment here, and as with the Schumann it's very pleasing.

The final piece is the only one that may dissuade someone from picking this CD up -- the Obsession for Oboe and Piano is quite "modern", though luckily it's still a very interesting piece. A clear show of virtuosity, it has energy and vigor, and is certainly one of the better examples of this style that I've heard.

So, I can safely recommend this. Even if you don't like Obsession, it IS at the end. This CD is a good buy for anyone who likes solo wind music, especially if you don't have a recording of the Saint-Saens.

5 out of 5 stars Wide Ranging Oboe Repertoire.......2001-10-31

As others have detailed, this is vast and far ranging oboe performance from the likes of Saint-Saens, Poulenc, Schumann and Bach.

I have reviewed oboe pieces from these composers, and found Vogel's performance to be quite worthy of five stars.

However, the pieces by Britten and Shinohara are new for me and outstanding! These are flowing and satiny with a high gloss finish which is very delightful to the ears with the melodic, romantic sound that is so unique and pleasing to oboe lovers such as this reviewer. Vogel and his accompanists are to be commended for producing such a high-quality, wide ranging disc of one of the truly great soloist instruments.

5 out of 5 stars Lovely recital with a possible exception at the end.......2000-06-16

Gallant little Delos has been releasing some marvelous oboe recitals with Allan Vogel, and the latest entry has not let us down at all. (DE3235) provides us with some rare items including Saint-Saens' "Sonata for Oboe and Piano, Op. 166," Poulenc's "Sonata for Oboe and Piano," Britten's "Six Metamorphoses after Ovid for Oboe Solo," Schumann's "Three Romances for Oboe and Piano," W.F. Bach's "Duet for Flute and Oboe, No. 4" [in which he is joined by Janice Tipton], and Shinohara's "Obsession for Oboe and Piano." Bryan Pezzone is at the keyboard.

Never having heard any of these before, I thoroughly enjoyed the relaxed, liquid playing of the first, second, third, and fourth selections. The Britten piece took some careful listening, being of a more intellectual nature so to speak, and was even more rewarding. My tastes being what they are, I did not like the last piece very much, finding it noisy and grating; and I was glad it came at the end of the CD and could easily be avoided on future playings. Naturally many of you might find this 1961 selection the best of the lot. The liner notes are terse and helpful.

5 out of 5 stars Oboe repertoire brilliantly played.......2000-06-14

The works presented on this disc constitute some of the cornerstones of oboe/piano literature. Allan Vogel's performance is very warm and insightful. His pianist, Bryan Pezzone, performs no less sensitively. The recording is also rich and warm. These works are all a delight to listen to. The Saint-Saens and Poulenc sonatas express both the charm and wit of these two great French composers. The Britten is the most important work for solo oboe. The Schumann Romances are another masterpiece for oboe and piano. A must for any oboist or music lover! The closing piece, Obsession by Japanese composer Makoto Shinohara is very powerful. A gem.
David Daniels - Serenade
Average customer rating: 5 out of 5 stars
  • a voice teacher and early music fan
  • Outstandingly beautiful- a great legend in our time
  • Follow the Leider...For He Is David Daniels
  • Countertenors: They're not just for Baroque Anymore!
  • Beyond Gimmick
 David Daniels - Serenade
Christoph Willibald Gluck , Antonio Caldara , Antonio Cesti , Franz Schubert , Ludwig van Beethoven , Antonio Lotti , Charles Gounod , Ralph Vaughan Williams , Francis Poulenc , Henry Purcell , David Daniels , and Martin Katz
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004SRG1
Release Date: 2000-06-06

Tracks:

  1. Adelaide Op.46
  2. Der Tod Und Das Madchen D531
  3. Auf Dem Wasser Zu Singen D774
  4. Nacht Und Traume D827
  5. Adelaide D95
  6. Selve Amiche, Ombrose Piante
  7. O Del Mio Dolce Ardor
  8. Intorno All'idol Mio
  9. Pur Dicesti, O Bocca Bella
  10. L'Absent
  11. Ou Voulez-Vous Aller?
  12. Absence
  13. Ser
  14. Orpheus With His Lute
  15. Linden Lea
  16. Hands, Eyes And Heart
  17. C'est Ainsi Que Tu Es FP 121 (Metamorphoses No.2)
  18. Priez Pour Paix FP 95
  19. La Belle Jeunesse FP 42 (Chansons Gaillardes No.7)
  20. Sweeter Than Roses
  21. I'll Sail Upon The Dog Star
  22. Evening Hymn

Amazon.com's Best of 2000

It's a truism by now that countertenors have made a notable comeback in our time, but David Daniels--Amazon.com's Opera & Vocal Artist of 2000--isn't about to rest on his laurels. As if his recent successes weren't enough to set him apart, on this recital album Daniels forays beyond the countertenor's stereotypical domain of the baroque to interpret lieder of Beethoven and Schubert, as well as French mélodies and Vaughan Williams. A stunningly beautiful disc. --Thomas May

Customer Reviews:

5 out of 5 stars a voice teacher and early music fan.......2006-05-30

The German and French art-song developed in parallel,but although they shared the same creative process based on the two key elements of words and music, they are distinct one from the other in their aim. Beethoven was one of the first to usher in the 'Leid'. Between 1795 and 1796 he drew inspiration from Friedich von Matthisson for his cantata 'Adelaide'. In 1814 Schubert set the same poem for his own 'Adelaide'. More than three-quarters of Schubert's songs are nature pictures as is 'Auf dem Wasser zu singen' on this disc. Other composers included on this recording are:Caldara-Gluck-Cesti-Lotte-Gounod-VaughanWilliams-Poulenc and Purcell.This disc absolutely delighted me. I can think of only one other countertenor who could have "pulled off" the variety of songs Daniels performs on this album. Most of them are quite well-known at least to singers and actually could be considered trite but not the way David Daniels sings them. He is so skillful with strong tone production when needed and always perfect diction. I marvel at the way he can implement the highly dramatic Italian aria and then sing the light "wispy" French songs. My personal favorites are "Adelaide" by Schubert. "Ou voulez-vous aller?" by Gounod and "I'll Sail Upon the DogStar by Purcell. In fact, if you are a Daniel's fan you MUST hear the Dog Star!!!!!

