1.0 [Enhanced]

Amazon.com
A scorching debut from this band who call the Piedmont region of Italy home. It starts off like a techno album, and it's quite a kick when the Scottish war pipes burst into the title track, an homage to modern women. But that's just the tip of the iceberg. Like a paisano version of Afro Celt Sound System, Fiamma Fumana deftly balance Italian folk, dance beats, and a Celtic influence that never becomes overwhelming. Singer Fiamma possesses a deeply seductive voice, which works liltingly with a slow piece like "Hypnananna," but is equally at home on the more upbeat material. Most of the songs are originals, but even the traditional "Four Piedmontese"--the Italian equivalent of an American outlaw ballad--sounds modern, with button accordion and guitar. And dance fans will have a field day with the Fumana Folk Sound System remix of "1.0" where the machines take over and transform the cut into dancefloor heaven. Assured and accomplished, Fiamma Fumana cross genres and geography in a single bound. --Chris Nickson

Tracks:

Str Qt in E flat, Op.0: I. Presto
Str Qt in E flat, Op.0: II. Menuetto
Str Qt in E flat, Op.0: III. Adagio
Str Qt in E flat, Op.0: IV. Menuetto
Str Qt in E flat, Op.0: V. Finale: Presto
Str Qt in B flat, Op.1 No.1: I. Presto
Str Qt in B flat, Op.1 No.1: II. Menuetto
Str Qt in B flat, Op.1 No.1: III. Adagio
Str Qt in B flat, Op.1 No.1: IV. Menuetto
Str Qt in B flat, Op.1 No.1: V. Presto
Str Qt in E flat, Op.1 No.2: I. Allegro
Str Qt in E flat, Op.1 No.2: II. Menuetto
Str Qt in E flat, Op.1 No.2: III. Adagio
Str Qt in E flat, Op.1 No.2: IV. Menuetto
Str Qt in E flat, Op.1 No.2: V. Presto
Str Qt in D, Op.1 No.3: I. Adagio
Str Qt in D, Op.1 No.3: II. Menuetto
Str Qt in D, Op.1 No.3: III. Presto
Str Qt in D, Op.1 No.3: IV. Menuetto
Str Qt in D, Op.1 No.3: V. Finale: Presto

Tracks:

Str Qt in G, Op.1 No.4: I. Presto
Str Qt in G, Op.1 No.4: II. Menuetto
Str Qt in G, Op.1 No.4: III. Adagio Ma Non Tanto
Str Qt in G, Op.1 No.4: IV. Menuetto
Str Qt in G, Op.1 No.4: V. Presto
Str Qt in C, Op.1 No.6: I. Presto Assai
Str Qt in C, Op.1 No.6: II. Menuetto
Str Qt in C, Op.1 No.6: III. Adagio
Str Qt in C, Op.1 No.6: IV. Menuetto
Str Qt in C, Op.1 No.6: V. Finale: Presto
Str Qt in A, Op.2 No.1: I. Allegro
Str Qt in A, Op.2 No.1: II. Menuetto
Str Qt in A, Op.2 No.1: III. Adagio
Str Qt in A, Op.2 No.1: IV. Menuetto
Str Qt in A, Op.2 No.1: V. Allegro Molto

Tracks:

Str Qt in E, Op.2 No.2: I. Allegro Molto
Str Qt in E, Op.2 No.2: II. Menuetto
Str Qt in E, Op.2 No.2: III. Adagio
Str Qt in E, Op.2 No.2: IV. Menuetto
Str Qt in E, Op.2 No.2: V. Finale: Presto
Str Qt in F, Op.2 No.4: I. Presto
Str Qt in F, Op.2 No.4: II. Menuetto
Str Qt in F, Op.2 No.4: III. Adagio
Str Qt in F, Op.2 No.4: IV Menuetto: Allegretto
Str Qt in F, Op.2 No.4: V. Allegro
Str Qt in B flat, Op.2 No.6: I. Adagio
Str Qt in B flat, Op.2 No.6: II. Menuetto
Str Qt in B flat, Op.2 No.6: III. Presto: Scherzo
Str Qt in B flat, Op.2 No.6: IV. Menuetto
Str Qt in B flat, Op.2 No.6: V. Presto

Tracks:

Str Qt in C, Op.9 No.1: I. Moderato
Str Qt in C, Op.9 No.1: II. Menuetto: Un Poco Allegretto
Str Qt in C, Op.9 No.1: III. Adagio
Str Qt in C, Op.9 No.1: IV. Finale: Presto
Str Qt in E flat, Op.9 No.2: I. Moderato
Str Qt in E flat, Op.9 No.2: II. Menuetto
Str Qt in E flat, Op.9 No.2: III. Adagio
Str Qt in E flat, Op.9 No.2: IV. Finale: Allegro Molto
Str Qt in G, Op.9 No.3: I. Allegro Moderato
Str Qt in G, Op.9 No.3: II. Menuetto
Str Qt in G, Op.9 No.3: III. Largo
Str Qt in G, Op.9 No.3: IV. Finale: Presto
Str Qt in d, Op.9 No.4: I. Moderato
Str Qt in d, Op.9 No.4: II. Menuetto
Str Qt in d, Op.9 No.4: III. Adagio Cantabile
Str Qt in d, Op.9 No.4: IV. Finale: Presto

Tracks:

Str Qt in B flat, Op.9 No.5: I. Poco Adagio: Theme And Vars
Str Qt in B flat, Op.9 No.5: II. Menuet: Allegretto
Str Qt in B flat, Op.9 No.5: III. Largo Cantabile
Str Qt in B flat, Op.9 No.5: IV. Finale: Presto
Str Qt in A, Op.9 No.6: I. Presto
Str Qt in A, Op.9 No.6: II. Menuetto
Str Qt in A, Op.9 No.6: III. Adagio
Str Qt in A, Op.9 No.6: IV. Finale: Presto
Str Qt in E, Op.17 No.1: I. Moderato
Str Qt in E, Op.17 No.1: II. Menuet
Str Qt in E, Op.17 No.1: III. Adagio
Str Qt in E, Op.17 No.1: IV. Finale: Presto
Str Qt in F, Op.17 No.2: I. Moderato
Str Qt in F, Op.17 No.2: II. Menuet: Poco Allegretto
Str Qt in F, Op.17 No.2: III. Adagio
Str Qt in F, Op.17 No.2: IV. Finale: Allegro Di Molto

Tracks:

Str Qt in E flat, Op.17 No.3: I. Andante Grazioso
Str Qt in E flat, Op.17 No.3: II. Menuet: Allegretto
Str Qt in E flat, Op.17 No.3: III. Adagio
Str Qt in E flat, Op.17 No.3: IV. Allegro Di Molto
Str Qt in c, Op.17 No.4: I. Moderato
Str Qt in c, Op.17 No.4: II. Menuet: Allegretto
Str Qt in c, Op.17 No.4: III. Adagio Cantabile
Str Qt in c, Op.17 No.4: IV. Finale: Allegro
Str Qt in G, Op.17 No.5: I. Moderato
Str Qt in G, Op.17 No.5: II. Menuet: Allegretto
Str Qt in G, Op.17 No.5: III. Adagio
Str Qt in G, Op.17 No.5: IV. Finale: Presto
Str Qt in D, Op.17 No.6: I. Presto
Str Qt in D, Op.17 No.6: II. Menuet
Str Qt in D, Op.17 No.6: III. Largo
Str Qt in D, Op.17 No.6: IV. Finale: Allegro

Tracks:

Str Qt in E flat, Op.20 No.1: I. Allegro Moderato
Str Qt in E flat, Op.20 No.1: II. Menuet: Un Poco Allegretto
Str Qt in E flat, Op.20 No.1: III. Affettuoso E Sostenuto
Str Qt in E flat, Op.20 No.1: IV. Finale: Presto
Str Qt in C, Op.20 No.2: I. Moderato
Str Qt in C, Op.20 No.2: II. Capriccio: Adagio
Str Qt in C, Op.20 No.2: III. Menuet: Allegretto
Str Qt in C, Op.20 No.2: IV. Fuga A Quattro Soggeti: Allegro
Str Qt in g, Op.20 No.3: I. Allegro Con Spirito
Str Qt in g, Op.20 No.3: II. Menuet: Allegretto
Str Qt in g, Op.20 No.3: III. Poco Adagio
Str Qt in g, Op.20 No.3: IV. Allegro Di Molto

Tracks:

Str Qt in D, Op.20 No.4: I. Allegro Di Molto
Str Qt in D, Op.20 No.4: II. Un Poco Adagio E Affettuoso
Str Qt in D, Op.20 No.4: II. Menuet Alla Zingarese
Str Qt in D, Op.20 No.4: IV. Presto E Scherzando
Str Qt in f, Op.20 No.5: I. Moderato
Str Qt in f, Op.20 No.5: II. Menuet
Str Qt in f, Op.20 No.5: III. Adagio
Str Qt in f, Op.20 No.5: IV. Fuga A Due Soggetti
Str Qt in A, Op.20 No.6: I. Allegro Di Molto E Scherzando
Str Qt in A, Op.20 No.6: II. Adagio
Str Qt in A, Op.20 No.6: III. Menuetto
Str Qt in A, Op.20 No.6: IV. Fuga A Tre Soggetti: Allegro

Tracks:

Str Qt in b, Op.33 No.1: I. Allegro Moderato
Str Qt in b, Op.33 No.1: II. Scherzo: Allegro
Str Qt in b, Op.33 No.1: III. Andante
Str Qt in b, Op.33 No.1: IV. Presto
Str Qt in E flat, Op.33 No.2 'The Joke': I. Allegro Moderato, Cantabile
Str Qt in E flat, Op.33 No.2 'The Joke': II. Scherzo: Allegro
Str Qt in E flat, Op.33 No.2 'The Joke': III. Largo Sostenuto
Str Qt in E flat, Op.33 No.2 'The Joke': IV. Finale: Presto
Str Qt in C, Op.33 No.3 'The Bird': I. Allegro Moderato
Str Qt in C, Op.33 No.3 'The Bird': II. Scherzo: Allegretto
Str Qt in C, Op.33 No.3 'The Bird': III. Adagio
Str Qt in C, Op.33 No.3 'The Bird': IV. Rondo: Presto

Tracks:

Str Qt in B flat, Op.33 No.4: I. Allegro Moderato
Str Qt in B flat, Op.33 No.4: II. Scherzo: Allegretto
Str Qt in B flat, Op.33 No.4: III. Largo
Str Qt in B flat, Op.33 No.4: IV. Presto
Str Qt in G, Op.33 No.5: I. Vivace Assai
Str Qt in G, Op.33 No.5: II. Largo E Cantabile
Str Qt in G, Op.33 No.5: III. Scherzo: Allegro
Str Qt in G, Op.33 No.5: IV. Finale: Allegretto
Str Qt in D, Op.33 No.6: I. Vivace Assai
Str Qt in D, Op.33 No.6: II. Andante
Str Qt in D, Op.33 No.6: III. Scherzo: Allegretto
Str Qt in D, Op.33 No.6: IV. Finale: Allegretto
Str Qt in d, Op.42: I. Andante Ed Innocentemente
Str Qt in d, Op.42: II. Menuet
Str Qt in d, Op.42: III. Adagio E Cantabile
Str Qt in d, Op.42: IV. Finale: Presto

Tracks:

Str Qt in B flat, Op.50 No.1: I. Allegro
Str Qt in B flat, Op.50 No.1: II. Adagio Non Lento
Str Qt in B flat, Op.50 No.1: III. Poco Allegretto
Str Qt in B flat, Op.50 No.1: IV. Finale: Vivace
Str Qt in C, Op.50 No.2: I. Vivace
Str Qt in C, Op.50 No.2: II. Adagio Cantabile
Str Qt in C, Op.50 No.2: III. Menuetto: Allegretto
Str Qt in C, Op.50 No.2: IV. Finale: Vivace Assai
Str Qt in E flat, Op.50 No.3: I. Allegro Con Brio
Str Qt in E flat, Op.50 No.3: II. Andante Piu Tosto Allegretto
Str Qt in E flat, Op.50 No.3: III. Menuetto: Allegretto
Str Qt in E flat, Op.50 No.3: IV. Finale: Presto

Tracks:

Str Qt in f#, Op.50 No.4: I. Allegro Spirito
Str Qt in f#, Op.50 No.4: II. Andante
Str Qt in f#, Op.50 No.4: III. Menuetto
Str Qt in f#, Op.50 No.4: IV. Fuga: Allegro Moderato
Str Qt in F, Op.50 No.5: I. Allegro Moderato
Str Qt in F, Op.50 No.5: II. Poco Adagio
Str Qt in F, Op.50 No.5: III. Menuetto
Str Qt in F, Op.50 No.5: IV. Finale: Vivace
Str Qt in D, Op.50 No.6 'The Frog': I. Allegro
Str Qt in D, Op.50 No.6 'The Frog': II. Poco Adagio
Str Qt in D, Op.50 No.6 'The Frog': III. Menuetto: Allegretto
Str Qt in D, Op.50 No.6 'The Frog': IV. Finale: Allegro Con Spirito

Tracks:

Str Qt inG, Op.54 No.1: I. Vivace Assai
Str Qt inG, Op.54 No.1: II. Allegretto
Str Qt inG, Op.54 No.1: III. Menuet
Str Qt inG, Op.54 No.1: IV. Vivace
Str Qt in C, Op.54 No.2: I. Vivace
Str Qt in C, Op.54 No.2: II. Adagio -
Str Qt in C, Op.54 No.2: III. Menuetto: Allegretto
Str Qt in C, Op.54 No.2: IV. Adagio
Str Qt in E, Op.54 No.3: I. Allegretto
Str Qt in E, Op.54 No.3: II. Largo
Str Qt in E, Op.54 No.3: III. Menuetto: Allegretto
Str Qt in E, Op.54 No.3: IV. Finale: Presto

