Cycle

Track Listings

1. Re-Introduction

2. Coltrane's Brain (The Rebirth)

3. Call [Original Mix]

4. Resuscitation

5. Systematic Mechanic

6. Wave of Calm Before the Warm

7. Color Clouds Blue [Version 2]

8. Air to Sea

9. Rebirth's Reprise

10. As It Mutates and Begins to Grow

Cycle,Induce,Wonder Sound,Rap

Cycle

Tracks:

Open Your Eyes
Pressure
Fade
It's Been Awhile
Change
Can't Believe
Epiphany
Suffer
Safe Place
For You
Outside
Waste
Take It

Amazon.com

Watch out, mom and dad. If you don't treat your kids right, they're gonna up and start an alt-metal band to share the angst you've brought on them with the world. After all, who needs therapy when you've got a million kids hearing your pain on MTV? Staind has never been a band to gloss over personal issues. They've given their albums names like Torment and Dysfunction, and their lyrics delve deep into singer Aaron Lewis' difficult past. Contrary to the title, Staind's third release, Break the Cycle, sticks with the tormented cycle, covering the same themes of heartbreak, self-doubt, and broken homes.

Lewis has almost three decades of personal material to mine, and as familiar as his issues are, Break the Cycle still feels like a new, honest look into difficulties that can hit people across the board. "Waste," a song written to a fan who committed suicide, is particularly poignant as it grabbles with Lewis's empathy and anger for a boy he's never met. "Outside" is another album standout. It's a slower, partially acoustic number that builds on its own emotion. The songs on Break the Cycle are drenched in melancholy melodies and slow, heavy riffs typical of the sensitive side of the alt-rock genre. Lewis sometimes breaks out into either a hearty yell or a throaty gurgle that sounds like the devil vomiting ("Can't Believe"), but the best songs keep his passion a little more controlled. You've probably heard rock like Break the Cycle piping from mainstream radio stations already, but Lewis's ability to turn his breakdowns into his art should capture a new round of fans happy to find kindred spirits in the band. --Jennifer Maerz

Album Description

Aussie edition of the alternative metal act's 2001 album. 14 tracks including one exclusive live bonus track, 'Outside' by vocalist Aaron Lewis & Limp Bixkit's Fred Durst.

Album Details

Fred Durst has A&R'd this record however production credit goes to Josh Abraham (Limp Bizkit, Korn) with the mixing courtesy of Andy Wallace (Smashing Pumpkins, Nirvana). Described as a quantum leap forward from their debut album 'Dysfunction' from 1997, this album's 14 tracks are both more brutally intense and more melodically expansive than their debut effort. Track 14 'Outside' is an Australian only bonus.

Customer Reviews:

Impressive album.......2007-08-05

This album kicks some serious a**. Aaron Lewis really pours it out. When I heard the song Waste, maaaan I was shocked. At about the 2:50 min mark he unleashes like a beast. His aggression drives me. Warm Safe Place is Aaron at his best as well. His lyrics make you really think, he has me rewinding like crazy. Not to mention he does it behind some insane guitar riffs and hectic drum lines. I think this is their best album and i truly recommend it.

This is how rock should be -- real and gritty.......2007-04-19

Staind's Break the Cycle really pushes the boundaries of metal in terms of power. Singer Aaron Lewis' lyrics are the foundation for this album. It's filled with pain, despair, and real problems without the annoying "f*** everything kill everyone satan blah blah" heavy metal stereotype. Staind's music is haunting, to say the least, but at the same time, delicate. The guitars and drums blend perfectly with each song. Then again, some of the music could be better. I loved the song "Waste", but the instrumentals didn't fit with the words. With topics ranging from broken friendships ("Fade") to teenage suicides ("Waste"), Staind dares to be real to its audience, and has done so for the past 11 years.

its not dysfunction, but its good.......2007-02-20

Staind's "breakthrough" album, Break the Cycle, is a very good album. I'm surprised I say that, because usually when a band goes from an album like Dysfunction to an album like Break the Cycle, I'd say they sold out. However, I believe this is a different case. Break the Cycle is not much like Dysfunction, and it sure is hell isn't like Tormented, but it is extremely good in my opinion. I don't think the album is soft, I think it is not as hard as their previous albums. The disc has some gems on it, "Its Been Awhile" being one of them. Others include "Pressure" and "Epiphany". I give it 4 stars because, quite frankly, I don't believe it is their best, but I do believe that it is a really good album.