5 out of 5 stars Outstandingly beautiful- a great legend in our time.......2005-06-22

This is a truly unique voice. David Daniels has an opulent timbre which he uses here to achieve sheer excellence. As much as I hate for his career to be upstaged by anything, knowing that he was tutored by Marilyn Horne seems to establish her vocal qualities as a suitable metaphor. It's that rich, opulent tone and secure vibrato that you don't get with some mezzos, let alone countertenors. No thin-ness here; no `hoot' and nothing shrill. He still has control though, and produces clean, even tones where appropriate. Think of the dramatic requirements of `Der Tod und das Madchen' and the celestial purity of `Absence' or `Ser'- he more than merely achieves the standards, he surpassed them and has set his own seal of distinction.

The choice of songs/arias is itself brilliant and Mr. Daniels' technique needs high praise. As a very minor observation, his diction, though good, doesn't come across as completely idiomatic. This is a VERY minor issue though. The pianist, Martin Katz is very responsive to the style of singing. Mr. Daniels' ability to sustain a phrase with grace and beauty is matched by Mr. Katz's sensitive touch and timing.

In parting, I recommend the ethereal experience of `Orpheus with his lute' (my favourite). The words, a Shakespearean sonnet, are of a straightforward beauty and the melody is from another realm but the singing? Mr. Daniels vocal control and phrasing are exquisite and his tone is sublime. Close your eyes and listen to this one quiet evening. "In sweet music is such art, killing care and grief of heart. Fall asleep, or hearing die." A lute and a song- a simple combination; yet profoundly moving beyond the raging elements. Thank you David.

5 out of 5 stars Follow the Leider...For He Is David Daniels.......2004-08-18

Countertenor David Daniels takes a breather from his beloved Handel arias this time around for a recording of sheer beauty and most often tranquility, all the more surprising given the wide variety of tempos and international breadth of the program spanning five centuries. German leider from Beethoven and Schubert sits alongside Italian baroque songs followed by alternating French and English art songs. The 22 selections, once again reflecting his consummate musical taste, require him to sing in four different languages, and this South Carolina-born and -bred singer handles the daunting task with complete ease.

The result is a seamless recital, and the disc flows like an unfolding dream starting with Beethoven's enchanting "Adelaide". Schubert's "Naucht and Traume" highlights the purity of his tone and is as perfectly performed as any of his most moving opera arias. The Gounod pieces, especially "L'Absent" and the title track, have a sonorous quality that feel very much like lullabies, the sole exception being the lively "Ou voulez-vous aller?". Poulenc's "La belle Jeunesse" continues along this vein, a whirling dervish of a number referred in the accompanying booklet as an "invitation to debauchery". But these tracks are more the exception as Daniels achieves a lovely sense of vocal beatitude throughout.

The standout tracks have to be the three beautiful and somewhat more contemporary-sounding Vaughan Williams songs capped off by "Hands, eyes and heart", short and poignant, it is my favorite moment on this recording. The Renaissance-era Purcell selections provide the appropriate ending though, in particular, "Evening Hymn" sparked by the growing melismas on the hallelujahs. Whether he exhibits an astounding vibrato or the purest of tones, the man knows how to use his incredibly flexible voice and apply it intelligently to each song. Martin Katz accompanies with great precision and completely recognizes the individual style each song requires. It makes for a perfect pairing between singer and piano. This is a recording to treasure.

5 out of 5 stars Countertenors: They're not just for Baroque Anymore!.......2004-03-23

OK, so it's a bad pun. Shoot me.

But get this wonderful disc! Daniels talent is well-served by this varied program.. he goes beyond Handel to sing Beethoven, Gounoud, Vaughan-Williams.

Don't just buy this for the novelty of countertenor singing: the singing would be 5 star had any mezzo (Bartoli, van Otter) sung with this sensitivity. It's superb in every regard.

5 out of 5 stars Beyond Gimmick.......2002-08-01

At first it seems odd...countertenors are supposed to stay within certain boundaries. We let them have Baroque music, and even Gluck, and of course we let them have 20th century things written specifically for them, especially Britten. But to hear a countertenor singing Schubert, Beethoven or French melodies goes against our expectations. So we think, this must be a gimmick. But then Daniels voice takes over and such questions disappear.

Daniels sings this music as if it was inteneded for the countertenor. His sensitivity to the intimate marriage of text and music is phenomenal and his tone is always light and lyrical. I prefer this to many overblown sopranos that I've heard. Daniels weaves a spell that few singers of any voice type can match.

The Gounod is particularly beautiful. I had not been familiar with Gounod's art song before, and I've been missing something. L'Absent brought tears to my eyes just as the best Melodie of Duparc or Faure. And he sings Schubert as if he was born to it.

If you think you are sick of run of the mill vocal recitals, get this CD. The fresh voice and sheer artistry will astound you!
Strauss: Metamorphosen/Tod und Verklarung (Metamorphoses/Death and Transfiguration)
Average customer rating: 5 out of 5 stars
  • Absolutely Stunning
  • Very Famous Strauss Metamophosen plus Death and Transfiguration
  • Transcendent Strauss from Karajan, in excellent sound
  • Spiritual Music Of The Highet Order
  • Excellent throughout except a minor "droput" in 2nd track
 Strauss: Metamorphosen/Tod und Verklarung (Metamorphoses/Death and Transfiguration)
Strauss , Berliner Philharmoniker , and Herbert Von Karajan
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Richard Strauss: Eine Alpensinfonie
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  4. Strauss: Ein Heldenleben; Wagner / Karajan, Berlin Philharmonic Orchestra
  5. Ravel: The Piano Concertos; Valses nobles et sentimentales

ASIN: B00000E2OB
Release Date: 1983-11-01

Tracks:

  1. Metamorphoses
  2. Death And Transfiguration, Op.24

Customer Reviews:

5 out of 5 stars Absolutely Stunning.......2006-12-02

I first heard Metamorphosen via Karajan's first recording, reissued on DG's originals series with his earlier Tod und Verklärung and Vier letzte lieder. The earlier recording is very good, but when I heard that Karajan even topped himself on this later recording, I couldn't hesitate to pick it up. It turns out the general opinion of this recording is correct. The performance is absolutely stunning, with just a little more dramatic pulse and greater clarity of string texture than the earlier performance. Also the sound is better. This CD rightly was assigned a Rosette in the Penguin Guide.