Tracks:

Str Qt in A, Op.55 No.1: I. Allegro
Str Qt in A, Op.55 No.1: II. Adagio Cantabile
Str Qt in A, Op.55 No.1: III. Menuet
Str Qt in A, Op.55 No.1: IV. Finale: Vivace
Str Qt in f, Op.55 No.2 'The Razor': I. Andante
Str Qt in f, Op.55 No.2 'The Razor': II. Allegro
Str Qt in f, Op.55 No.2 'The Razor': III. Menuetto: Allegretto
Str Qt in f, Op.55 No.2 'The Razor': IV. Presto
Str Qt in B flat, Op.55 No.3: I. Vivace Assai
Str Qt in B flat, Op.55 No.3: II. Adagio Ma Non Troppo
Str Qt in B flat, Op.55 No.3: III. Menuetto
Str Qt in B flat, Op.55 No.3: IV. Presto

Tracks:

Str Qt in C, Op.64 No.1: I. Allegro Moderato
Str Qt in C, Op.64 No.1: II. Menuet: Allegro Ma Non Troppo
Str Qt in C, Op.64 No.1: III. Allegretto Scherzando
Str Qt in C, Op.64 No.1: IV. Finale: Presto
Str Qt in b, Op.64 No.3: I. Allegro Spirito
Str Qt in b, Op.64 No.3: II. Adagio Ma Non Troppo
Str Qt in b, Op.64 No.3: III. Menuet: Allegretto -

Amazon.com's Best of 2001

A massive set--67 string quartets on 21 discs in a budget-priced, shelf-friendly, compact box. So the obvious question is: do you need it? The equally obvious answer is a resounding "yes" if you love these endlessly inventive quartets and if you appreciate superbly played performances that capture both the letter and the spirit of Haydn's genius. The Angeles String Quartet isn't as well known as some ensembles that have recorded complete Haydn sets, but they are superior to all, with the arguable exception of the Tatrai Quartet. They demonstrate technical polish and rich, warm sound that's never cloying. And they give these works the forward-moving impetus they need within a classical framework, eschewing both anachronistic Romanticism and the mechanical astringency of period specialists.

The Angeles Quartet is unique in its mastery of early as well as late works, in tune with Haydn's stylistic development and sensitive to the attractions of each of these remarkable pieces. So they infuse the visionary slow movements of the late quartets with the appropriate depth and at the same time revel in the muscularity of the Opus 76 No.2's catchy Menuetto, the humor of the "Joke" Quartet, Opus 33 No.2, and the power of the Allegro con spirito of Opus 76 No.1. Most impressive is their way with the early quartets--no small matter when you consider that the contents of the first six discs precede the Opus 20 set generally considered as signaling the maturity of the form. The Angeles make even the earliest quartets, five-movement divertimentos for four strings, a habit-forming delight. Their playing here is full of exuberance, wittily playful and rough, peasantlike by turns. The sonics are outstanding, too, well-balanced, warm, and lifelike. An indispensable recording. --Dan Davis

Customer Reviews:

A superb Haydn benchmark.......2007-06-28

It takes a lot of time to grasp Haydn's music, because there's much of everything: symphonies, piano sonatas, operas, piano trios, string quartets, choral works, songs, etc. - in sum, more than one thousand individual works. It will probably take more than a year listening to it all, and comprehend it as well (i.e., not as "background music"). Few, if any person, can have a complete grasp of everything he wrote.

But there are nonetheless good reasons trying to grasp Haydn's music, at least partly. This bargain set - 68 string quartets on 21 CDs - is a perfectly good reason. Haydn's string quartets contain some of his finest music. And the present recordings with Angeles Quartet are simply superb. Unlike many period instrument performers, Angeles Quartet avoids meticulous mannerism and plays this music with energy and passion, without loosing structural control. Furthermore, the recordings are excellent, with a rich, creamy and spacious sound. In short, great performances and excellent engineering. A benchmark recording, no less.

There are some rival complete sets: Aeolian Quartet (Decca), Festetics Quartet (period instrument performances, Arcana), Tátrai (Hungaroton), and Kodaly Quartet (Naxos). In terms of sound, the present set is clearly preferable. In terms of performances, the only serious rival is Tátrai Quartet's classic collection from the sixties. But Angeles Quartet is not a second choice. If you hesitate, you need both. Budget and shelf space minded collectors need not hesitate.

Perfect Dinner Music.......2007-05-14

Some might be offended at the idea that music be played in the background to accompany a fine meal, but in fact most of us listen to music in the background. This entire set of 15-CDs is (to my ears) the perfect music to accompany a delicious meal with someone you love. I have owned this CD set for years and never tire of it.

I have found that after listening to it hundreds of times that using iTunes in shuffle mode keeps it fresh.

Delightful Background Music.......2006-03-04

This music is a great buy, and wonderful to listen to while doing desk work or reading.

The Angeles String Quartet does an excellent job, and all of the works are so tuneful that I frequently found myself walking around the house humming the tunes after hearing a quartet for the first time.

He truly is the father of string quartets!.......2005-09-27

This may not be true as far as the instrumentation is concerned, but Haydn is one of the first to explore them as more than a solo violin with a trio accompaniment (second violin, viola and cello), thus giving the chamber music a new dimension.

If you've already explored Haydn's universe through some of his glorious symphonies, these string quartets are an excellent way of further expanding your appreciation of Haydn's music. There are very few dull moments in this lot (and almost all of them are to be found in his early quartets, while there are a few in his very latest works, where he seems to have lost the energy and brio that had established him as one of the best composers of his time). His first works have five movements and ressemble the divertimenti or serenatas. Later on, his quartets took a form which was to become standard, both for Haydn and other composers: four movements - a fast one, a slow one, a minuet and trio and a fast finale.

If one listens to Haydn's string quartes in chronological order, one can feel and appreciate his growth and maturity as a composer. The motives introduced during the first movement are developed over the entire work entity, the increasing use of first movements that are monothematic, the expansion of harmonic usage, the combination of serious with funny, intellectual with ridicule, etc.

Both Mozart and Beethoven wrote famous series of string quartets, but I've always liked Haydn's quartets the most. My personal favorites are op. 76 (especially no 3, which later on became the German National Anthem), op. 64 (especially no 5 called "The lark") and op. 33 (where Haydn introduced special effects, like a birdcall, which gave the third quartet its name).

A matter of taste?.......2005-05-31

It is something unpleasant about the sound here; it is resonant, yes, but not like the Takacs quartet. Comparing to the Takacs' take on op.76/1, 2 & 3, which I love, the Angeles' makes me think of a grey substance, sterile, antiseptic, of no life. Is it the sound quality? Or is it the way the quartet is playing? I think the latter, but it is difficult to figure out what is wrong; in fact I don't find any serious miscalculations. The problem is that the playing feels calculated; it is some kind of contrived perfection, it all feels too concious; I feel something wrong about the accent, the stress of the phrasings... but I give up: Suffice it to say that I regret I bought this collection of boring performances. Three stars for professional playing. If you like some human touch, go for the Aeolian quartet, less perfection, more life.

Average customer rating:

Bach Organ Works - Helmut Walcha
Glorious
Religious experience.
A real bargain at under $100
Heavenly music

Bach: The Organ Works (Box Set)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

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

Bach: WTC; Goldberg Variations
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ASIN: B00004SAAX
Release Date: 2001-10-09

Customer Reviews:

Bach Organ Works - Helmut Walcha.......2007-01-05

I never thought I would like Bach's organ works as they can be dense and daunting. However, if you can get onto Bach's wavelength, he can transport you to an electric cosmos of beauty and enlightenment. I was given a collection of Bach organ LPs by Helmut Walcha some time ago. My friend said that Germans regard Walcha as the premier interpreter of this music. He certainly knows how to play the organ and this music soars in his hands. This music is more varied than most people imagine. Some is extremely simple and delicate while some crushes your brain! I have always loved Archive recordings and these did not disappoint!

Glorious.......2006-07-01

Helmut Walcha was named my TIME as "the" Bach interpreter for organ. I think that is true more than ever today with all the influences of the French Romantic school, the slam-dunk American style and the avant garde crowd. The recording has a German sound, quintessentially Teutonic in both style and approach. While Bach sounds different and even magnificient on an Aristide Cavaillé-Coll organ it does not sound authentic - or as we perceive authenticity.

The fact that the artist is blind(!) means that unlike other folks who can use the music as aids, he must rely on his phenomenal memory. This is truly the stuff of genius. The sonatas are brilliant and I have never heard a better B Minor Prelude & Fugue. I only with that his stupendous "Kunst der Fuge" could have been transferred from record to CD.

Religious experience........2006-03-04

This set of many Bach's Organ works by Helmut Walcha is, in my opinion, the greatest recording of these immortal treasures. There are almost all of Bach's Preludes and Fugues for organ, as well as many fantasias, miscallenous works and his chorals for this instrument. Walcha plays with utmost respect to the original scores, his playing is clear and powerful. Many other organists have allowed themselves quite a bit of experiment with these pieces (likes of Ton Koopman are over the top), but in the end, i've always came back to Walcha's renditions. If you want to treat yourself with some of the greatest music ever written, then get this rare set! Bach's organ music can be challenging at first, especially the fugues, and many of my friends have complained that they hear nothing else than noise in these pieces. I suppose you have to have listened this kind of music for quite some time, before you can wholly appreciate these unique pieces. But once you have, you find a world full of riches and wonder, world which only Bach can bring you. And this is a world i wouldn't change for any riches in the world.

A real bargain at under $100.......2005-12-20

It is hard to express in words what an incredible achievement this is. The immense feats of memory alone, demanding far greater efforts than sighted performers face, command our respect. So does the consistent quality of Walcha's playing.

Bach's almost mathematical absorbtion with fugue lies at the centre of his genius. He was an organist first and foremost, an organist all his life. Like Bach, Walcha is an obsessive controller who uses music to shape his world. He treats each piece as a treasure to be cherished and burnished, and this makes him the greatest Bach organist since Schweitzer. We are told that Bach would travel miles to hear great organists perform, and Helmut Walcha is just such an organist as those.

The magnificent instrument used here is celestial in tone. To those for whom Bach fugues conjure up images of Christopher Lee playing Dracula, or dull Sundays in church, here is one of the great achievements of Western civilization, a glittering pinnacle of Baroque art, performed by a great modern spirit, in one handy box. You can't have Michaelangelo ceilings in your home, or Bernini bronzes in your living room, but by golly, you can put this on your stereo.

Heavenly music.......2005-02-23

I'm not a big organ music fan- maybe it's because it reminds this atheist too much of church! But the music here by Bach, and especially the playing by Walcha are just fantastic. I was dubious that I could find interest in 11 CDs of organ music, but I'm enthralled by every minute of each disc. A wonderful bargain!

Average customer rating:

Some of the best Bruckner on disc
Solti's Sine Qua Non of Brucker Ninths
It's that superb brass
Bruckner will not get any better than this!
4.5 stars- A great and vividly recorded Bruckner boxed set

Anton Bruckner: The Symphonies

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0000042ED
Release Date: 1996-07-08

Tracks:

I. Allegro
II. Andante
III. Scherzo: Presto
IV. Finale: Moderato

Tracks:

I. Allegro
II. Adagio
III. Scherzo: Schnell - Trio: Langsamer
IV. Finale: Bewegt, Feurig

Tracks:

I. Moderato
II. Andante: Feierlich, Etwas Bewegt
III. Scherzo: Massig Schnell
IV. Finale: Mehr Schnell
I. Adagio - Allegro

Tracks:

II. Adagio, Sehr Langsam
III. Scherzo: Molto Vivace (Schnell)
IV. Finale: Adagio - Allegro Moderato

Tracks:

I. Gemassigt, Mehr Bewegt, Misterioso
II. Andante: Bewegt, Feierlich, Quasi Adagio
III. Scherzo: Ziemlich Schnell
IV. Finale: Allegro

Tracks:

I. Bewegt, Nicht Zu Schnell
II. Andante Quasi Allegretto
III.Scherzo: Bewegt
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Majestoso
II. Adagio: Sehr Feierlich
III. Scherzo: Nicht Schnell - Trio: Langsam
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Adagio: Sehr Feierlich Und Sehr Langsam
III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
IV. Finale: Bewegt, Doch Nicht Zu Schnell

Tracks:

I. Allegro Moderato
II. Scherzo: Allegro Moderato - Trio: Langsam
III. Adagio: Feierlich Langsam, Doch Nicht Schleppend
IV. Finale: Feierlich, Nicht Schnell

Tracks:

I. Feierlich, Misterioso
II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
III. Adagio: Langsam, Feierlich

Customer Reviews:

Some of the best Bruckner on disc.......2007-05-31

Anton Bruckner was as organist all his life. He so loved the instrument that he actually requested to be buried under the instrument on which he served the longest tenure. No better description can be given to his music other than "organ-like". Listen to the symphonies and youll understand why. These works, espeically the later ones (4-9) contain some of the most emotionally charged, thrilling, sonic passages you will ever hear an orchestra play. Fast changes from loud to soft, thick orchestrations and beautiful chords and harmonies make these symphonies the epitome of romanticism. Bruckner was writing music that was well advanced for his time (the adagio of the 7th symphony is a music theory student's nightmare!), many would have considered his pieces "daring" or "strange" when they were written. The CSO and Solti definately capture the essence of these pieces, and with one of the world's greatest brass sections playing some of the most brass-heavy symphonies, how could you go wrong?

Solti's Sine Qua Non of Brucker Ninths.......2006-05-18

Let me state very succinctly and unequivocally that there is no other Bruckner 9th on earth I can listen to with such rapt, undiminished joy as Solti's.