It'll take more than bleach and psychotherapy to get this Staind out.......2006-12-30

I recently listened to this album again and it took me back to my high school years when I was a angry teenager and this album really meant something to me. Staind can relate to the pre teen high school crowd because they make the kind of music that you'd want to listen to after getting into a screaming match with your parents. Running up to your bedroom and slamming the door behind you, you could slip on your headphones and listen to any one of Aaron Lewis' teenage angst driven songs on this CD, epitomized by "For You", the musical equivalent of flipping the bird at the parental unit. After it's over you'd get a shot of adrenaline. Flinging open the door you'd say something like "See mom and dad, I'm not to blame for my problems with other people, it's all you! Aaron Lewis speaks the truth!"

I can't forget those years fast enough

When was in school it seemed like everyone had this album, from the truly angry and bullied kids, to the fairly well adjusted and the salutatorian, who was angry that his 3.95 GPA couldn't be rounded up to a 4.0, justifying his purchase of the album.

In the label filled world of music, Staind is classified as nu metal, a genre of music where the lead singer complains about his many misfortunes and failed upbringing. On this album, Staind does this quite well and it has their most well known songs, like "For you" "It's been awhile", "Epiphany" and "Outside" I may not like this album as much as I used to when I was a teen, but it did get me into hard rock and grunge, leading to my interest in bands like Soundgarden, and for that I'll give them their due, and I have a soft spot for epiphany and a few other songs, so it isn't terrible, but for me the music hasn't aged well and doesn't sound as hard and edgy as it did in high school. After listening to Lewis' socioeconomic themed "Open Your Eyes" and "Pressure", about one of his bad experiences with drugs, all I did was shake my head in disbelief that at one time I actually thought this was great music.

Some reviewers say this album is Staind's best while hardcore fans say they sold out with this one. I say they sold out with their next album 14 shades of grey, which has a bunch of weepy ballads that were better suited for adult contemporary stations. This trend has continued up to their most recent album Chapter V. This album may not be a "hard" rock album like "Tormented", but it sounds harder than future stuff

You can only like Staind for as long as you can relate to Aaron Lewis. Once you realize that he's now a successful sell out ballad happy artist who's wallowing in his past in a desperate attempt to sell albums, you'll find them annoying. Still I think you'll be forgiven by most people if they find this disc in your collection, because it has their best songs that are still worth a listen every once in awhile.

Acceptional.......2006-12-19

This record was the first incredibly gripping angst/rock record i had ever purchased. Right from 'Open your eyes' to 'Take it' it is a journey of waves of emotion and sincerity, at times depressing yet honest and uplifting come each chorus song by song. Truly an everlasting work of art as far as i'm concerned but unfortunately their only successful record and one that is up their with my favourites. It was only last night i was surrounded by a few people who happened to say how much they hate this band but in all truth, it makes me appreciate STAIND so much more when i see that they aren't admired by most 'common' people. I wear my tatoo of their logo on my lower back with pride.

Average customer rating:

Near Glorious
soul stirring-true gift of music
wonderful
this here is some good music
Something Old, Something New

The Prayer Cycle

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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American River
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Ama
The Collection

ASIN: B00000ICMK
Release Date: 1999-03-23

Tracks:

Movement 1: Mercy
Movement 2: Strength
Movement 3: Hope
Movement 4: Compassion
Movement 5: Grace
Movement 6: Innocence
Movement 7: Forgiveness
Movement 8: Benediction
Movement 9: Faith

Amazon.com

It is with primitive urgency and lustrous clarity rising like flickering embers from a fire that Jonathan Elias's ambitious Prayer Cycle is given voice. Woven together like knotty wool, silk, and fine strands of silvery water, the disparate yet complementary voices of the late Nusrat Fateh Ali Khan, Alanis Morissette, Yungchen Lhamo, Ofra Haza, the American Boychoir, Salif Keita, and others intertwine in multiple languages with the superb English Chamber Orchestra and Chorus. Prayers of supplication, gratitude, and longing build in layers, one on top of and 'twixt and 'tween the other, as movements titled "Mercy," "Grace," "Innocence," "Compassion," and the like. Remarkably, Elias's Prayer Cycle eloquently captures the ecstasy, pain, grief, and sublime beauty of humanity--as he simply and poignantly writes in his liner notes, "The world we live in is both joyous and cruel." --Paige La Grone

Customer Reviews:

Near Glorious.......2007-08-03

The only "weak" track on Jonathan Elias' The Prayer Cycle is "Grace," featuring John Williams and James Taylor. And I put the word "weak" in quotation marks because where the other eight tracks are transcending, atmospheric and, of course, godly, "Grace" remains earthbound by it's folksy, Renaissance melody. (It's as if Williams and Taylor were channelling deceased English singer-songwriter/musician Nick Drake.) One could argue, however, that "Grace" is a refreshing break from the lush orchestra and passionate wailing throughout, in which case, at track number five, it is perfectly placed in the middle of the epic arrangements. In any case that is a minor quibble for an album that is near glorious and comes highly recommended.

soul stirring-true gift of music.......2007-02-24

...a very few meaningful words are added to enhance the sound and voice on this eloquent and moving gift of music. It has become my favorite disc to share as a gift of love with friends and colleagues.

wonderful.......2007-02-15

Lovely CD, only problem is the artists all thought they had to do their own prayer cycle, so each piece rises in volumne and crescendo. Not the best for sleep time, but nice for yoga and cooking time.

this here is some good music.......2007-02-01

music is beautiful, the lyrics are gloomy and depressing. luckily most are sung in another language so you don't have to worry about that part.

Something Old, Something New.......2007-01-17

Every now and then, along comes a piece of music that truly moves me. Even more seldom, along comes a piece of music that makes the musician in me sit up and take notice. Jonathan Elias' "The Prayer Cycle" has done both.

"Prayer Cycle" is a choral symphony in nine movements, but it is also a piece of world music. The English Chamber Orchestra and Chorus is joined by a stellar array of vocal solo talents. Distinctive western voices such as Alanis Morissette, James Taylor, and Linda Ronstadt are joined by equally distinctive eastern vocalists like Israeli Ofra Haza, Tibetan Yungchen Lhamo, Pakistani Nusrat Fateh Ali Khan, and Salif Keita of Mali. Sadly, Ali Khan and Haza (one of my favorite vocal talents) passed away shortly after the production of this recording, leaving this performance as one of their last collaborations. It is a fitting memorial to two great voices.

Elias' music itself is a wonder. It is both ethereal and earthly, filled with slow ostinato and vibrant treble tones, and it fulfills its title by quietly guiding the ear and mind to a place of introspection, meditation, and revelation. The mix of languages lets us concentrate on the timbre of each voice, from Ronstadt's lyrical soprano to Morisette's anguished and near-tribal clarity, from Ali Khan's woody tenor to Yungchen's flute-like descant. The music is not thematic, but atmospheric, providing no melodies to hum after hearing the piece. Rather, each movement provides a distinct sphere of serenity in which we can slow down, listen, and enjoy the tug and play of the music.

Soul of the Tango: The Music of Astor Piazzolla

Average customer rating:

A magnificent way to expand your musical horizons from typical classical or cultural music
Excellently performed, Not much Variety
A Classy CD
Great Music BUT - Stupid Sony CD
Very good but not what I heard live in Cerritos

Soul of the Tango: The Music of Astor Piazzolla

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

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Obrigado Brazil
Tango: Zero Hour
Astor Piazzolla - The Soul Of Tango: Greatest Hits
Silk Road Journeys: When Strangers Meet
Silk Road Journeys: Beyond the Horizon

ASIN: B0000029XQ
Release Date: 1997-10-02

Tracks:

Libertango
Tango Suite: Andante
Tango Suite: Allegro
Tango Suite: Sur: Regreso Al Amor
Tango Suite: Le Grand Tango
Tango Suite: Fugata
Tango Remembrances
Mumuki
Tres Minutos Con La Realidad
Milonga Del Angel
Cafe 1930

Amazon.com essential recording

Yo-Yo Ma might seem like an unlikely protagonist for the tango, but this intrepid musical explorer has taken his task seriously, collaborating with experienced tango musicians. Ma even participates in a posthumous collaboration with one 1987 Piazzolla recording. Furthermore, while he's obviously the headliner here, he doesn't dominate the arrangements nearly as much as he does the billing and photography of the disc. While the result isn't your essential Piazzolla album (that would have to include more of the composer's own playing), it's an atmospheric and convincing collection, perhaps a good introduction for those who don't know the music. --Leslie Gerber

Customer Reviews:

A magnificent way to expand your musical horizons from typical classical or cultural music.......2007-07-24

I had been lusting after this CD for a long time, and the main reason I bought it on Amazon is that the complete CD is not available for sale through the online music retailers, such as iTunes that I typically use. What makes this such a great CD is that it takes a Cello, an instrument that most people associate with Bach or large orchestras, and allows the instrument, through the talented playing of world-acclaimed cellist Yo-Yo Ma, to create beautiful, melodic and cultural music so passionately that at times one might mistake it for a human voice. The CD contains a very healthy variety of songs, and makes a valuable addition to any connoisseur's collection.