In the CD liner, it says that Strauss wrote Metamorphosen in response to the near total destruction of the city of Dresden during WWII, including many of its concert halls in which Strauss premiered many of his works. Scored for 23 strings, the music is profoundly emotional, simultaneously beautiful and tragic. The CD liner article also describes Strauss's string writing from a purely technical standpoint as "masterly in the extreme" and I could not have described it better myself. It is easily my favorite thing by Strauss, a much finer piece of music than even his more famous Also Sprach Zarathustra, IMHO.

Karajan was perhaps the finest interpreter of Strauss who has ever yet lived, and he pretty much owns this work. The Berlin Philharmonic responds superbly with string playing of the utmost refinement and power. The Tod und Verklärung is also magnificent and shares the same qualities as the Metamorphosen, but the disc is well worth the cost just for the Metamorphosen. The sound is good early digital, not quite as fine as the best modern digital, but more than adequate in conveying the performances. This CD is a little spendy but it is well worth every penny. Buy it from an Amazon Marketplace seller for cheaper if you have to, but whatever you do, just buy it!

5 out of 5 stars Very Famous Strauss Metamophosen plus Death and Transfiguration.......2006-11-08

This is one of Herbert von Karajan's greatest recordings from his last decade, the 1980's. This album won the Gramophone orchestral record of the year award and it has always received the coveted Penguin Guide "Rosette Award" in every edition of that publication. I want to state first of all that this performance of Death and Transfiguration has been remastered and re-released on a different CD. It was re-released on Karajan Gold, catalog number 439 039-2, coupled with Karajan's digital Ein Heldenleben.

That Karajan Gold disc has much better sound in Death and Transfiguration than the CD you are looking at here. Please if you want to hear Karajan's greatest Death and Transfiguration, ( yes this one from the 1980's ), go buy that Karajan Gold disc with it's great sound. However, the Metamorphosen on this CD, to the best of my knowledge, has never been remastered, it's always been available here. The sound is fine, early digital, there is no glassiness or digital edge but there is also an overriding smoothness in texture. I know that this is primarily a Karajan attribute and not just the recording's fault but if DG ever decides to remaster this Metamophosen, they are really going to have a winner on their hands. Basically the sound is a bit too soft-grained for my liking.

The performance itself is masterful, in a category of it's own, this Metamorphosen is Karajan's greatest and the only competition I have ever found for it is Furtwangler's recording from 1947. Furtwangler is faster than Karajan but Karajan compensates with just as much emotion and utterly stunning string virtuosity which has never been surpassed. Get Furtwangler and Karajan, you won't regret it, they are the pinnacle in the recorded history of this Strauss masterpiece. Karajan's Death and Transfiguration is magnificient too, possibly the best ever, just do yourself a favor and get it on the remastered Karajan Gold CD if you want to hear Karajan's interpretation given full justice by great engineering.

5 out of 5 stars Transcendent Strauss from Karajan, in excellent sound.......2006-03-03

Listening to these spellbinding performances made me wonder if in fifty years Karajan will still be viewed as a lesser conductor than Furtwangler. The Metamorphosen is played with supernatural ensemble by the strings of the Berlin Phil.--Furtwangler never built up th orchestra to nearly this level. Karajan's phrasing in Tod und Verklarung shows unsurpassed delicacy and instinctive musicality--Furtwangler had both qualities in abundance, but he doesn't excel Karajan here.

These recordings date from 1983 and come in excellent digital sound without bite or edginess in the upper registers. I think Metamorphosen, inspired by Strauss's grief over the destruction of beloved oepra houses in Munich and Dresden by Allied bombing, is spiritually deeper than Death and Transfiguration, which has more than a touch of sentimental hokum. But Karajan raises them both to the same level through his integrity and astonishing technique. In all, this is one of his transcendent Strauss CDs, a composer whose music Karajan had mastered completely.

5 out of 5 stars Spiritual Music Of The Highet Order .......2005-12-02

What can I say about the mysterious and spiritual nature of this music ? This music is like Wagner's Parsifal in its spirituality and has hints of Mahler. Karajan conducts the Berlin Philharmonic with its stunning string harmony (it was said that the strings even rose and fell in unison). The music is sublime. Richard Strauss dramatized the Death of Christ and his Ressurection in a long, symphonic poem of great beauty. The strings are pivotal in this piece and with Karajan at the helm the music has never sounded more beautiful. I, too, heard the cracking sound at one point in the Transfiguration. But I don't care. This is ultimately the best recording of this work. Karajan probably conducted this piece with his eyes closed. It is music that is peaceful but powerful. It is music you can definately meditate to. Karajan totally gets Strauss, his fellow Austrian and with Karajan's experience with Wagner and Mahler, this particular work and the Metamorphosis is transcendent in his hands. This recording is seldom found in stores as I have not seen it There is another later recording of it, but that one is not as good. This one finds everything where it should be. Karajan has never had a more glorious moment.