The overpowering (almost terrifying) coda of the first movement hits the listener like some inexorable, demonic force of Nature, thanks exclusively to Solti's stealth-like tempo and slow-mounting crescendo, where the CSO's thundering brass suddenly takes on a life and will of its own. Once you experience (and survive) the impact of this near-cosmic cataclysm -- sorry, I tend to wax hyperbolical with this particular work -- no other recording will ever satisfy. (Psst! -- and just wait until God Himself throws open the Celestial Gates (TWICE!) in the third movement.)

Although Solti is by no means my favorite Bruckner conductor -- consider Knappertsbusch's underrated, yet unparalleled, SCHALK VERSION! for the Fifth; Haitink and the Concertgebouw for the Third; Anton Nanut and the Ljubljana for the Eighth; Erich Leinsdorf and the Boston Symphony (LP only) for the Fourth; Sawallisch and the Bavarian State Orchestra for the Sixth -- I nonetheless award 5 generous stars to this boxed edition, only because life, for this listener, would lose all sense and meaning without Solti's brilliant, never-to-be-equalled interpretation of the heaven-inspired Bruckner Ninth.

By the way, his beguiling (read absolutely perfect!) phrasing of the long melody line at the opening of the Seventh is quite frankly to die for. Though why he chose such a comparatively "sluggish" tempo for the energetic Scherzo is beyond my comprehension.

[..]

It's that superb brass.......2006-01-23

'Bruckner is brass' or at least the brass is much more involved. To hear a good Bruckner the brassplayers of the orchestra needs to be outstanding. Unfortunately many brass sections of top orchestras do not have quality brass. That's different with the Chicago SO under Solti where all brass player were superb (and maybe they still have such brassplayers)

The top European orchestras do not have that extra quality brass one would expect. The Berliner Philharmoniker and the Wiener Philharmoniker even today use trumpets with rotary-valves... I even heard a top British Orchestra with a lead trumpet player using that 'weird' brassband vibrato.

Further the Tuba players in Europe usually are just not good enough and lack tone and power in the low register of the instrument. But here with Solti and the Chicago SO one can enjoy the beauty of Bruckner with bass playing as it should be. Even the famous recordings by Wand are not my choice.

The fact that Solti is directing must be considered as well as he is also extremely convincing directing Wagner, so he does understand (or at least that's my view) the way brass should sound.

If you are looking for a box that you will play over and over again, this is the one and at a fair price.

Bruckner will not get any better than this!.......2006-01-04

Usually when I encounter box sets of classical music ( with the exception of operas and the like) I'm a little wary of it. Many of them, like this recording, span many years and often there are 2-3 years between recordings.

Even though that is true of this set, it sounds like it was recorded successively. With the exception of the 6th which was recorded on analog, there is no discrepancy in either the performances or the quality of the recordings and even the 6th is very well recorded and extremely vivid, I would argue one of the most vivid. The years of the recordings span from 1979 ( the 6th) to 1995 ( no. 0).

It would take much too long to do a review for every single recording so I will just give some highlights.

Of the recording of the 3rd, Penguine guide referred to it as "the one failure, relatively crude and coarse." I don't agree, if anything, it seemed to me that this recording was not only on par with the others, but that the CSO was equally on top of their game with this one as with the others. I found it very moving, clear, precise and powerful.

Moving onto the recording of the 4th I will say the same thing: very moving, clear, precise and powerful. What struck me about this recording was the tension maintained in the outer movements. Often with Bruckner symphonies, tension can easily be lost because of the length. Here the Chicago Symphony nicely maintains the energy with much thanks to their outstanding team of brass players. The gem of this recording, in my opinion and as much as I love the 1st and 4th movements, is the Scherzo. I love Bruckner Scherzi anyway but the Chicago Symphony does a bang-up job on this one. This track can be characterized as simply authoritative, powerful and overwheliming in the best way possible. In the first minute or so, Solti uses the powerful brass to gain thrust and to propel the entire orchestra into the statement of the main theme with the trombones and echoed by the trumpets.

I have already mentioned how pleased I am with the sixth. It is remarkable that it was recorded on analog. It sounds so amazingly vivid. Of course, the brass is nicely ensnared but the sharpness of the timpani deserves attention as well. Besides the excruciatingly exciting outer movements, the quality of the adagio is enough to leave with breathless at the end. When the orchestra finishes it, the listener gets the overwhelming sense of tranquility - very well done. That is the way to do Bruckner adagios.

The recording of the 8th was made while on tour in St. Petersburg Russia in 1990. Another triumph in my opinion. The real tokens of this recording are the adagio and finale. Again, as in the recording of the 6th, this adagio is enough to leave the listener suspended in calmness. I especially like the way the bring out the religious quality of Bruckner's music ( the same could be said of all the recordings of this set) by emphasis on certain tonalities and harmonies which can easily be passed up by the unwary conductor. The finale is of comparable quality. I have never heard a recording of this piece that has as strong a brass soli as is heard at the beginning of this one - utterly amazing. The sound never, ever wavers. It is simply solid tone throughout and sustained even in moving to the next note. Here again, the listener is confronted with the chorale-like chords that make Bruckner's music so remeniscient of religious music. With many thanks to the CSO brass section, one can hear the beginning of this played on the organ, Bruckner's main instrument. Also, I love the end where the motif of the first movement is triumphantly belted out by the trombones. These guys have such a presence and it really helps to bring the symphony full circle.

Finally, the 9th. I love the 9th symphony anyway. I love the construction of it. I love the use of chords and harmonies that seem distant to the tonic but then find themselves alluding to the tonic. Everything about it I love. And the CSO does it well. Awesome maestoso brass make up the first movement along with a breath-taking coda just overflowing with snipets of chorales first heard in the woodwinds then carried on by sustained brass. This is a first movement that is centered, precise, focused and musical above all. Which brings me to the scherzo. Again, with many thanks to the brass section, the scherzo takes on a veritable demonic quality - very menacing indeed. I believe this is probably Bruckner's most violent scherzo. You can certainly hear it in this recording the way the orchestra pounds away at the double eigth plus quarters motiv practically relentlessly. In matter of fact, the whole scherzo pounds...it is absolutely relentless and I like the fact that the CSO brings out the obvious anger found in it.

Finally, some very trivial negative things. I don't like how London splits up the 5th. They put the 1st movement on one disc and leave the remaining movements on another. There is great chorale-like brass playing on this recording. Another great recording like the other and very powerful indeed. I just prefer to enjoy it all on one disc.

To me, the 7th is the only odd ball in the bunch, and even then, it is a fabulous recording. In referring to the Penguin guide again, they cite that this recording lacks tension in the outer movements. I agree, the brass just doesn't seem to all there, most of the time, and the strings take on a not-so-likable thin palor. The outer movements could be more tight and precise but how they are at the moment is just fine with me. There are some real good moments on this disc. The interpretation of the adagio is absolutely gorgeous. The sonority of the Wagner tubas is perfect, the climax is devastatingly spine-tingling. All in all, perfect and again, it ends with that indispensable sense of irrevocable tranquility. The scherzo is just as you would expect it to be - ferrocious. There are some real tempests present in this interpretation. The dialog between the trumpets and trombones at the full tutti sections gives me goosebumps every time. Finally, even the outer movements lack tension, there is still a good deal of powerful and precision in the rhythmic tuttis...frankily, unlike the first movement ( which still has beauty and grandeur, don't get me wrong), the only part where I'm not convinced is the coda. I wish it was just a tad more powerful.

I have to admit, however, that I'm extremely biased for 2 reasons - one, i'm aspiring orchestral trombone player myself so I look for recordings that have a great deal of brass pressence to them and two, I find that the Chicago Symphony obliges me greatly in that area. All the recordings I get now are with the CSO if I can help it. I absolutely love them. In opinion, they're the best orchestra out there. They are my favorite. And Jay Friedman, principal trombone, is my hero. So while my review of this set might now seem as petty hero worship and one deluded and clouded by admiration, I advise to see for yourself. As with Mahler, I don't think you should listen to Bruckner without a great deal of power and brass...

4.5 stars- A great and vividly recorded Bruckner boxed set.......2005-07-29

I have heard, I think, all of this Bruckner boxed set, when I checked it out at the library. I think the 3rd symphony is probably my least favorite of the nine. I do own the single disc of the seventh symphony. This Seventh is very powerful indeed! I don't think he misses too much of Bruckner's spirituality in this particular reading. I think he does go for the power and impact aspect of the score. I have many versions of Bruckner's Seventh, but this was my first Bruckner purchase, that I doubt I will ever sell. His timing of the adagio of the Seventh is perfect in my opinion. It does clock in at 25:11, which many would think is too long, but that pace is just right. The vividness and brilliance of these recordings (especially the Seventh of which I'm more familiar) is breathtaking. Don't ever let anyone tell you that this isn't a great Seventh!!! I do prefer Jochum for the adagio of the Seventh, as far as the aspect of spirituality goes, but no one is as bracing and as powerful as Solti is. The brass cuts through superbly from this great Chicago Orchestra. It's good to have a great boxed set with demonstration sound that this superb set deliver's. If I remember right, the 6th,8th,4th,and 9th come off very well also. If nothing else (although the performances and interpretation are superb also) get this set for the incredible sound quality. ENJOY!!!

Average customer rating:

Gem from the late "Golden Age of Punk"
Oh yeah, found it!
No Means No's finest hour?
Simply the best
poetry and hardcore from Canada

0 + 2 = 1
Nomeansno
Manufacturer: Alternative Tentacle
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Punk | Hardcore & Punk | Alternative Rock | Styles | Music

General | American Alternative | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

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Similar Items:

All Roads Lead to Ausfahrt
Dance Of The Headless Bourgeoisie
Would We Be...Live?
Generic Shame
People's Choice

ASIN: B000000F8B
Release Date: 1991-11-04

Tracks:

Now
The Fall
0 + 2 = 1
The Valley of the Blind
Mary
Everyday I Start to Ooze
When Putting It All In Order Ain't Enough
The Night Nothing Became Everything
I Think You Know
Ghosts
Joyful Reunion

Customer Reviews:

Gem from the late "Golden Age of Punk".......2005-12-17

Simply masterful. Everyone who dissects music apppreciates the nuances of music - we critique everything we hear. When an apex has been reached (Beethoven's Ninth), we know it immediately. But as much as we appreciate the cognitive details in the final cut, it is the emotional force that sets the blood aflow. Side 2 of this baby (Mary, Joyful Reunion, etc.) is PERFECTION - pure, raw yet disturbingly refined, malevolent and fast, the insanity of the unknown coupled with grit your teeth, shove the safety pin through your cheek, down a shot of whatever happens to be available, punch a hole in the wall and get ready to take the "beater" out for some "alley-can bashin".......If you're not bleedin' by the end of side two, you don't know no @#$%!

Oh yeah, found it!.......2000-05-28

This is the album which put me in touch with NOMEANSNO, and since its first playing I was hooked. So here I am, back to replace the cassette that I wore thin over the many years. Keep in mind that NOMEANSNO is produced by Alternative Tentacles, a record company started by Jello Biafra of the Dead Kennedy's. You can't go wrong with a company like that behind you music. Enjoy. I sure as hell will.

No Means No's finest hour?.......2000-01-04

Nomeansno are the most criminally under-rated band in the history of rock. Buy this and find out how good they are. 0 + 2 = 1 is a more-than-usually accessible mixture of the catchy (Now), the amusing (Every Day I Start To Ooze) and the disturbed (Ghosts). Highly recommended. And then go and buy Wrong...

Simply the best.......1999-12-06

NoMeansNo is simply the best band in Rock and Roll. With the possible exception of Led Zepplin, nobody has ever rocked like this.

0+2=1 opens up with the sublimely catchy and country 'Now'. Possibly NMN's most accessable tune. (Which is actually all about sex.) Then they switch to the rhythmic attack of 'This is Love'. A song that nearly summarizes the potential of this band.

Essentially, if you an ear for great Rock, this album will not let you down. Be sure to check 'Mary' and 'Valley of the Blind'. Blistering lyrics for the angst ridden 40 year old teenager inside each of us. Overall, maybe the best of there 20 year career.

poetry and hardcore from Canada.......1999-07-25

Nomeansno started out as a sort of drum-and-bass band from Victoria, BC. They are simply superb, great lyrics and a growling bass, exquisite percussions. I'm a Nomeansno fan for years and saw them live in Belgium, thrilling! This cd is a gem, but, so is all their stuff.