5 out of 5 stars Excellent throughout except a minor "droput" in 2nd track.......2004-09-05

This is definitely the best Metamorphosen on disc, and Death & Transfiguration is equally superb, although I haven't herad other interpretations, so I will not compare.
Everything about this CD is great - performances, sound, (very clear, balanced, transparent, with realistic depth, playing is great - it's BPO strings, after all)... except one minor issue that I have: in Death & Transfiguration, about 23:01 there is kind of few seconds' "cracking" i.e. small noise that sounds as kind of dropuout in digital domain. Shame, since quality of this digital recording is otherwise excellent throughout. Did anyone else notice this, or perhaps it's just my sample of disk?
However, do not hesitate to order this CD if You like great string playing and orchestration, rich passionate harmonies and ever-changing subtle melodies.
Great Pianists of the 20th Century - Earl Wild ~ The Art of the Transcription
Average customer rating: 4.5 out of 5 stars
  • Entertaining
  • Riveting
  • A true romantic.
  • Redemption of the Transcription
 Great Pianists of the 20th Century - Earl Wild ~ The Art of the Transcription
Christoph Willibald Gluck , Jean-Philippe Rameau , Johann Sebastian Bach , Richard Wagner , Nikolay Andreyevich Rimsky-Korsakov , Fritz Kreisler , Felix Mendelssohn , Gioachino Rossini , Fryderyk Chopin , Pyotr Il'yich Tchaikovsky , Adolf Schulz-Evler , Mily Balakirev , Henri Herz , Sigismond Thalberg , Leopold Godowsky , and Earl Wild
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000IIYU
Release Date: 1999-04-13

Tracks:

  1. Melodie d'Orphee
  2. Rigaudon
  3. Elegie
  4. Tambourin
  5. Toccata and Fugue in D minor, BWV 565
  6. Isoldens Tod
  7. The Flight Of The Bumble-Bee
  8. Liebesleid
  9. A Midsummer Night's Dream: Scherzo
  10. Grande Fantaisie On 'Semiramide'
  11. Chants polonais: My Joys
  12. Chants polonais: Spring
  13. Chants polonais: The Maiden's Wish
  14. Swan Lake: Pas de quatre

Tracks:

  1. Arabesques On 'An der sch, blauen Donau'
  2. Fantasy On 'A Life For The Tsar'
  3. La Cenerentola: Variations On 'Non pita'
  4. Fantasy On 'Don Pasquale', Op.67
  5. Symphonic Metamorphosis On 'Krleben'
  6. 7 Virtuoso Etudes: 7 The Man I Love
  7. 7 Virtuoso Etudes: 1 I Got Rhythm
  8. 7 Virtuoso Etudes: 4 Embraceable You
  9. 7 Virtuoso Etudes: 6 Fascinatin' Rhythm
  10. 7 Virtuoso Etudes: 5 Somebody Loves Me
  11. 7 Virtuoso Etudes: 3 Liza
  12. 7 Virtuoso Etudes: 2 Oh, Lady Be Good

Customer Reviews:

4 out of 5 stars Entertaining.......2007-01-23

A very interesting pianist, this. He's an entertainer as well as a serious musician and he plays entertaining pieces. He is also a first class composer of transcriptions. Some of his charming Gershwin transcriptions (for which he is rightly famous) are included on this CD.

Earl Wild has an interesting pedigree in pianistic terms, having studied (if only briefly) with one of Liszt's many pupils. Technically he is often excellent, but some pieces seem to fall more easily under his fingers than others. For example, on another CD he makes rather a meal of Liszt's Grande Galope Chromatique but on this CD he plays superbly the fiendishly difficult Rachmaninoff arrangement of Mendelssohn's Midsummer Night's Dream Scherzo - a piece which never lets up in its demand for a deft touch, accuracy and speed. Whatismore, the Scherzo is recorded live, so no editing and barely a single wrong note or misplaced phrase. Bear in mind that Rachmaninoff himself is reputed to have had three takes at it before ending up with a recording he was satisfied with! Overall I don't think Wild has the same order of technical ability as Horowitz, Rachmaninoff, Rubinstein, Barere or Cziffra but he does demonstrate the vital ability to make certain pieces sound "right" in his hands. This certainly doesn't manifest itself in everything he plays, but more in the pieces where he seems to feel at home.

He has obviously put a lot of thought and work into some of these recordings and I would single out the Schubert-Tausig March, Rigaudon, the Midsummer Night's Dream Scherzo, his Gershwin and Tschaikovsky transcriptions and the Blue Danube arabesques as particularly charming and well-performed. I doubt anyone could play his beautiful Embraceable You transcription as well as him. The 2nd Hungarian Rhapsody is also good - solidly played and with plenty of gypsy spirit, and he doesn't pull the piece about all over the place like most pianists do. And the Bumblebee isn't bad either. Also excellent is Gluck's Melodie d'Orphee. He plays this beautifully with exquisitely judged balance and tone. It's a shame some of the other pieces aren't quite as good - Isolde's Liebestod is off target, unfortunately.

I think Earl Wild was one of the great transcribers and it's a shame he didn't write a lot more transcriptions because each one is a beautiful addition to the piano literature. His short and sweet transcription of the Pas de Quatre from Swan Lake (which he plays on this CD) is a total masterpiece. He also dared to play entertaining pieces and to indulge in showmanship, and why not? Why should a concert be a dry lecture? Yes, he is one of the great pianists but not because he had a unique sound or technique - more because he was a great and daring performer and because he made a contribution to piano literature for which the world ought to be grateful.

4 out of 5 stars Riveting.......2000-07-03

This is an incredible CD, marred only by audience coughing and the unnecessary, deafening applause at the end of most cuts, reminiscent of a sitcom laugh track (hence the 4 star rating instead of 5); otherwise, it would have been perfect. The excellent selection of music and Wild's virtuoso playing are both marvelous. I was particularly taken with the Bach fuge and the splendid Gershwin transcriptions. Don't miss this one!

5 out of 5 stars A true romantic........2000-06-21

If you've never heard Earl Wild before, this is a good starting point for you. His technique is impeccable and his mastery of tone allows him to play the most intricate music in the clearest manner. I must admit this disc didn't grab my attention from the very beginning. I found many of these recordings to be an inconsequential jingle-jangle of notes with no true meaning. I still feel that way about the two Thalberg pieces. He may have been Liszt's worthy pianistic rival, but as a composer he comes nowhere close to the great Abbée. Here these pieces get as good a performance as they are likely to get. Also I think Moszkowski's arrangement of the D minor Prelude and Fugue is greatly inferior to Busoni's. I don't care for the way it's played here either. It's too rushed for my taste and it sounds too homophonic, I don't hear the counterpoint of the fugue. This, I believe, is the fault of the arranger and performer alike. The rest of the recordings are excellent. Schulz-Evler's Arabesques are brilliantly played although my favourite recording will always be Jorge Bolet's. Godowsky's transcriptions are so complex and crowded with melodic lines and sonorities that it will leave you gasping for breath. Their performance demands technical powers of the highest caliber. Without that the music will drown in notes. Earl Wild posesses precicely this technique, and in his hands these pieces sound spectacular. Henri Herz's variations may lack profundity but are charming nonetheless. The gems on this disc are Wild's "Virtuoso Etudes" after Gershwin. "Concert Etudes" would have been an even more appropriate title, for despite all the virtuosity, harmonic and melodic invention is the true protagonist. The mood ranges from witty to atmospheric and together with Wild's technique and beautiful tone these pieces create a wonderful unioun. Last but definently not least, I would like to mention the Glinka-Balakirev Fantasy. Here the art of transcription is at its peak and as before, Wild is in full command. Here especially is where his musical gifts shines the brightest. He has it all, perfect legato playing, beautiful singing tone and crystal clear pedaling. A flawless performance. Earl Wild is without doubt a member of the pianistic elite, an old school romantic. I for one think he would have deserved a second unit in the "Great Pianists" series.

5 out of 5 stars Redemption of the Transcription.......2000-02-24

Be prepared: the first piece on this album weaves such a magical spell that you may be startled out of your chair by the applause at the end. The bulk of this collection is from a concert performance, and it was a humdinger. Wild not only displays his astonishing virtuosity, but demonstrates that many of these arrangements and transcriptions are valuable pieces of music in their own right. The Rameau becomes 20th-century neoclassicism through Godowsky and Wild. The Arabesques on the Blue Danube Waltzes becomes a more serious piece than the original ever was. And so on: the bottom line is it's an experience that you don't want to miss. The real gems of this collection, however, are not from the live recital: what I find myself going back to again and again are the Gershwin transcriptions by Wild himself. Breath-taking virtuosity, fascinating arrangements, a beautiful recorded sound, and some great tunes!
Hindemith: Symphony "Mathis der Maler" Symphonic Metamorphoses / Walton: Variations on a Theme by Hindemith
Average customer rating: 4 out of 5 stars
  • Imperative CD in your collection!
  • Oh yeah!
  • please...this is hands-down the best recording...
  • The Worst Hindemith CD one could buy!
  • Walton/Szell earn the 5 stars by themselves
 Hindemith: Symphony "Mathis der Maler" Symphonic Metamorphoses / Walton: Variations on a Theme by Hindemith

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000028X0
Release Date: 1993-10-19

Tracks:

  1. Symphony 'Mathis del Maler': I. Engelkonzert
  2. Symphony 'Mathis del Maler': II. Grablegung
  3. Symphony 'Mathis del Maler': III. Versuchung des heiligen Antonius
  4. Symphonic Metamorphoses On Themes Of Carl Maria von Weber: I. Allegro
  5. Symphonic Metamorphoses On Themes Of Carl Maria von Weber: II. 'Turandot, Scherzo'. Moderato- Lebhaft
  6. Symphonic Metamorphoses On Themes Of Carl Maria von Weber: Andantino
  7. Symphonic Metamorphoses On Themes Of Carl Maria von Weber: Marsch
  8. Variations On A Theme By Hindemith

Amazon.com essential recording

Walton's Variations on a Theme of Hindemith is the symphonic masterpiece of his late years. Hindemith himself loved it. The tune is actually the entire first section of the slow movement of the German composer's Cello Concerto, one of his finest melodies. George Szell's performance is simply definitive. In fact, I would go out on a limb and say that purely in terms of the technical quality of the playing, this is one of the top ten classical recordings ever made. It's so close to perfection as to be beyond criticism, and the same holds true for the performance of the Symphonic Metamorphoses. Eugene Ormandy's warmly Romantic Mathis der Maler Symphony is also quite recommendable. At budget price, you can own a little piece of recording history. Stunning. --David Hurwitz

Customer Reviews:

5 out of 5 stars Imperative CD in your collection!.......2005-10-01

It should be noted that George Szell is not exactly one of my devoted and favorite conductors. But I in this case, I would affirm that we are in front maybe, of his best musical achievement: these Variations on a Theme by Hindemith simply can not be played better. Not only is the majestic sound of this emblematic Orchestra but the magnificent approach and total euphoria you may perceive around all the ensemble. Szell was in a superb mood, conferring it the necessary presence, musculature and stamina to the score.

In what concerns to Ormandy 's Mathis Mahler I differ from other reviewers. The Philadelphian strings were out of this world; and constitute almost a nature 's force. The tempo is slow but effective, Ormandy gradually maintains the rhythmic pulsation preparing us through the inscrutable mystery of this emblematic score, one of the most remarkable and possibly the best entrance gate to approach Hindemith as I did. There are two interesting performances about this score that I love so much as an almost forgotten reading of Paul Kletzki with the Suise Romande and obviously the incandescent version of the own composer conducting the Berlin Philharmonic.

In the Symphonic Metamorphoses, there is just a version: Rafael Kubelik and the Chicago Symphony.

5 out of 5 stars Oh yeah!.......2005-05-07

Let me get this out of the way first: the Hindemith pieces by Ormandy are just fantastic.

Now, it's wonderful when one holds an intense opinion about something obscure and then one finds out that others agree with you. This happens a lot with me nowadays with the Monteux RCA recording of Dvorak's Seventh--I've had rooms full of people just stop and join in with "Right On"s when I'd bring that one up. There are moments in that performance that are downright scary.

For decades though I've felt that Szell's recording of Walton's Hindemith Variations was the transcendental recording moment--the sort of thing that could single-handedly sell you on the whole idea of classical music. For one, it's a masterpiece that should permanently stride alongside the Brahms and Elgar variations. The ending of the piece, after all the stunning ideas and fireworks, is one of the most sublime moments in music--hands down. Forget that, it's THE most subime moment in music. For twosers, this isn't so much a musical performance as it is a love-fest. Walton passionately loves Hindemith, Szell passionately loves Walton, the orchestra passionately loves everybody. It's just incredible. Put the kids to bed and listen, they wouldn't understand.