J.S. Bach: Complete Works for Organ (Box Set)

Average customer rating:

Complete set CD review of Bach
The Definitive Collection of Bach
Monumental Artistry
A Happy Sacrifice
Bach on the Organ

J.S. Bach: Complete Works for Organ (Box Set)

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

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Similar Items:

Bruckner: The Complete Symphonies
Schubert: The Piano Sonatas
Bach: The Art of Fugue; Musical Offering
Mendelssohn: 5 Symphonies; 7 Overtures
Bach - The Complete Brandenburg Concertos / Pearlman, Boston Baroque

ASIN: B000005ECW
Release Date: 1994-10-04

Tracks:

Prld & Fuge in e, BWV 548: Praludium
Prld & Fuge in e, BWV 548: Fuge
Choral: An Wasserflussen Babylon..., BWV 653
Choral: Von Gott will ich nicht lassen..., BWV 658
Choral: Schmucke dich, o liebe Seele..., BWV 654
Prld & Fuge in b, BWV 544: Praludium
Prld & Fuge in b, BWV 544: Fuge
Drei Chorale: Allein Gott in der Hoh' sei Ehr'...: Cantus firmus im Sopran, BWV 662
Drei Chorale: Allein Gott in der Hoh' sei Ehr'...: Cantus firmus im Tenor, BWV 663
Drei Chorale: Allein Gott in der Hoh' sei Ehr'...: Trio, BWV 664

Tracks:

Toccata (Dorisch) & Fuge in d, BWV 538: Toccata
Toccata (Dorisch) & Fuge in d, BWV 538: Fuge
Orgelbuchlein, BWV 618: O Lamm Gottes unschuldig
Orgelbuchlein, BWV 619: Christe, du Lamm Gottes
Orgelbuchlein, BWV 620: Christus, der uns selig macht
Orgelbuchlein, BWV 621: Da Jesus an dem Kreuze stund
Orgelbuchlein, BWV 622: O Mensch, bewein' dein' Sunde gro
Orgelbuchlein, BWV 623: Wir danken dir, Herr Jesu Christ
Orgelbuchlein, BWV 624: Hilf Gott, damir's gelinge
Prld & Fuge in g, BWV 535: Prld
Prld & Fuge in g, BWV 535: Fuge
Orgelbuchlein, BWV 625: Christ lag in Todesbanden
Orgelbuchlein, BWV 626: Jesus Christus, unser Heiland
Orgelbuchlein, BWV 627: Christ ist erstanden (3 vers)
Orgelbuchlein, BWV 628: Erstanden ist der heil'ge Christ
Orgelbuchlein, BWV 629: Erschienen ist der herrliche Tag
Orgelbuchlein, BWV 630: Heut' triumphiret Gottes Sohn
Toccata & Fuge in C, BWV 566: Toccata
Toccata & Fuge in C, BWV 566: Fuge
Orgelbuchlein, BWV 631: Komm, Gott Schopfer, heilieger Geist
Orgelbuchlein, BWV 632: Herr Jesu Christ, dich zu uns wend

Tracks:

Prld & Fuge in C, BWV 545: Prld
Prld & Fuge in C, BWV 545: Fuge
Fuge in G, BWV 577
Prld & Fuge in d, BWV 539: Prld
Prld & Fuge in d, BWV 539: Fuge
Choral: Wo soll ich fliehen hin, BWV 694
Partita sopra: O Gott, du frommer Gott, BWV 767
Choral: Wir Christenleut hab'n jetzund Freud, BWV 710
Alla Breve in D, BWV 589
Canzona in d, BWV 588
Fuge in c, BWV 575
Fuga sopra il Magnificat: Meine Seele erhebet den Herren, BWV 733
Kleines harmonisches Labyrinth (Introitus, Centrum, Exitus), BWV 591
Prld & Fuge in a, BWV 551: Prld
Prld & Fuge in a, BWV 551: Fuge

Tracks:

Prld & Fuge in e, BWV 533: Prld
Prld & Fuge in e, BWV 533: Fuge
Chorale: Nun freut euch, lieben Christen g'mein, BWV 734
Chorale: Liebster Jesu, wir sind hier, BWV 730
Chorale: Liebster Jesu, wir sind hier, BWV 731
Chorale: In dulci jubilo, BWV 729
Chorale: Herzlich tut mich verlangen, BWV 727
Prld & Fuge in C, BWV 531: Prld
Prld & Fuge in C, BWV 531: Fuge
Chorale: Herr Jesu Christ, dich zu uns wend, BWV726
Chorale: Allein Gott in der Hoh'sei Ehr' (Bicinium), BWV 711
Chorale: Allein Gott in der Hoh'sei Ehr', BWV 715
Chorale: Fuga super Allein Gott in der Hoh' sei Ehr', BWV 716
Chorale: Allein Gott in der Hoh' sei Ehr' (manualiter), BWV 717
Chorale: Christ lag in Todesbanden, BWV 718
Chorale: Ach Gott und Herr (per canonem), BWV 714
Fantasia con imitazione in b, BWV 563
Chorale: Gelobet seist du, Jesu Christ, BWV 722
Chorale: Gottes Sohn ist kommen, BWV 724
Chorale: Jesus, meine Zuversicht, BWV 728
Chorale: Lobt Gott, ihr Christen, allzugleich, BWV 732
Chorale: Vater unser im Himmelreich, BWV 737
Chorale: Vom Himmel hoch, da komm'ich her, BWV 738
Chorale: Wie schon leuchter der Morgenstern, BWV 739
Chorale: Wir glauben all' an einen Gott, BWV 765
Chorale: Herr Gott, dich loben wir, BWV 725

Tracks:

Prld & Fuge in c: Prld
Prld & Fuge in c: Fuge
Chorale: Herr Jesu Christ, dich zu uns wend, BWV 709
Chorale: Liebster Jesu, wir sind hier, BWV 706 (1+2)
Chorale: Erbarm' dich mein, o Herre Gott, BWV 721
Chorale: Wer nur den lieben Gott la walten, BWV 690
Chorale: Wer nur den lieben Gott la walten, BWV 691
Chorale: Christ lag in Todesbanden, BWV 695
Prld & Fuge in c: Prld
Prld & Fuge in c: Fuge
Partita: sopra Christ, der du bist der helle Tag, BWV 766
Sieben Fughetten Fur Die Weinachtszeit: Christum wir sollen loben schon, BWV 696
Sieben Fughetten Fur Die Weinachtszeit: Gelobet seist du, Jesu Christ, BWV 697
Sieben Fughetten Fur Die Weinachtszeit: Herr Christ, der ein'ge Gottes Sohn, BWV 698
Sieben Fughetten Fur Die Weinachtszeit: Nun komm'der Heiden Heiland, BWV 699
Sieben Fughetten Fur Die Weinachtszeit: Von Himmel hoch da komm' ich her, BWV 701
Sieben Fughetten Fur Die Weinachtszeit: Gottes Sohn ist kommen, BWV 703
Sieben Fughetten Fur Die Weinachtszeit: Lob sei dem allmachtigen Gott, BWV 704
Choral: Vom Himmel hoch da komm' ich her, BWV 700
Fuge in b uber ein Theme von Corelli, BWV 579
Fantasia: Jesu, meine Freude, BWV 713
Choral: In dich hab' ich gehoffet, Herr, BWV 712

Tracks:

Prld & Fuge in C, BWV 547: Prld
Prld & Fuge in C, BWV 547: Fuge
Canonic Vars: Vom Himmel hoch, da komm' ich her, BWV 769
Clavier Ubung Dritter Teil: Prld in E flat, BWV 552
Chorale: Kyrie, Gott Vater in Ewigkeit, BWV 669
Chorale: Christe, aller Welt Trost, BWV 670
Chorale: Kyrie, Gott heilinger Geist, BWV 671
Chorale: Kyrie, gott Vater in Ewigkeit (manualiter), BWV 672
Chorale: Christe, aller Welt Trost (manualiter), BWV 673
Chorale: Kyrie, Gott heiliger Geist (manualiter), BWV 674
Chorale: Allein Gott in der Hoh' sei Ehr', BWV 675
Chorale: Allein Gott in der Hoh' sei Ehr', BWV 676
Chorale: Allein Gott in der Hoh' sei Ehr' (Fughetta), BWV 677
Chorale: Dies sind die heil'gen zehn Gebot, BWV 678
Chorale: Dies sind die heil'gen zehn Gebot (Fughetta), BWV 679

Tracks:

Chorale: Wir glauben all' an einen Gott, BWV 680
Chorale: Wir glauben all' an einen Gott (Fughetta) (manualiter), BWV 681
Chorale: Vater unser im Himmelreich, BWV 682
Chorale: Vater unser im Himmelreich (manualiter), BMV 683
Chorale: Christ, unser Herr, zum Jordan kam, BWV 684
Chorale: Christ, unser Herr, zum Jordan kam (manualiter), BWV 685
Chorale: Aus tiefer Not schrei' ich zu dir, BWV 686
Chorale: Aus tiefer Not schrei' ich zu dir (manualiter), BWV 687
Chorale: Jesu Christus, unser Heiland, BWV 688
Chorale: Jesu Christus, unser Heiland (Fuga) (manualiter), BWV 689
Vier Duette: Duetto I, BWV 802
Vier Duette: Duetto II, BWV 803
Vier Duette: Duetto III, BWV 804
Vier Duette: Duetto IV, BWV 805
Fuge in E flat, BWV 552
Chorale: Herr Jesu Christ, dich zu uns wend' (Trio), BWV 655
Chorale: Vor Deinen Thron tret' ich, BWV 668

Tracks:

Prld & Fuge in c, BWV 546: Prld
Prld & Fuge in c, BWV 546: Fuge
Orgelbuchlein: Chorale: Liebster Jesu, wir sind hier, BWV 633
Orgelbuchlein: Chorale: Liebster Jesu, wir sind hier, BWV 634
Orgelbuchlein: Chorale: Dies sind die heil' gen zehn Gebott, BWV 635
Orgelbuchlein: Chorale: Vater unser im Himmelreich, BWV 636
Orgelbuchlein: Chorale: Durch Adam's Fall ist ganz verderbt, BWV 637
Orgelbuchlein: Chorale: Es ist das Heil uns kommen her, BWV 638
Orgelbuchlein: Chorale: Ich ruf' zu dir, Herr Jesu Christ, BWV 639
Orgelbuchlein: Chorale: Ich dich hab'ich gehoffet, Herr, BWV 640
Orgelbuchlein: Chorale: Wenn wir in hochsten Noten sein, BWV 641
Orgelbuchlein: Chorale: Wer nur den lieben Gott la walten, BWV 642
Orgelbuchlein: Chorale: Alle Menschen mussen sterben, BWV 643
Orgelbuchlein: Chorale: Ach wie nichtig, ach, wir fluchtig, BWV 644
Partita Sopra: Sei gregrut, Jesu gutig, BWV 768
Prld & Fuge in f, BWV 534: Prld
Prld & Fuge in f, BWV 534: Fuge
Fant in C, BWV 570

Tracks:

Piece d'Orgue in G, BWV 572: Tres vitement-Gravement-Lentement
Orgelbuchlein: Chorale: Nun komm' der Heiden Heiland, BWV 599
Orgelbuchlein: Chorale: Gottes Sohn ist kommen, BWV 600
Orgelbuchlein: Chorale: Herr Christ, der ein' ge Gottes Sohn, BWV 601
Orgelbuchlein: Chorale: Lob sei dem allmachtigen Gott, BWV 602
Orgelbuchlein: Chorale: Puer natus in Bethlehem, BWV 603
Orgelbuchlein: Chorale: Gelobt seist du, Jesu Christ, BWV 604
Orgelbuchlein: Chorale: Der Tag, der ist so freudenreich, BWV 605
Orgelbuchlein: Chorale: Vom Himmel hoch da komm' ich her, BWV 606
Orgelbuchlein: Chorale: Vom Himmel kam der Engel Schar, BWV 607
Orgelbuchlein: Chorale: In dulci jubilo, BWV 608
Orgelbuchlein: Chorale: Lobt Gott, ihr Christen, allzugleich, BWV 609
Orgelbuchlein: Chorale: Jesu, meine Freude, BWV 610
Orgelbuchlein: Chorale: Christum wir sollen loben schon, BWV 611
Orgelbuchlein: Chorale: Wir Christenleut, BWV 612
Orgelbuchlein: Chorale: Helft mir, Gootes Gute preisen, BWV 613
Orgelbuchlein: Chorale: Das alte Jahr vergangen ist, BWV 614
Orgelbuchlein: Chorale: In dir ist Freude, BWV 615
Orgelbuchlein: Chorale: Mir Fried' und Freud' ich fahr' dahin, BWV 616
Orgelbuchlein: Chorale: Herr Gott, nun schleuden Himmel auf, BWV 617
Fant in c, BWV 562
Choral: Wir glauben all' an einen Gott, Vater, BWV 740
Fant: Super Valet will ich dir geben, BWV 735
Choral: Valet will ich dir geben, BWV 736
Fuge uber ein Thema von Giovanni Legrenzi in c, BWV 574

Tracks:

Prld & Fuge, BWV 532: Prld
Prld & Fuge, BWV 532: Fuge
Trio in d, BWV 656
Orgelchorale aus Achtzehn Chorale: O Lamm Gottes, unschuldig, BWV 656
Orgelchorale aus Achtzehn Chorale: Nun komm, der Heiden Heiland, BWV 659
Orgelchorale aus Achtzehn Chorale: Trio super 'Nun komm, der Heiden Heiland, BWV 660
Orgelchorale aus Achtzehn Chorale: Nun komm, der Heiden Heiland' in organo pleno, BWV 661
Orgelchorale aus Achtzehn Chorale: Fantasia super Komm, heiliger Geist, BWV 651
Orgelchorale aus Achtzehn Chorale: Komm, heiliger Geist, BWV 652
Orgelchorale aus Achtzehn Chorale: Nun danket alle Gott, BWV 657
Orgelchorale aus Achtzehn Chorale: Jesus Christus, unser Heiland, BWV 665
Orgelchorale aus Achtzehn Chorale: Jesus Christus, unser Heiland, BWV 666
Orgelchorale aus Achtzehn Chorale: Komm, Gott Schopfer, BWV 667

Tracks:

Konzert in a, BWV 593: Allegro
Konzert in a, BWV 593: Adagio
Konzert in a, BWV 593: Allegro
Konzert in d, BWV 596: (Allegro)-Grave-Fuga
Konzert in d, BWV 596: Largo
Konzert in d, BWV 596: Finale
Konzert in C, BWV 594: (Allegro)
Konzert in C, BWV 594: Rezitativ Adagio
Konzert in C, BWV 594: Allegro
Konzert in G, BWV 592: (Allegro)
Konzert in G, BWV 592: Grave (Adagio)
Konzert in G, BWV 592: Presto (assai)
Konzert in C, BWV 595: (Allegro)
Aria in F, BWV 587
Prld & Fuge in A, BWV 536: Prld
Prld & Fuge in A, BWV 536: Fuge
Choral: An Wasserflussen Babylon, BWV 653b
Prld & Fuge in G, BWV 550: Prld
Prld & Fuge in G, BWV 550: Fuge
Trio in g, BWV 584

Tracks:

Toccata in d, BWV 565
Toccate & Fuge in F, BWV 540: Toccata
Toccate & Fuge in F, BWV 540: Fuge
Prld (Fant) & Fuge in g, BWV 542: Prld
Prld (Fant) & Fuge in g, BWV 542: Fuge
Pastorella, BWV 590: 1
Pastorella, BWV 590: 2
Pastorella, BWV 590: 3
Pastorella, BWV 590: 4
Prld & Fuge in a, BWV 543: Prld
Prld & Fuge in a, BWV 543: Fuge
Toccata in C, BWV 564: Toccata
Toccata in C, BWV 564: Adagio
Toccata in C, BWV 564: Fuge

Tracks:

Son I in E flat, BWV 525: Allegro moderato
Son I in E flat, BWV 525: Adagio
Son I in E flat, BWV 525: Allegro
Son II in c, BWV 526: Vivace
Son II in c, BWV 526: Largo
Son II in c, BWV 526: Allegro
Son III in d, BWV 527: Andante
Son III in d, BWV 527: Adagio e dolce
Son III in d, BWV 527: Vivace
Son IV in e, BWV 528: Adagio
Son IV in e, BWV 528: Andante
Son IV in e, BWV 528: Un poco allegro
Son V in C, BWV 529: Allegro
Son V in C, BWV 529: Largo
Son V in C, BWV 529: Allegro
Son VI in G, BWV 530: Vivace
Son VI in G, BWV 530: Lento
Son VI in G, BWV 530: Allegro

Tracks:

Passacaglia E Tema Fugatum in c, BWV 582
Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 645: Wachet auf, ruft uns die Stimme
Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 646: Wo soll ich fliehen hin
Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 647: Wer nur den lieben Gott la...
Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 648: Meine Seele erhebet den Herren
Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 649: Ach, bleib' bei uns
Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 650: Kommst du nun, Jesu...
Fuge in g, BWV 578
Prld & Fuge in g, BWV 541: Prld
Prld & Fuge in g, BWV 541: Fuge
Choral: Ein' feste Burg ist unser Gott, BWV 720
Prld in G, BWV 568
Adagio, BWV 1027: Adagio
Adagio, BWV 1027: Allegro moderato (trio) (1027a)
Ricercare a 6 (aus Das musikalische Opfer), BWV 1079-5
Prld in a, BWV 569

Amazon.com

Marie-Claire Alain is not only one of the greatest organists alive today, but she stands directly in a what is undoubtedly the world's greatest tradition of organ playing. It was France that first rediscovered and cultivated Bach's organ music, and which in turn stimulated the great works of Franck, Widor, Vierne, and their school. Alain has recorded Bach's complete organ music no less than three times, here on historical organs of Bach's own time. Each disc is planned as a recital that showcases both the music and the instrument. Her performances are simply the last word in style, musicianship, and virtuosity. Magnificent. --David Hurwitz

Customer Reviews:

Complete set CD review of Bach.......2007-05-12

I discovered Bach organ music 40 years ago. I love Bach, everything he wrote. I have 4 complete sets of Bach organ recordings. Marie Claire-Alan is my favorite organist of everyone I have heard. I met Marie and her husband in person after a performance she gave in Chicago. I have 2 complete sets of Bach organ played by Marie. One is on records and the other the new CD set. She is a little older now when she recorded the CD's. The albums have a more youthful sound to them, a little more energy and different registration selection on the organs. I love Marie in her youthful recordings more than these. I love the albums so much I will digitize them and listen to them over the new CD collection. I play the albums on my Linn turntable through McIntosh equipment.

The Definitive Collection of Bach .......2005-09-25

Marie-Claire Alain has recorded Bach's complete organ music 3 times, this set being the second time. She plays quite differently now, but these are some of the best interpretations. Each cd fearures a different organ dating from Bach's time, and all of the booklets are filled with pictures, history, and even the stop registrations for each of the pieces are given. Quite alot of research! If those of you who are new to Bach's organ works, I would recommend starting on a smaller scale, as some of these works can be quite intense to listen to. At any rate, this possibly may go down as one of the famous recordings of the century.

Monumental Artistry.......2003-03-08

Although I am partial to the Romantic Organ, particularly in the vein of Widor, Vierne and Rheinberger, it all begins with Bach. And in this case, one could say that it all begins with Marie-Claire Alain and her wonderful interpretations. Alain seems to understand that Bach was above all else a religious composer. Many "complete" works of Bach play short shrift with the liturgical works whereas these are some of the most satisfying of the group.

The sound is pure sonority, almost perfect, and the technical prowess is just awesome. Out of the millions of notes played, I never heard a miscue or slight jiggle. Still, keyboard wizardry is only part of the story. The registration is a work of art in itself. Alain understand the difference between the Baroque and the Modern, the French and the German and the old and the new. Just as she is a "natural" for Widor or Vierne, she also seems to have entered the Bach mind on some of these.

This is a fabulous collection worthy of any serious student of classical music. Nowhere can one derive such satisfaction that listenting to Bach played by Ms. Alain.

A Happy Sacrifice.......2001-06-30

I gladly sacrificed two of the four speakers in my car to this wonderful, wonderful treasure. What more can I say?

Bach on the Organ.......2001-06-23

What? Just 2 reviews?? I've had this set for close to 4 years. Where do I start..... To tell the story of Bach and the organ, I must start at the beginning. I harbor no pretext of being an authority at all, in fact I really didn't know Bach till a few years ago.

One day, I chanced to buy a CD with an assortment of classical music. I did that once every so often, since classical CD's are so cheap. I slipped it into my car not knowing at all what I'd just stumbled on. The second piece on this CD was music of an order I had not yet before encountered. To boot, I had just installed a new subwoofer in the car. Then this organ piece comes on.

My friends. From that moment, I was a different person. It didn't hit me as hard initially, but I couldn't let go of this stupendous work of such magnificence. For days on end, I would play this one piece of organ music. Treasuring it as a jewel. I couldn't get over how grand, how utterly wonderful this work was, from every single note to it's entire whole. I've always enjoyed music, but this was something else. It made me feel miniscule. How could anyone.... I'm a financial consultant, and gosh did this make me feel worthless. Alright, I'll let you know which it was --Toccata and Fugue in D Minor (Dorian) for the organ. Not even one of Bach's major pieces. This was Miklos Spanyi on organ who did this. Marie-Claire does a good job on this set, but I had heard it first on the other recording, and you know it's never as good as the first time.

Brethren, this wasn't the end. After a few weeks of listening to this, I kid you not, I would break down like a child when I played it. Sobbing and crying. Weeping uncontrollably. I'm a grown man, but it happened. I could not understand. I could not remember breaking down this way, so violently, since I was young boy. I am not a sop at all, one of those guys with a soft feminine side........no, no, no. This is what Bach can do to you.

I was listening to angels. I could see them. No way I'll write my full name here in case this gets out. If I listened to it in the car, I would have to stop when Bach's counterpoints started their agonizing attacks of sheer splendor. I would stop the car on the side of the road, racked in sobs. I stopped listening to it in the morning going to work because my eyes would be red when I got into the office. In oblivion, driving home one night I did get a speeding ticket.

I would be convulsing in anguish. As the Toccata builds to its end, Bach brings your pitiful soul through a wavy staircase lined with golden crescendos that don't seem to end. He then takes your wretched spirit, once strong, but piteous in the face of such perfection, and places it on the doorstep of the Fugue. At this grand entrance on the cadence, at this very point I would invariably be out of control, bawling like a babe.

It was then I needed to see who this Bach was. Then I see a complete set of Bach Organ Works by a renowned organist. I was trembling when I got the set. It's about 3 years now, and I have since learned how to control myself. I am sorry I talk about Bach's organ and his effect on me, but please, I was just describing one gem. This is the collection. Buy it and be immersed in wonder.

There is good literature that goes with the set. If you are looking for sentiment and give up a little bit of quality, you'll notice some difference. The recordings are excellent, but the idea of this grand project was to have it on a baroque organ, sounding like it would back then.

They do mention the need for the organist to have to coax and cajole the instrument, unlike the modern electronic machines. The recordings are on a restored organ, which at first made me a little disappointed, but after a while you realize it presents the organist's talent quite a bit more. I also love hearing the slight sounds of the stops in the background - just that added sense of needing to be on earth before reaching glory.

Tracks:

Fantasia C, BWV.570
Chorale Vars (Partite Diverse): Sei Gegrusset, Jesu Gutig, BWV.768
Fugue On A Theme C, BWV.574
Chorale: Wir Christenleut', BWV.710
Trio Son No.4 e, BWV.528: I: Adagio
Trio Son No.4 e, BWV.528: II: Vivace
Trio Son No.4 e, BWV.528: III: Andante
Trio Son No.4 e, BWV.528: IV: Un Poco Allegro
Chorale: O Lamm Gottes, Unschuldig
Chorale: Christ Lag In Todesbanden, BWV.718
Kleines Harmonisches Labyrinth, BWV.591: Introitus - Centrum - Exitus (Andante)
Chorale: Allein Gott In Der Hoh', Sei Ehr', BWV. 711
Toccata, Adagio And Fugue in C, BWV.564: I: Toccata
Toccata, Adagio And Fugue in C, BWV.564: II: Adagio
Toccata, Adagio And Fugue in C, BWV.564: III: Fugue

Tracks:

Prld And Fugue in E, BWV.566: Prld
Prld And Fugue in E, BWV.566: Fugue
Prld And Fugue in E, BWV.566: Chorale Vars (Partite Diverse): O Gott, Du Frommer Gott, BWV.767
Prld And Fugue in E, BWV.566: Fantasia in C, BWV.573
Prld And Fugue in E, BWV.566: Fugue in G, BWV. 577
Prld And Fugue in E, BWV.566: Chorale: Ein' Feste Burg Ist Unser Gott, BWV.720
Prld And Fugue in E, BWV.566: Chorale: Allein Gott In Der Hoh', Sei Ehr', BWV.717
Prld And Fugue in E, BWV.566: Chorale: Christ Lag in Todesbanden, BWV.695
Prld And Fugue in E, BWV.566: Fugue in c, BWV.575
Prld And Fugue in E, BWV.566: Chorale: Wie Schon Leucht' Uns Der Morgenstern, BWV.739
Prld And Fugue in E, BWV.566: Chorale: Vater Unser Im Himmeireich, BWV.737
Prld And Fugue in E, BWV.566: Chorale: Wir Glauben All' An Einen Gott Vater, BWV.740
Prld And Fugue in E, BWV.566: Chorale Var (Partite Diverse): Christ, Der Du Bist Der Helle Tag....

Tracks:

Prld And Fugue in a, BWV.551: Prld
Prld And Fugue in a, BWV.551: Fugue
Orgel-Buchlein Nos.1-7, BWV 599-605: 1. Chorale: Nun Komm' Der Heiden Heiland
Orgel-Buchlein Nos.1-7, BWV 599-605: 2. Chorale: Gott, Durch Deine Gute
Orgel-Buchlein Nos.1-7, BWV 599-605: 3. Chorale: Herr Christ, Der Ein'ge Gottes-Sohn
Orgel-Buchlein Nos.1-7, BWV 599-605: 4. Chorale: Lob Sei Dem Allmachtigen Gott
Orgel-Buchlein Nos.1-7, BWV 599-605: 5. Chorale: Puer Natus In Bethlehem
Orgel-Buchlein Nos.1-7, BWV 599-605: 6. Chorale: Gelobet Seist Du, Jesu Christ
Orgel-Buchlein Nos.1-7, BWV 599-605: 7. Chorale: Der Tag, Der Ist So Freudenreich
Aria in F, BWV.587
Orgel-Buchlein Nos.8-10, BWV.606-608: 8. Chorale: Vom Himmel Hoch, Der Komm' Ich Her
Orgel-Buchlein Nos.8-10, BWV.606-608: 9. Chorale: Vom Himmel Kam Der Engel Schar
Orgel-Buchlein Nos.8-10, BWV.606-608: 10. Chorale: In Dulci Jubilo
Pastorale in F, BWV.590
Orgel-Buchlein Nos.11-12, BWV.609-610: 11. Chorale: Lobt Gott, Ihr Christen Allzugleich
Orgel-Buchlein Nos.11-12, BWV.609-610: 12. Chorale: Jesu, Meine Freude
Prld And Fugue in c, BWV.549: Prld
Prld And Fugue in c, BWV.549: Fugue
Orgel-Buchlein Nos.13-14, BWV.611-612: 13. Chorale: Christum Wir Sollen Loben Schon
Orgel-Buchlein Nos.13-14, BWV.611-612: 14. Chorale: Wir Christenleut'
Prld And Fugue in b, BWV.544: Prld
Prld And Fugue in b, BWV.544: Fugue
Orgel-Buchlein Nos.15-19, BWV.613-617: 15. Chorale: Helft Mir Gottes Gute Preisen
Orgel-Buchlein Nos.15-19, BWV.613-617: 16. Chorale: Das Alte Jahr Vergangen Ist
Orgel-Buchlein Nos.15-19, BWV.613-617: 17. Chorale: In Dir Ist Freude
Orgel-Buchlein Nos.15-19, BWV.613-617: 18. Chorale: Mit Fried' Und Freud' Ich Fahr Dahin
Orgel-Buchlein Nos.15-19, BWV.613-617: 19. Chorale: Herr Gott, Nun Schleuss Den Himmel Auf
Fantasia Con Imitazione in b, BWV.563

Tracks:

Prld And Fugue in e, BWV.533: Prld
Prld And Fugue in e, BWV.533: Fugue
Orgel-Buchlein Nos.20-24, BWV.618-622: 20. Chorale: O Lamm Gottes, Unschuldig
Orgel-Buchlein Nos.20-24, BWV.618-622: 21. Chorale: Christe, Du Lamm Gottes
Orgel-Buchlein Nos.20-24, BWV.618-622: 22. Chorale: Christus, Der Uns Selig Macht
Orgel-Buchlein Nos.20-24, BWV.618-622: 23. Chorale: Da Jesus An Dem Kreuze Stund
Orgel-Buchlein Nos.20-24, BWV.618-622: 24. Chorale: O Mensch, Bewein' Dein' Sunde Gross
Fantasia And Fugue in c, BWV.562: Fantasia
Fantasia And Fugue in c, BWV.562: Fugue (Fragment)
Prld And Fugue in f, BWV.534: Prld
Prld And Fugue in f, BWV.534: Fugue
Orgel-Buchlein Nos.25-26, BWV.623-624: 25. Chorale: Wir Danken Dir, Herr Jesu Christ
Orgel-Buchlein Nos.25-26, BWV.623-624: 26. Chorale: Hilf Gott, Dass Mir's Gelinge
Trio in c, BWV.585
Orgel-Buchlein Nos.25-26, BWV.625-627: 27. Chorale: Christ Lag In Todesbanden
Orgel-Buchlein Nos.25-26, BWV.625-627: 28. Chorale: Jesus Christus, Unser Heiland
Orgel-Buchlein Nos.25-26, BWV.625-627: 29. Chorale: Christ Ist Erstanden
Prld And Fugue in C, BWV.531: Prld
Prld And Fugue in C, BWV.531: Fugue
Orgel-Buchlein Nos.30-32, BWV.628-630: 30. Chorale: Erstanden Ist Der Heil'ge Christ
Orgel-Buchlein Nos.30-32, BWV.628-630: 31. Chorale: Erschienen Ist Der Herrliche Tag
Orgel-Buchlein Nos.30-32, BWV.628-630: 32. Chorale: Heut' Triumphieret Gottes Sohn
Trio in d, BWV.583
Orgel-Buchlein Nos.33-34 & 36, BWV.631-632 & BWV.634: 33. Chorale: Komm, Gott Schopfer..
Orgel-Buchlein Nos.33-34 & 36, BWV.631-632 & BWV.634: 34. Chorale: Herr Jesu Christ,...
Orgel-Buchlein Nos.33-34 & 36, BWV.631-632 & BWV.634: 36. Chorale: Liebster Jesu, Wir Sind Hier

Tracks:

Prld And Fugue in c, BWV.546: Prld
Prld And Fugue in c, BWV.546: Fugue
Orgel-Buchlein Nos.37-39, BWV.635-637: 37. Chorale: Dies Sind Die Heil'gen Zehn Gebot'
Orgel-Buchlein Nos.37-39, BWV.635-637: 38. Chorale: Vater Unser Im Himmelreich
Orgel-Buchlein Nos.37-39, BWV.635-637: 39. Chorale: Durch Adams Fall Ist Ganz Verderbt
Trio in G, BWV.586
Orgel-Buchlein Nos.40-42, BWV.638-640: 40. Chorale: Es Ist Das Heil Uns Kommen Her
Orgel-Buchlein Nos.40-42, BWV.638-640: 41. Chorale: Ich Ruf' Zu Dir, Herr Jesu Christ
Orgel-Buchlein Nos.40-42, BWV.638-640: 42. Chorale: In Dich Hab' Ich Gehoffet, Herr
Pedal-Exercitium, BWV.598
Fuge in g, BWV.578
Orgel-Buchlein Nos.43-46, BWV.641-644: 43. Chorale: Wenn Wir in Hochsten Nothen Sein
Orgel-Buchlein Nos.43-46, BWV.641-644: 44. Wer Nur Den Lieben Gott Lasst Walten
Orgel-Buchlein Nos.43-46, BWV.641-644: 45. Chorale: Alle Menschen Mussen Sterben
Orgel-Buchlein Nos.43-46, BWV.641-644: 46. Chorale: Ach Wie Nichtig, Ach Wie Fluchtig
Trio in g, BWV.584
Orgel-Buchlein No.35, BWV.633: 35. Chorale: Liebster Jesu, Wir Sind Hier
Chorale: Gott, Durch Dein Gute, BWV.724
Chorale: Gottes Sohn Ist Kommen, BWV.703
Chorale: Herr Christ, Der Ein'ge Gottes Sohn, BWV.698
Trio Son No.3 in d, BWV.527: I: Andante
Trio Son No.3 in d, BWV.527: II: Adagio E Dolce
Trio Son No.3 in d, BWV.527: III: Vivace
Fantasia And Fugue in g, BWV.542: Fantasia
Fantasia And Fugue in g, BWV.542: Fugue

Tracks:

Con in a, BWV.596: I: Grave - Fuga
Con in a, BWV.596: II: Largo
Con in a, BWV.596: Finale
Con in a, BWV.593: I: (Unknown)
Con in a, BWV.593: II: Adagio
Con in a, BWV.593: III: Allegro
Con in C, BWV, 595
Chorale: Liebster Jesu, Wir Sind Hier, BWV.731
Chorale: Liebster Jesu, Wir Sind Hier, BWV.730
Con in C, BWV.592: I: (Unknown)
Con in C, BWV.592: Grave
Con in C, BWV.592: Presto
Con in C, BWV.594: I: (Unknown)
Con in C, BWV.594: II: Rezitativ: Adagio
Con in C, BWV.594: III: Allegro
Chorale: Nun Freut Euch, Lieben Christen G'mein, BWV.734

Tracks:

Toccata And Fugue in d, BWV. 734: Toccata
Toccata And Fugue in d, BWV. 734: Fugue
Trio Son No.6 in G, BWV.530: I: Vivace
Trio Son No.6 in G, BWV.530: II: Lento
Trio Son No.6 in G, BWV.530: III: Allegro
Alla Breve in D, BWV.589
Fantasia in G, BWV.572
Chorale: Herr Gott, Dich Loben Wir, BWV.725
Chorale: Herr Jesu Christ, Dich Zu Uns Wend, BWV.709
Chorale: Herr Jesu Christ, Dich Zu Uns Wend, BWV.726
Prld And Fugue in G, BWV.541: Prld
Prld And Fugue in G, BWV.541: Fugue

Tracks:

Fantasia Super Komm, Heiliger Geist, Herre Gott, BWV.651
Chorale: Komm, Heiliger Geist, Herre Gott, BWV.652
Toccata And Fugue in d, BWV.538: Toccata
Toccata And Fugue in d, BWV.538: Fugue
Prld And Fugue in D, BWV.532: Prld
Prld And Fugue in D, BWV.532: Fugue
Trio Son No.5 in C, BWV.529: I: Allegro
Trio Son No.5 in C, BWV.529: II: Largo
Trio Son No.5 in C, BWV.529: III: Allegro
Chorale: Komm, Gott Schopfer, Heiliger Geist, BWV.667
Prld And Fugue in G, BWV.550: Prld
Prld And Fugue in G, BWV.550: Fuge
Chorale: Jesus Christus, Unser Heiland, BWV.665
Chorale: Jesus Christus, Unser Heiland, BWV.666
Prld in a, BWV.569

Tracks:

Toccata And Fugue in F, BWV.540: Toccata
Toccata And Fugue in F, BWV.540: Fugue
Chorale: Nun Komm, Der Heiden Heiland, BWV.659
Chorale: Nun Komm, Der Heiden Heiland, BWV.660
Chorale: Nun Komm, Der Heiden Heiland, BWV.661
Prld And Fugue in a, BWV.543: Prld
Prld And Fugue in a, BWV.543: Fugue
Trio Super Herr Jesu Christ, Dich Zu Uns Wend, BWV.655
Fugue On A Theme in b, BWV.579
Chorale: An Wasserflussen Babylon, BWV.653b
Fantasia And Fugue in c, BWV.537: Fantasia
Fantasia And Fugue in c, BWV.537: Fugue
Chorale: O Lamm Gottes, Unschuldig, BWV.656
Canzona in d, BWV.588
Chorale: Vor Deinen Thron Tret'ich, BWV.668

Tracks:

Prld And Fugue in C, BWV.547: Prld
Prld And Fugue in C, BWV.547: Fugue
Chorale: Von Gott Will Ich Nicht Lassen, BWV.658
Prld And Fugue in A, BWV.536: Prld
Prld And Fugue in A, BWV.536: Fugue
Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.662
Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.663
Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.664
Trio Son No.1 in Eflat, BWV.525: I: (Unknown)
Trio Son No.1 in Eflat, BWV.525: II: Adagio
Trio Son No.1 in Eflat, BWV.525: III: Allegro
Chorale: Schmucke Dich, O Liebe Seele, BWV. 654

Tracks:

Passacaglia And Fugue in c, BWV.582
Fantasia Super Jesu, Meine Freude, BWV.713
Prld And Fugue in d, BWV.539: Prld
Prld And Fugue in d, BWV.539: Fugue
Chorale Vars: Vom Himmel Hoch, Da Komm' Ich Her, BWV.769
Prld And Fugue in g, BWV.535: Prld
Prld And Fugue in g, BWV.535: Fugue
Chrale: An Wasserflussen Babylon, BWV.653
Prld And Fugue in C, BWV.545: Prld
Prld And Fugue in C, BWV.545: Fugue
Chorale: Nun Danket Alle Gott, BWV.657

Tracks:

Prld: Eflat, BWV.552/1
1. Chorale: Kyrie, Gott Vater in Ewigkeit, BWV.669
2. Chorale: Christe, Aller Welt Trost, BWV.670
3. Chorale: Kyrie, Gott Heiliger Geist, BWV.671
8. Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.676
10. Chorale: Dies Sind Die Sind Die Heil'gen Zehn Gebot', BWV.678
12. Chorale: Wir Glauben All' An Einen Gott, BWV.680
14. Chorale: Vater Unser Im Himmelreich, BWV.682
16. Chorale: Christ, Unser Herr, Zum Jordan Kam, BWV.684
18. Chorale: Aus Tiefer Not Schrei Ich Zu Dir, BWV.686
20. Chorale: Jesus Christus, Unser Heiland, BWV.688
Fugue: Eflat, BWV.552/2
Duetto No.1: e, BWV.802
Duetto No.2: F, BWV.803
Duetto No.3: G, BWV.804
Duetto No.4: a, BWV.805

Tracks:

7. Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.675
4. Chorale: Kyrie, Gott Vater in Ewigkeit, BWV.672
5. Chorale: Christe, Aller Welt Trost, BWV.673
6. Chorale: Kyrie, Gott Heiliger Geist, BWV.674
9. Fughetta Super Allein Gott in Der Hoh' Sei Ehr', BWV.677
11. Fughetta Super Dies Sind Die Heil'gen Zehn Gebot', BWV.679
13. Fughetta Super Wir Glauben All' An Einen Gott, BWV.681
15. Chorale: Vater Unser Im Himmelreich, BWV.683
17. Chorale: Christ, Unser Herr, Zum Jordan Kam, BWV.685
19. Chorale: Aus Tiefer Not Schrei Ich Zu Dir, BWV.687
21. Fuga Super Jesus Christus, Unser Heiland, BWV.689
Prld And Fugue in e, BWV.548: Prld
Prld And Fugue in e, BWV.548: Fugue
Chorale: Wachet Auf, Ruft Uns Die Stimme, BWV.645
Chorale: Wo Soll Ich Fliehen Hin, BWV.646
Chorale: Wer Nur Den Lieben Gott Lasst Walten, BWV.647
Chorale: Meine Seele Erhebet Den Herren, BWV.648
Chorale: Ach, Blieb' Bei Uns Herr Jesu Christ, BWV.649
Chorale: Kommst Du Nun, Jesu, Vom Himmel, BWV.650
Trio Son No.2 c, BWV.526: I: Vivace
Trio Son No.2 c, BWV.526: II: Largo
Trio Son No.2 c, BWV.526: III: Allegro

Tracks:

Fuga Sopra Il Magnificat, BWV.733
Chorale: Nun Komm' Der Heiden Heiland, BWV.699
Chorale: Lob Sei Dem Allmacht'gen Gott, BWV.704
Chorale: Vom Himmel Hoch, Da Komm' Ich Her, BWV.738
Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV. 715
Chorale: Gelobet Seist Du, Jesu Christ, BWV.722
Chorale: Vom Himmel Hoch, Da Komm' Ich Her, BWV.700
Chorale: Christum Wir Sollen Loben Schon, BWV.696
Chorlae: Lobt Gott, Ihr Christen, Allzugleich, BWV.732
Chorale: In Dulci Jubilo, BWV.729
Chorale: Gelobet Seist Du, Jesu Christ, BWV.697
Chorale: Vom Himmel Hoch, Da Komm' Ich Her, BWV.701
Prld in G, BWV.568
Fantasia Super Valet Will Ich Dir Geben, BWV.735
Chorale: Ach Gott, Vom Himmel Sieh' Darein, BWV.741
Chorale: Ach Gott Und Herr, BWV.714
Chorale: In Dich Hab' Ich Gehoffet, Herr, BWV.712
Chorale: Erbarm' Dich Mein, O Herre Christ, BWV.721
Chorale: Herzlich Tut Mich Verlangen, BWV.727
Chorale: Wo Soll Ich Fliehen Hin, BWV.728
Chorale: Jesus, Meine Zuversicht, BWV.728
Chorale: Wer Nu Den Lieben Gott Lasst Walten, BWV.691
Chorale: Wer Nur Den Lieben Gott Lasst Walten, BWV.690
Chorale: Liebster Jesu, Wir Sind Hier, BWV.706
Chorale: Valet Will Ich Dir Geben, BWV.736

Tracks:

1. Chorale: Der Tag, Der Ist So Freudenreich, BWV.719
2. Chorale: Wir Christenleut', BWV.1090
3. Chorale: Das Alte Jahr Vergangen Ist, BWV.1091
4. Chorale: Her Gott, Nun Schleuss Den Himmel Auf, BWV.1092
5. Chorale: Herzliebster Jesu, Was Hast Du Verbrochen, BWV.1093
6. Chorale: O Jesu, Wie Ist Dein Gestalt, BWV.1094
7. Chorale: O Lamm Gottes, Unschuldig, BWV.1095
8. Chorale: Christe, Der Du Bist Tag Und Licht, BWV.1096
9. Chorale: Ehre Sei Dir, Christe, Der Du Leidest Not, BWV.1097
10. Chorale: Wir Glauben All in Einen Gott, BWV.1098
11. Chorale: Aus Tiefer Not Schrei Ich Zu Dir, BWV.1099
12. Chorale: Allein Zu Dir, Herr Jesu Christ, BWv.1100
13. Chorale: Ach Gott Und Herr, BWV.714
14. Chorale: Ach Herr, Mich Armen Sunder, BWV.742
15. Chorale: Durch Adams Fall Ist Ganz Verderbt, BWV. 1101
16. Chorale: Du Friedefurst, Herr Jesu, BWV.1102
17. Chorale: Erhalt Uns, Herr, Bei Deinem Wort, BWV.1103
18. Chorale: Vater Unser Im Himmelreich, BWV.737
19. Chorale: Wenn Dich Ungluck Tut Greifen An, BWV.1104
20. Chorale: Jesu, Meine Freude, BWV.1105
21. Chorale: Gott Ist Mein Heil, Mein Hilf Und Trost, BWV.1106
22. Chorale: Jesus, Meines Lebens Leben, BWV.1107
23. Chorale: Als Jesus Christ in Der Nacht, BWV.1108
24. Chorale: Ach Gott, Zu Dich Erbarmen, BWV.1109
25. Chorale: O Herre Gott, Dein Gottlich Wort, BWV.1110

Tracks:

26. Chorale: Nun Lasst Uns Den Leib Begraben, BWV.1111
27. Chorale: Christus, Der Ist Mein Leben, BWV.1112
28. Chorale: Ich Hab' Mein Sach Gott Heimgestellt, BWV.1113
29. Chorale: Herr Jesu Christ, Du Hochstes Gut, BWV.1114
30. Chorale: Herzlich Lieb Hab' Ich Dich, O Herr, BWV.1115
31. Chorale: Was Gott Tut, Das Ist Wohlgetan, BWV.1116
32. Chorale: Alle Menschen Mussen Sterben, BWV.1117
33. Chorale: Mach's Mit Mir Gott, Nach Deiner Gut
34. Chorale: Werde Munter Mein Gemute, BWV.1118
35. Chorale: Wie Nach Einer Wasserquelle, BWV.1119
36. Chorale: Christe, Der Du Bist Der Helle Tag, BWV.1120
37. Chorale: Ich Ruf' Zu Dir, Herr Jesu Christ, BWV.639
38. Chorale: Herr Christ Der Ein'ge Gottes-Sohn, BWV.601
Prld And Fugue in C, BWV.553
Prld And Fugue in d, BWV.554
Prld And Fugue in e, BWV.555
Prld And Fugue in F, BWV.556
Prld And Fugue in G, BWV.557
Prld And Fugue in g, BWV.558
Prld And Fugue in a, BWV.559
Prld And Fugue in Bflat, BWV.560

Customer Reviews:

Bach for professional listeners.......2006-01-30

What I found amazing about this boxset is the opportunity to enjoy Bach in complete form. From my point of view Passacaglia performed by Werner Jacob is a five star performance. Also BWV 593 and BWV 596 push up and show up no limits for the listener. This 16 CDs aggregate the perfect union between the artist, instrument, listener and Bach. And at the end of the day I can say that organ works can still be ... trendy. Enjoy!

Bach Organ Works on original organs.......2004-10-24

121 organ tracks or works on 16 CDs has to be spaced out in about six days. The music is so restful I found myself dowsing. The price for a new set through Amazon was right. Bach organ hymns made Luther.

Average customer rating:

A very solid, enjoyable Bruckner Cycle
HAITINK'S EARLY BRUCKNER CYCLE
Literal, often gentle Bruckner without complications
Shipshape, predictable and reliable
unbelieveable recordings of the complete Bruckner Symphonies

Bruckner: The Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Mahler: The Symphonies
Anton Bruckner: The Symphonies
Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD]
Brahms: Works for Solo Piano
Brahms: The Symphonies

ASIN: B0009A41VU
Release Date: 2005-10-11

Customer Reviews:

A very solid, enjoyable Bruckner Cycle.......2007-07-21

This is one of my 3 complete Bruckner Cycles (Jochum 50s/60s Deutsche Gramophon on CDs & Barenboim Chicago Symphony 1973 to 1981 Deutsche Gramophon on LPs are the other two). I am happy with all three sets and the renditions by each conductor/orchestra are different enough to be distinguishable and stand out from each other.

Some of the comments here at Amazon, while giving this set 3 or 4 stars, knock Haitink in a left handed way. This has WAY more to do with that fact that Haitink's initials are not HVK and very little if anything to do with the music and the performances. This set will give the performances by HVK a run for their money. You can enjoy them while not committing idolatry at the HVK shrine as some are apt to do.

Some of the reasons for buying this box set are: convenience, cost savings, quality and consistency in performance, and uniformity in the engineer recording aspects. That means we may not get the all time great recordings of each symphony with the box set. We are instead hoping to get solid, above average recordings all bundled together in one Nifty Neat O box. Haitink and the Concertgebouw Orchestra are definitely Nifty!

HAITINK'S EARLY BRUCKNER CYCLE.......2006-06-27

This was my first Bruckner cycle (in its earlier black-box incarnation), and the date was October 11, 1996. Only while writing the check for it, did I remember that this day was the centennial of Bruckner's death. Say what you want, but it was a happy omen.

Back in college I had listened to some of these performances on LP, and wanted to get back to them. The first thing to emerge was how much better these CDs sound than those wretched, domestic 1960s Philips LPs. It was clear that until now, I hadn't really HEARD these performances...The Philips engineers (including the late Jaap von Ginneken) KNEW WHAT THEY WERE DOING. Thanks to their craftsmanship, we can relish the distinctive "tang" of the post-war Concertgebouw- that is, before the onset of the Post-Jet, Post-Karajan "International" Sound.

It goes without saying that only the mediocre are equally good at everything- or even all the works within a given cycle. Haitink does better with some of these symphonies than others. Still, a newcomer to Bruckner could hardly go wrong with any of these performances, except maybe the 8th (more on that later). They are all FRESH- even the least successful of them. This is because Bernard Haitink & Philips wisely chose not to plow through the whole cycle within a year or so: they took their time- 9 years, in fact (1963-72).

The "0" Symphony (June 1966) receives a truly sympathetic performance and recording. The Concertgebouw's woodwinds make a bittersweet feast of the more plaintive passages in the 2nd movement. And Haitink wisely plays the very opening "straight ahead," not trying to make the "nebulae" motifs as doom-laden or dramatic a Brucknerian "fingerprint" as they would become in the later symphonies. Still, everything comes off- in a work that often "goes for nothing." (Bruckner's VERY first Symphony, the F Minor "00," another work which often "goes for nothing," is not included in this box. Still, any true Brucknerian should have it, and the 1992 Inbal/Teldec does nicely.)

The 1st (May 1972), actually the last to be recorded, is rather aggressive (i.e., in a good way), brimming with daring and "intestinal fortitude." This is hardly the "unimaginative" performance of which Haitink has too often (i.e., wrongly) been accused. I can't think of a greater 1st- although Jochum's 1968 Berlin 1st perhaps "ties" with it.

The May 1969 2nd (Haas edition) may be the greatest performance in the box- and for my money the best 2nd ever recorded. In THE ESSENCE OF BRUCKNER, Robert Simpson points out the deleted 1872 passages which Haas restored to Bruckner's 1877 revision; he approves of all but one, in the second movment: the "repeat" of a solo-horn-and-woodwind passage, ending with a lone, climbing bassoon line. This performance is absolutely complete, but I think you'll find that it's not a moment too long. Haitink and the Concertgebouw bring out such a subtle, "tangy" sheen in the strings, project such a purity of spirit, that they all seem to be possessed by the ghost of Eduard Van Beinum (who never recorded a Bruckner 2nd). In spite of characteristic "fingerpints" in the "00," "0," and the 1st, it was only in the 2nd that Bruckner really began to evolve his own kind of structure. (You might say that this stretch of symphonic territory, initially staked out by Schubert in his "Unfinished" & "Great," had been abandoned until Bruckner reached this point.)

The October 1963 3rd (1878 edition) is actually the earliest recording in this box. (The 8th is from September 1969, not 1960, as an uncorrected typo would have it. ) Now, I confess a greater preference for the craggier, less "symmetrical" 1873 edition of the 3rd. (The 1982 Inbal/Teldec is superb, and so is the 2004 Nugano/Harmonia Mundi. Between them, the Nugano is a bit better played and recorded, but Inbal's grasp of pacing and structure is slightly more convincing: take your pick.) Still, if you must have the better-known 1878 edition, this performance is the one to have. It is far more fleet and unassuming than Haitink's rather lugubrious 1988 remake with the Vienna Philharmonic. This 1963 3rd was the first disc I took out of the box, and it pulled me in.

The 4th (May 1965) is one of the best in stereo- but I can't help comparing it with the live 1956 Van Beinum 4th (also with the Concertgebouw). Somehow, EVB struck an even more convincing balance between grandeur and humility...As did Jochum in his 1954 Bavarian Radio 4th (only available through amazon's German site). Still, as an introduction to the 4th, you could do a lot worse.

The 5th (December 1971) was also my introduction to THIS symphony. It struck me then (and it strikes me now) as just a bit too "serenely objective." This impression was confirmed when I finally tumbled onto EVB's live 1959 5th (his very last recording, by the way) and especially Jochum's 1964 5th - both with the Concertgebouw. And in spite of how Robert Simpson and several others have criticized Eugen Jochum's rubati, I find that Jochum gains greater access to the "molten core" of this symphony, and generates more excitement than anyone else, ever- at least in hi-fi . (I haven't yet heard the 1986 aircheck of Jochum's final Amsterdam 5th. But if you find the '64, grab it.)

With its many potentially awkward transition points and "gear shifts" (at least in the outer movements), the 6th may be the toughest of Bruckner's nuts to crack. Rarely will you find a great conductor and a great orchestra (in the same hall at the same time- that's the catch) who UNDERSTAND this work. What we usually get is a 6th, played and conducted in light of the 4th, 5th, 7th or 8th and "Here's this odd thing of Bruckner's and let's a GO at it shall we." The Haitink 6th (December 1970) was, at first, my favorite. (At the risk of a well-aimed bolt of lightning, I find Klemperer's fabled 1964 6th a tad overrated; yes, it's excellent, but the Philharmonia, for all their collective genius, was NOT a Bruckner orchestra- compared to the Concertgebouw, the Berlin, the Bavarian Radio, or even Inbal's North German Radio. It just wasn't.) Now, Haitink and the Concertgebouw inscribe an almost supernatural performance-even if the Finale is a little brisk. Still, it "works," and then some. But if you can find it, the 1969 Steinberg/Boston account grasps the 6th's "DNA" better than any other...What had seemed "quirky" and inconsequential becomes not only logical, but enchanting: an alpine village progression from late summer to Christmas Festival, if you like.

The 7th (November 1966) is up against formidable competition. In terms of hi-fi alone, this includes Van Beinum's 1947 and 1953 Deccas (and yes, they are both "hi-fi"), and several by Jochum. My personal favorites: the 1947 EVB (in Dutton's transfer, which captures and enhances the original sound AND eliminates the infamous early Decca "ground hum" far better than the Tahra edition), and the surprisingly hi-fi 1952 Berlin Jochum (on Tahra, if you can find it)- one of those life-enhancing rarities which should be snagged-at-first-sight. Jochum's recently re-issued 1939 Vienna 7th (on Hanssler) has perhaps his most "trauerisch" second movement, but the Viennese turn in one of their sloppier performances; and the vague, rather undifferentiated articulation detracts from the momentum of the scherzo and the finale. Haitink's 1966 7th is indeed a convincing, beautifully rounded account, and you couldn't go wrong with it. Still, one can do better.

The 8th (September 1969, not 1960) is the weak link in this "chain." Compared with Haitink's own later version of 1981, and next to Jochum's 1949 Hamburg or Karajan's early stereo 1957 (to name a few), it simply doesn't deliver the INNER drama and spirituality that a Bruckner 8th must-have-or-what's-the-point. It's played well enough, but I suspect that, in 1969, Haitink didn't yet have the measure of this work. (In time, he did- let it be said !) The 8th was my "first" Bruckner symphony (Karajan '57); I would not recommend this 1969 8th as anyone's "first." You might not be "put off," but unless you already knew the 8th, you would miss the CORE.

The 9th (December 1965) is fantastic, and nearly ties with the 1956 Van Beinum 9th . Haitink takes the scherzo just a mite slower than Jochum and others (Furtwangler flogged it like an old-horse-ready-to-drop)- but this allows the unsettling harmonies to sink in, all the more exquisitely. The first movement and finale are riveting. This is a good introduction to the 9th. But Jochum's 1954 Bavarian Radio, EVB's 1956, Karajan's 1966 Berlin and Wildner's 1998 (with "realized" 4th movement- see my review) all convey a greater ontological intensity.

So there you have it. You WILL need another 8th, but there are several hi-fi choices for that: Van Beinum's 1955; Haitink's 1981; any of Jochum's; Karajan's 1957 or 1989. Still, this box grants us nearly perfect performances of "0," 1, 2 and 3 (1878 edition); and can't miss, can't-go-wrong versions of 4, 5, 6, 7 and 9.

Literal, often gentle Bruckner without complications.......2006-05-30

The young Haitink had a consistent way with all the Bruckner symphonies in this cycle recorded between 1963 and 1972. In a review listed below, Mr. VanDeSande describes the approach better than any professional critic I've read, the key words being literal, honest, reliable, unimaginative, unaffected, and natural. (Strangely, The Gramophone's longtime Bruckner specialist, Richard Osborne, mischaracterizes these readings as intense--that they are not.) Haitink steps aside and allows the score to unfold, usually at one steady tempo, without intrusions.