I've tried other performances of this piece and they come nowhere close, miles off. What would be nice is to get the other side of the LP back in print: Szell's tremendous, frightening, recording of Walton's unjustifiably ignored Second Symphony.

5 out of 5 stars please...this is hands-down the best recording..........2004-12-31

Don't know what the previous reviewer (rappaport) was suggesting, but this is one of the crown jewels of Szell's tenure with the Cleveland Orchestra...Yoel Levi? He shines Szell's boots. Sawallisch...? OK in some repertoire, but no George Szell. He's a lacky by comparison...This CD is one of the true bargains of the era. Buy it before it's no longer available. You'll thank us later.

1 out of 5 stars The Worst Hindemith CD one could buy!.......2003-12-02

I find Hindemith's music on this CD far too rushed and played a little too fast. Not every instrument on the Symphonic Metamorphosis is heard, especially in the march and the orchestra totally rushes through the piece. If anybody wants to choose better Symphonic Metamorphosises, they should choose either the recording with Yoel Levi and the Atlanta Symphony Orchestra or the recording with Wolfgang Sawallisch and the Philadelphia Orchestra(I think). The pace is much more slower and better and has more dramatic effect than this recording does. The Mathis der Maler Symphony is about the same way as the Metamorphosis is: The pace is way too fast, and the music sounds more like George Gershwin or Darius Milhaud than actual Hindemith music, as is the Symphonic Metamorphosis recording. The only piece I like on this disc is the Walton Variations on a Theme by Hindemith because that's the only recording that sounds like what the actual piece should sound like. I purchased this CD only to listen to the Walton piece and this William Walton recording by George Szell and the Cleveland Orchestra will tide me over until I find Yoel Levi's Hindemith recording or Wolfgang Sawallisch's recording of those Hindemith works. George Szell is usually like Yoel Levi and Wolfgang Sawallisch but not on this recording. Eugene Ormandy always ignores certain qualities Hindemith's music needs and conducts really fast for no good reason. Conductors of today, like Stuart Malina, respect both Hindemith's Mathis Der Maler Symphony and his Symphonic Metamorphosis. Eugene Ormandy and George Szell seem to not understand Hindemith's music really well and these particular pieces are not suited for either of those two conductors. Herbert Von Karajan conducts twice as fast a Symphonic Metamorphosis as George Szell's and so does his Mathis Der Maler Symphony recording. Don't buy these for Hindemith's music but buy it for the Walton piece if you really want a Hindemith CD so badly.

5 out of 5 stars Walton/Szell earn the 5 stars by themselves.......2003-03-25

David Hurwitz's review of the Walton work is indeed accurate. The crystal clarity, deep intensity, and pristine balance achieved by Szell and the Cleveland players is phenomenal. The only complaint one could make about the recording is the same complaint one usually makes about Glenn Gould recordings: you can hear Szell humming/singing over the orchestra during frenetic passages. The interpretation is definitive. (Compare to the far more recent digitally-recorded Naxos version under Paul Daniel and you'll beeline back to Szell in a heartbeat.) The Hindemith offerings under Ormandy are serviceable, being the first versions of those works to which I was exposed. When they were first released on vinyl (Epic, Columbia), there were precious few options for record collectors for these Hindemith works. This is no longer the case; today, one would be better served looking to Abbado/Berlin or Bernstein/Israel, for a more compelling Mathis der Maler in particular. Blomstedt is also in the running (I caught his live performance of Hindemith's Die Harmonie der Welt symphony in Los Angeles, which was superb AND far better than his recording of that work.) Buy this CD for the Walton, though, and enjoy the Hindemith as a bonus.
Rediscovered (Dig)
Average customer rating: 4.5 out of 5 stars
  • The Rediscovery?
  • AMAZING
  • Rediscovering Leontyne Price
  • Masterful Recital Performance From Price at Her Peak
  • Love Leontyne But Stick To The Studio Gems.
 Rediscovered (Dig)
Leontyne Price
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Opera & Vocal | Styles | Music
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  5. Leontyne Price Christmas Songs Chants de Noel.Weihnachtslieden Wiener Philharmoniker Herbert Von Karajan

ASIN: B00006HCUX
Release Date: 2002-09-10

Tracks:

  1. Applause
  2. Care selve
  3. Bel piacere
  4. Avanti al tuo cospetto; Piangero la sorte mia
  5. He, Zigeuner, greife
  6. Hochgeturmte Rimaflut
  7. Wisst ihr, wann mein Kindchen
  8. Lieber Gott, du weisst
  9. Brauner Bursche f - hrt zum Tanze
  10. Roslein dreie in der Reihe
  11. Kommt dir manchmal in den Sinn
  12. Rote Abendwolken ziehn am Firmament
  13. mamma morta
  14. Tu vois le feu du soir
  15. Main dominee par le coeur
  16. C'est ainsi que tu es, Paganini
  17. Je nommerai ton front
  18. Nocturne, Op. 13 No. 4
  19. The Daisies, Op. 2 No. 1
  20. Sleep Now, Op. 10 No. 2
  21. Winter Song
  22. In the Wand of the Wind
  23. His Name So Sweet
  24. My Soul's Been Anchored in the Lord
  25. Lord, I Just Can't Keep from Cryin'
  26. He's Got the Whole World in His Hands
  27. Chi il bel sogno di Doretta
  28. Summertime
  29. Ecco: respiro appena; Io son l'umile ancella
  30. Vissi d'arte

Customer Reviews:

3 out of 5 stars The Rediscovery?.......2007-05-17

Few sopranos in their prime have consistently
balanced vocal beauty and power as well as Price did.
I'm sure her smooth legatos were the envy of
her contemporaries, and those since. However,
I do not think this album is the best recording
of her live recitals.

Vocally, Price is in great form. I have no
complaints with the voice. My issue is with the
performance as a total package, in it's entirety.
The ambiance and general "feel" of this recording
is odd. To me, it sounds like Price was coaxed into
entertaining a groups of friends after a high society
dinner party; It's as if someone had suggested after dinner,
"Leontyne, why don't you regale us with a few classical
arias?"

Truthfully, this sounds like a completely impromptu performance.
The pianist is on autopilot, banging through each aria
in a fevered, sometimes overbearing bravura. Price
displays excellent musicianship by adjusting to
the volume and varying tempos without compromising
superb artistry. At times, it appears that Price and the
pianist are battling for artistic control. The
audience is obviously in love with her, as well they
should be. They are not reserved in their thunderous
applause and whistles. I personally prefer to hear Price
backed by full orchestra. The rendition of Spirituals
are well sung and sound more appropriate with the piano accompaniment.
"Vissi d'Arte" is regal and elegant, in grand fashion.
"Chi il bel sogno" from La Rondine is a richly
legato master work.

While Leontyne Price's vocal performance on this album is
top-notched, I would only recommend this "rediscovered" performance
as a collection keepsake. For some reason, I can't part
from the feeling that perhaps this recording was never
meant to be released. It's not bad, but by no means is it
definitive of Leontyne Price's remarkable contributions
as an operatic legend.

5 out of 5 stars AMAZING.......2007-02-13

Leontyne Price. Do I need to say anything more. That astoundingly wonderful voice, tremendous dramatic range --- earthy, angelic, strong, tough, tender, playful, loving --- a performer that never grows stale, always fresh and new.

5 out of 5 stars Rediscovering Leontyne Price.......2005-07-28

This magnificent recording is a collection of rare and beautiful arias sung by the gifted lyric-dramatic soprano Leontyne Price, the very first successful black opera diva, who reigned supreme in the 60's and 70's. While there are many full-length operas starring Price, this compilation album is quite refreshing because it's new and lovingly remastered from the original tapes/LPs. Among the arias are Bel Piacere- a Handel piece full of gorgeous ornamentation, Care Salve from Falla's Atlantida, very beautiful and majestic. Other songs include Summertime from Porgy and Bess and songs by Samuel Barber. Leontyne Price had versatility. While she was famous for her Aida, Leonora in Trovatore, Leonora in Forza Del Destino, as Tosca, and as many of the dramatic Verdi and Puccini roles, she sung roles that were modern and thrilling- Cleopatra in Antony and Cleopatra was one. She sang Lieder, she sang Gospel, she was a one-woman opera. This recording is a fitting tribute to her artistry. However there are many other fine compilation albums out there that far surpass even this new one - the best is The Prima Donna Collection, Leontyne Price in Concert, An Evening With Leontyne Price, The Best of Leontyne Price and The Ultimate Leontyne Price.

5 out of 5 stars Masterful Recital Performance From Price at Her Peak.......2005-01-21

World-renowned soprano Leontyne Price can be an intimidating presence on any stage but not on this live concert recording. She lends a warm, lovely presence and of course, her unparalleled voice, to this eclectic program, which amazingly at the age of 38, represented her Carnegie Hall recital debut in 1965. It's hard to imagine her sounding any better than this at any point in her career, and just as importantly, the program reflects her heightened awareness of what serves her powerful voice best. It's a wonderful record of an obviously triumphant evening, and in what must be one of the recording industry's most monumental oversights, it languished in the RCA vault for thirty-seven years.

Price starts with three opera arias from Handel, all very clean in delivery and one especially noteworthy, "Piangerò la sorte mia" from "Giulio Cesare in Egritto". She is simultaneously opulent and regal while displaying a strong sense of pathos as Cleopatra contemplates her fate. The ten-minute Brahms "Zigeunerlieder, Op. 103" is stunning for the freshness she provides with her flexible quicksilver tones, all delivered in her very expressive German. The four Poulenc selections are delivered in a such a delicate manner that it can only be described as buttery, and as such, perfect for the Gallic verses. And her big opera moment comes with Giordano's "La mamma morta" from "Andrea Cénier" sung with her requisite passion. Regardless though, Price really soars with the American selections where her voice takes on an added dimension of humanity. She begins this portion with three stellar selections from Samuel Barber, all shimmering showcases for her voice: the haunting "Nocturne, Op. 13 No. 4", the light and airy "The Daisies, Op. 2 No. 1" and the near spiritual "Sleep Now, Op. 10 No. 2". These segue seamlessly into two lush pieces by the relatively unknown Lee Hoiby, who wrote specifically for Price. For me personally, the high points of the entire recording are the four spirituals, which she sings with an unearthly combination of roof-raising conviction and clarion tones. She concludes with classic arias from Puccini and Cilea and of course, her definitive version of George Gershwin's "Summertime". This is as fulfilling a recital as you could possibly hear from this wondrous singer. Essential listening.

3 out of 5 stars Love Leontyne But Stick To The Studio Gems........2004-03-04

I have been an admirer of the great Price since I was a boy of 10 after discovering her tremendous recoding of "Carmen" with the greats Corelli, Freni, and von Karajan. In my humble opinion, the greatest period of her voice was the 50's-60's, where her incredible force and power were nicely balanced with a lyric openness and clarity. This live recording stems from that most golden period, before the more unattractive Price qualities came into play in the early-mid 70's - a major tendency to scoop and slide, a lack of crisp enunciation, and a cloudy timbre. Be that as it may, I was disappointed with this performance on a whole. Simply put, with the exception of the Spirituals, I find Ms. Price's performance uncommitted and almost like she is rushing through from one number to the next. This might be the "fault" of her accompanist, David Garvey. In every instance where a duplicate version exists in a studio recording by Ms. Price, I wholeheartedly prefer those over these live ones. Usually artists are even more committed and intense when performing before the public. I simply do not find that intensity here. My advice - stick to the great studio recordings or, at least, different live recordings, of which I know exist but have not as of yet purchased.
R. Strauss: Also Sprach Zarathustra, Op. 30; Metamorphoses
Average customer rating: 4 out of 5 stars
  • Haenchen is ever reliable and a sound guide
 R. Strauss: Also Sprach Zarathustra, Op. 30; Metamorphoses

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001VKG
Release Date: 1995-10-24

Tracks:

  1. Intro
  2. Of The Dwellers In The World Beyond
  3. Of The Great Yearning
  4. Of Joys And Passions
  5. Funeral Song
  6. Of Science
  7. The Convalescent
  8. Dance Song
  9. Night Wanderer's Song
  10. Metamorphoses

Customer Reviews:

4 out of 5 stars Haenchen is ever reliable and a sound guide.......2000-05-24

It is with some trepidation that I submit a review for one of Strauss's greatest and oft-recorded tone poems. I especially feel that I have inadequate comparison resources because I do not own any of the Reiner, Koussetivsky (sp), analog Karajans, the Sony and EMI Ormandy's, Solti, and Kempe, among other notable interpreters of this wonderful stuff.