Unfortunatley, intrusions are what conducting is about in great music, finding a unique response, asserting your deepest reaction to genius. As if often said, the art of conducting lies between the notes as written. Haitink does a lot of interpreting, but not with Bruckner. What stands out is the lovely balance of the Concertgebiuw tone and the simple beauty of Bruckner's writing, which is often much gentler than anticipated (listen to the non-tense opening of the outer movements of Sym. #3, or the deliberately plain Adagio of Sym #8).

Because of Haitink's modesty, he succeeds best in the modest early works, Sym. 0 (Die Nulte), #1, #2, and #3. By consensus his Sym. #5, always a difficult work to hold together, is a high point. But a conductor can't triumph in Burckner without great, ear-catching readings of Sym. #4-#9, and although Haitink is never less than agreeable (except for his wrong-headed breathless tempos in the outer movements of Sym. #8), I don't hear greatness--I wanted to be deeply moved and wasn't. When it comes to building cathedrals, you shouldn't send a chapel Methodist to do the job, and that's what Haitink is.

Shipshape, predictable and reliable.......2006-05-15

This box of Bruckner symphonies, recorded from 1960-72 in Holland, was rereleased in 2005 with many outlets offering it at vastly reduced cost from the $72 list price. These were recorded during Haitink's halcyon days as director of the Concertgebouw Orchestra, when, in my opinion, he did his best and most reliable work in the recording studio. These performances include Bruckner's "Nulte" symphony, the so-called Symphony No. 0, and the traditional nine symphonies in varying arrangements. Haitink plays the original versions of Symphonies 0-4 and the first version of the titanic Symphony No. 8.

What I like about these performances is Haitink's unaffected way with the music and how it allows you to hear Bruckner's progression as a symphonist when you listen to them in their numeric order. As he showed in his set of Shostakovich symphonies recorded a decade after these, Haitink can be a reliable guide through any composer's music. He shows himself a very reliable guide here. What he also shows himself to be in this set is somewhat unimaginative and hidebound by his literalism.

For this reason, these performances, good as they are, will probably never be any Bruckner fans' No. 1 rated performance in any of the symphonies. Conductors that made names for themselves in this music usually did so because of the unique way they communicated the music -- Furtwangler was very idiosyncratic, unique and exciting; Karajan was highly charged and Germanic; Wand was very spiritual; Jochum dabbled with tempo and mysticism; Tintner used new performing scores; Solti was too virtuosic and forced the music to become something it wasn't.

How does Hatink fits into this universe of expert Bruckner interpreters? I don't think he does. I think he plays the music straight all the time. For that reason it always sounds honest and forthright and the wonderful ADD recordings allow you to hear every mellifluous sound from the august Concertgebouw. But there is a decided lack of individuality in these recordings. This was a trademark of Haitink's recordings with this orchestra during this period, when he made his name worldwide.

The 1960s were indeed a time for orchetral literalists to shine. Coming off the era of orchestral dabblers like Stokowski and Furtwangler, world opinion in the 1960s was divided into two camps of classical music performance -- literalism, headed by the likes of Reiner, Szell, Karajan and Haitink; and humanism, whose principal spokesperson was Bruno Walter who died in early 1962 and left behind a spate of wonderful-sounding records that have since been converted to CD in the digital era.

While there was still a lot of nostalgia for old times, it was clear literalism was leading the world stage in the 1960s and setting the standard for performance of classical music -- very much like period performance practice has swept into style today.

This is the ethos Haitink represents and that representation is never more evenly displayed than in this set of Bruckner symphonies. While they are uniformly well-played, sound uniformly wonderful, and are uniformly well-directed by the conductor, you can also say they are uniformly risk free and uniformly without the stamp of personality. Is that a bad thing? No, it simply puts this set at a disadvantage against the bigger names whose Bruckner sets are still in print.

I think of this set as being the ultimate backup to my favorite Bruckner recordings (see my Listmania list). In a baseball metaphor, I think of the Haitink recordings as the perfect backup to my starters, the perfect relief pitcher when my starter tires, and the perfect pinch hitter when I tire of hearing my favorite versions. I know Haitink will come in during this backup situation and deliver the goods for me. But I also know that, even given the wonderful truthful recocrdings and uniform approach, he'll never be good enough to be the starter, either.

One note: in my box, the disk labeled Symphony 4 actually contained someone's rap music. I know this wasn't Bruckner since he died almost a century before the invention of rap!

unbelieveable recordings of the complete Bruckner Symphonies.......2006-04-10

Upon buying this set, I was struck by the recording engineering of this cycle. I thought I was listening to digital recordings, and was FLOORED when i discovered that these symphonies were recorded from 1960-1972. The sound is so crystal clear and so evenly recorded across all sections of the orcherstra that I contend over and over it was as if you was listening to a modern Chailly, Harnoncourt, or Barenboim recording. Just on sound alone - i would put this above and beyond Jochums EMI cycle with the Dresden Staatskapelle.

The second item that struck me with this set was Haitink himself. I had no idea or dreamt that he could tackle a complete cycle of symphonies and produce holistically, a quality product. So many "boxed sets" or "cycles" are marred by good ones and bad ones. But these recordings are even over the 12 year span they were done. This is a true testament to a maestro and beautiful and disciplined Royal Concertgebouw Orchestra.

The third thing I think about is in interpretation. Tempos that vary as the music builds - you'll never hear a more uptempo closing to the 8th in your life. I was shocked by an almost attempt by Haitink interpretively to throw back to the days of older conductors - styles of Furtwangler, Van Beinum, Knapperstbusch, ect. It sounded like he was paying homage to conductors of old but with updated sound.

Lastly - the orchestral playing is very detailed, disciplined. Strings playing sweet, woodwinds sounding light, brass very strong (though a few wrong notes and muddy in recordings 7-9 in big climaxes - but nothing too severe), and the ability to actually hear timpani in every symphony - something quite important to move the music along during up tempo passages or to accent the power of the brass sections - often not brought out in older recordings.

Something interesting that I would implore everyone to take note of... I now have 2 recordings of the 9th with Haitink - this early 1960 which is in the set and a 1981 digital recording with the same orchestra. Of the 14 other recordings I have of the 9th by Barenboim, Bernstien (1969 and 1990), Celibidache, Chailly, Giulini, Jochum, Karajan (1966 and 1975), Lopez-Cobos, Skrowaczewski, Tinter, Walter, and Wand - only the 2 Haitink recordings do not have the timpani player playing a role at the climax/finale of the 9th Symphony 1st movement, while instead playing a syncopated quarter/eight note rhythem (assuming thats the notation since I dont have access to a score). I find this fascinating and wondered why this was.

At any rate - happy listening!!!! This is a wonderful set - highly recommended above Jochum and dare I say an import Karajan which I have.

Average customer rating:

Bagpipe Rock
Self-destructive
Breath of fresh air!!
A Refreshing Burst Of World Beats
Unique, enthralling

1.0
Fiamma Fumana
Manufacturer: Omnium
ProductGroup: Music
Binding: Audio CD

Traditional Folk | Folk | Styles | Music

Celtic Folk | Traditional British & Celtic Folk | Folk | Styles | Music

General | Africa | International | Styles | Music

General | International | Styles | Music

General | Celtic | International | Styles | Music

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General | International | Indie Music | Stores | Music

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Onda

ASIN: B0000584U8
Release Date: 2001-02-13

Tracks:

1.0
Three Sisters
Mother To Daughter
Lullaby
4 Piedmontese
Oceansea
L.I.L.T.
Walking Song
Spellbound
The Way Home
1.0 (Fumana Folk Sound System Remix)

Amazon.com

A scorching debut from this band who call the Piedmont region of Italy home. It starts off like a techno album, and it's quite a kick when the Scottish war pipes burst into the title track, an homage to modern women. But that's just the tip of the iceberg. Like a paisano version of Afro Celt Sound System, Fiamma Fumana deftly balance Italian folk, dance beats, and a Celtic influence that never becomes overwhelming. Singer Fiamma possesses a deeply seductive voice, which works liltingly with a slow piece like "Hypnananna," but is equally at home on the more upbeat material. Most of the songs are originals, but even the traditional "Four Piedmontese"--the Italian equivalent of an American outlaw ballad--sounds modern, with button accordion and guitar. And dance fans will have a field day with the Fumana Folk Sound System remix of "1.0" where the machines take over and transform the cut into dancefloor heaven. Assured and accomplished, Fiamma Fumana cross genres and geography in a single bound. --Chris Nickson

Customer Reviews:

Bagpipe Rock.......2007-01-05

I really enjoyed this CD, but I'm an eclectic kind of guy. I don't mind that it's in Italian or that there's a bagpipe on nearly every track, but I can understand how not everyone here might get into it.

The vocals are top-notch: soaring and clear. Great singer and if you're into world beat and electronica, this one's for you.

Self-destructive.......2005-05-05

Fiamma has lots of talent and good ideas that are undermined by the overwhelming electronic bass beat on some songs, overreliance on bagpipes, and her sticking to the cool European disco sound. The current band is good (part on this CD) and their shows are better than this (4/05). She would be well served to let go and lett her natural, acoustic talent and emotions come through more.

Breath of fresh air!!.......2004-09-16

Can't get enough of this music! Here in USA one does not get spoiled with treats like that! Every track is a gem, an intricate lace of folk lyrics and modern beats. There is a very special feel to this album.
Fiamma's voice is absolutely beautiful! CD also contains rather minimalist but delightful "Tre Sorelle" video, pictures of the band, etc.

A Refreshing Burst Of World Beats.......2003-08-17

I am not a big fan of dance music, most of which is faceless, generic, and uninteresting beyond the dancefloor. But here, Fiamma Fumana make it exciting and interesting by combining their dancebeats with traditional instrumentation such as accordians, fiddles and bagpipes. The mix works, also because of Fiamma's own unique voice and the melodies that she weaves throughout.
Tre Sorelle is the standout, but this album contains much more to love, such as 1.0, Di Madre in Figlia, Mareoceano, and the giddy, infectious L.I.L.T.
If someone who didn't know a thing about this Italian group (or its language) were to hear the songs for the first time, they would bet money this was a group from Ireland or Scotland, as F.F.'s roots in that style of music are strong here.
All in all, its a fun album, a refreshing burst of beats and hooks that should delight all who hear it.

Unique, enthralling.......2001-11-08

As worldbeat continues to spread and diversify, it's really refreshing to come across something not only new and original, but captivating as well. As far as I know, this is the first group to take traditional Italian folk songs and fuse them with dance electronics. Rather than being just another entry in the often tired worldbeat arena, this album sings, pops, bounces, and sparkles. The female vocalist, Fiamma, is excellent, and the musicians with her are equally as talented.

As is true with the most sophisticated and skilled worldbeat practitioners, the group does not limit themselves to their native melodies and instruments. Inspiration is drawn from sources as diverse as Finland and the Celtic world. Aside from programming and keyboards, instruments include accordion, tin whistle, bouzouki, and uillean pipes.

This is a top-notch release!

His & Her Circumstances: Act 1.0
Average customer rating:

One of my favorite anime soundtracks

An enjoyable aural experience!

His & Her Circumstances: Act 1.0
Shiro Sagisu
Manufacturer: Geneon [Pioneer]
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music
Television Soundtracks | Soundtracks | Styles | Music
General | Soundtracks | Styles | Music
Anime & Video Game Soundtracks | Soundtracks | Styles | Music
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His & Her Circumstances: Act 2.0

His And Her Circumstances 1-5

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Kare Kano: His and Her Circumstances, Vol. 7

Kare Kano: His and Her Circumstances, Vol. 8

ASIN: B0000UX5PC
Release Date: 2004-01-20

Tracks:

Avan Title
Angel's Promise [Full Version]
Summary of the Story Until Now (Shotarou's March)
Yukino Miyazawa I [Concerto]
Yukino Miyazawa II [March]
Everyday Peace
Peace and Quiet
Work Hard Together
Peace Reigns in the Land
We Meet Only to Part - Atsuko Enomoto, Chihiro Suzuki
Souichiro Arima II
Souichiro Arima I
Into a Dream
Miyazawa Family
Putting the Cart Before the Horse
Yukino Miyazawa III [Jazz Rock]
Coexistence and Co-Prosperity
Yukino Miyazawa IV [Kanon]
Yukino Miyazwa V [Nocturne]
Undaunted
Into a Dream III
Treasure Every Meeting
Into a Dream [Full Version]
Summary of the Story Hereafter

Customer Reviews:

One of my favorite anime soundtracks.......2006-01-17

This is a very upbeat and diverse soundtrack. I listen to it often, either lazing around the house, exercising, driving. I also like to listen to it when I'm feeling at all down. It conveys the mood of the anime very well. Another piece of advice - avoid Act 2.0. It's a waste of plastic.

An enjoyable aural experience!.......2004-02-18

The CD soundtrack of His & Her Circumstances (a.k.a. Kare Kano) is an exceptional compilation of various, highlighted musical pieces from the critically acclaimed TV series. While remaining generally light-hearted, the few darker pieces (which are outstandingly produced in their own right) often allude to hope and lighter themes as well.

When you're feeling down and out, this CD will do a great job of making you smile, and even if you want to hear something `moody,' you'll be able to find that too! Further, the CD has a longer run time than many others in its genre. The quality of the CD is consistent - the sound is always crisp with excellent treble/bass contrast, which really shows up nicely on a good sound system. The cover-art and insert are also high quality (but you'd be hard-pressed to find bad cover-art these days...) Anyhow, if you enjoyed the series and want to relive some of the moments, or if you just want a fun mix of classical, J-pop, and jazzy themes, give this soundtrack a shot!

Praise Life Beyond 1.0
Average customer rating:
Praise Life Beyond 1.0
Various Artists
Manufacturer: EMI Gospel
ProductGroup: Music
Binding: Audio CD

Christian Rap | Christian & Gospel | Styles | Music
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7 Days

ASIN: B000E3K3AK
Release Date: 2006-02-07