However, having compared Karajan's last digital effort (DG) with Ormandy's analogue RCA and Haenchen, I think Haenchen wins out. No, he doesn't have some of the special touches that Karajan has, but Karajan is a little slow, though not boring. Ormandy is wonderful until the RCA engineers destroy the intent behind Strauss's orchestration by spotlighting the violin solo, which turns up in the listener's lap. What Haenchen has is an over-all structural view, breadth, and other-worldly conception that matches his more famous colleagues, and an orchestra that can execute it, albeit lacking the last ounce of virtuosity or tonal splendor...but not by much.

Recorded in the Concertgebouw, the listener gets plenty of hall ambience. There is no spotlighting, and the dynamic range is fine. The engineering could have been a little less clinical and cold sounding with more detail, but it certainly puts RCA's efforts for Ormandy in the shade.

The famous opening statement points to all of Haenchen's strengths: whereas Karajan lets you know that he's driving one of the world's finest orchestras, highlighting dynamic contrasts in those first 2 minutes, and Ormandy wants you to remember that there are cymbal crashes, Haenchen brings a blended, well-thought synthesis of the orchestration, with an enthusiastic and responsive tympanist. Only the volume of the organ disappoints slightly. However, the rumble (echo) at the end of that first statement is a perfect lead-in to the other-worldly sounds of the next section (The Backwoodsmen).

Two other sections worth noting. The Convalescent section in Karajan is pokey and too smooth--Strauss asks for marcato. Ormandy's players give that in spades, and among these three recordings, his Convalescent is really the best; however, Haenchen's tempo is well-judged, and the orchestra plays with passion. He could've taken slightly more rubato before the final fortissimo passage that transitions to the quiet part of this section, but it is good nonetheless.

Finally, the all-important violin solo honors most go to Haenchen. Sure, Karajan's soloist is just fine, but the engineering in Haenchen gives you the perspective that Strauss wanted, and the accompanying voices are perfectly balanced. In Ormandy's recording, the soloist is very closely miked, destroying that, and you hear every stupid scratch and the frequent intonation corrections (it's a hard solo, full of double stops).

So the short of it is: even though Haenchen is hardly a household name, the Netherlands Philharmonic is neither Berlin Phil or The Philadelphia, and the cost of the disk is negligable, this is an excellent performance worthy of your time and money, even with some fuzzy and clnical engineering. Hesitate not.
John Mack, Oboe Mozart: Quartet, K.370/Loeffler: Deux Rhapsodies/Paladilhe: Solo De Concert/Britten: Six Metamorphoses
Average customer rating: 4.5 out of 5 stars
  • Great Music -- So-so Sound Quality
  • John Mack is awesome
  • Discover the Loeffler
  • Mack is the Man
 John Mack, Oboe Mozart: Quartet, K.370/Loeffler: Deux Rhapsodies/Paladilhe: Solo De Concert/Britten: Six Metamorphoses

Manufacturer: Crystal Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003J3H
Release Date: 1993-06-25

Tracks:

  1. Quartet In F, For Oboe & Strings, K. 370: Allegro
  2. Quartet In F, For Oboe & Strings, K. 370: Adagio
  3. Quartet In F, For Oboe & Strings, K. 370: Rondeau: Allegro
  4. Deux Rhapsodies for Oboe, Viola, & Piano: L'Etang
  5. Deux Rhapsodies for Oboe, Viola, & Piano: La Cornemuse
  6. Solo de Concert
  7. Six Metamorphoses after Ovid: Pan
  8. Six Metamorphoses after Ovid: Phaeton
  9. Six Metamorphoses after Ovid: Niobe
  10. Six Metamorphoses after Ovid: Bacchus
  11. Six Metamorphoses after Ovid: Narcissus
  12. Six Metamorphoses after Ovid: Arethusa

Customer Reviews:

3 out of 5 stars Great Music -- So-so Sound Quality.......2004-12-01

I have always been a great fan of the oboe. So more than anything, I was looking for a CD that would faithfully reproduce the sound of the instrument. While John Mack is clearly a virtuoso, and the musical selections are beautiful, the recording is not up to par.

There is a tremendous amount of surface noise from the original tape machine (or perhaps a turntable if this was transferred from vinyl). In addition, there is an intermittent flapping noise that seems to be an exaggeration of the sound of keys being quickly pressed and released. But it's the surface noise that spoils it for me.

5 out of 5 stars John Mack is awesome.......2002-10-31

John Mack has always been one of the best to play the oboe, and on this CD he is no exception. A fun and lively Mozart Quartet, gorgeous Loeffler Rhapsodies, and a rich recording of the Britten. I am never disappointed by Mack's performances...he consistently has a beautiful sound with such smooth phrasing. He is truly a 5 star musician.

5 out of 5 stars Discover the Loeffler.......2001-03-19

All of John Mack's performances on this disc are wonderful, but the Loeffler is an amazing work that is well worth hearing. I've also had the pleasure of playing this piece and wish we could hear moe of this composers work.

5 out of 5 stars Mack is the Man.......2000-12-10

John Mack is, needless to say, an amazing musician and a brilliant oboe player, and this disc is an excellent representation of his art. I especially love the Loeffler trio, which I think is such a beautiful piece, and here we get to enjoy the combination of Mack's gorgeous sound with the luscious warmth of the viola in ways I wish more romantic composers had explored! An unusual collection of music but well worth a listen (or two, or seven...)!

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