Excellently performed, Not much Variety.......2007-01-12

Yo-Yo Ma leads an all-star cast in his "Sould of the Tango" project. He offers fresh new arrangements of Piazzolla's masterpieces including "Libertango," "Tango Suite," "Fugatta," and more. The arrangements are expertly performed and the playing is exciting and energetic. There is a lush palatte of sound colors coming from guitars, cellos, pianos and the bandoneon. The music is beautiful and flashy. Pieces are reorchestrated such as the "Tango Suite" pieces which are originally guitar duos now with a cello in the mix and the last track on the album, "Cafe 1930" was originally flute and guitar but Ma performs it on cello and bandoneon. The result is freshly interpreted Piazzolla masterpieces that feature new sound color and new perspective. The music is really quite enchanting.

The only problem with this particular recording is that I think Piazzolla is better heard in moderation. Piazzolla wrote in such a constrianed genre, (classical tango), and thus a whole hour of Piazzolla is a little much to take. This great album doesn't make for much of a great straight through listen, but is much better as a plesant surprise when the computer library or iPod is on shuffle.

A Classy CD.......2004-06-23

Great intro to tango, great to relax and read to.

Great Music BUT - Stupid Sony CD.......2003-07-16

I love this music - plays great on my CD player, but when I tried to play it on my computer at work, I wouldn't work. Sony wanted me to install something that didn't work on my machine (my computer is farely new), so I ended up having a friend copy the music over to a new CD without all that SONY stuff they use to stop pirating probably. Now I can listen at work and it is wonderful. BUT BEWARE ON BUYING CDs like this!

Very good but not what I heard live in Cerritos.......2003-03-05

When I first heard Yo-Yo Ma live in Cerritos several years ago, his closing piece was from the yet released Soul of the Tango.
With that music, the subdued audience was enlightened. With only a Cello and a Piano, the music that was created was unbelievable. It was several months before the CD came out and I was a little disappointed that the energy that was present in the live concert did not translate to the CD. I hope that a Live recording or DVD will eventually be released which does capture the real Soul of the Tango.

Average customer rating:

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

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

General | Symphonies | Classical | Styles | Music

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

ASIN: B0000589BP
Release Date: 2001-01-30

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

Great price, great compilation. Lot of Mahler.

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

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

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

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

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

Cycle #1:

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

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

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

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

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

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

Cycle #2:

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

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

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

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

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

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

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

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

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

Elly Ameling ~ Schubert · Schumann - Songs

Average customer rating:

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

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

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ASIN: B000001TWU
Release Date: 1991-11-05

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn)

Average customer rating:

Susan Graham, Songs of Reynaldo Hahn
Excellent Catalyst for Seduction. Buy It.
Graham's Artistry Makes for Compelling Listening in a Collection of Songs from a 'Minor' Composer
The beauty of "La Belle Époque"
A very good Hahn collection

Susan Graham - La Belle Époque (The Songs of Reynaldo Hahn)
Reynaldo Hahn , Susan Graham , and Roger Vignoles
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Susan Graham ~ Berlioz - Les nuits d'été
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Poèmes de l'Amour
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Debussy - Mélodies / Ameling · Mesplé · Command · Souzay · von Stade · Baldwin

ASIN: B00000AG7M
Release Date: 1998-09-15

Tracks:

A Chloris
Le Rossignol des lilas
L'Enamour
Trois Jours de vendage
Lyde
Tyndaris
Phyllis
Les Fontaines
L'Automne
Infidelit
Dans la nuit
D'une prison
Quand la nuit n'est pas teoilee
Fume
Le Printemps
Je me souviens
Quand je fus pris au pavillion
Paysage
Fetes galantes
Nocturne
Mai
L'Heure exquise
Offrande
Si mes vers avaient des ailes

Amazon.com

Lyric mezzo-soprano Susan Graham stands out from the crowd for her expressive, opulent voice and communicative gifts. Someone at Sony has made the decision to place her in the public mind primarily as a singer of French works, and although it would be a shame to see her limited to that area of the repertoire, she does sing the French repertoire exceptionally. Graham sings sensitively and idiomatically in this group of 24 songs by Reynaldo Hahn (1875-1947), a Venezuelan-born, French-reared composer and conductor who knew how to craft a song like few others. In such lovely songs as "A Chloris," which opens the album, and "Je me souviens," Hahn creates a bevy of beautiful little worlds, which Graham and the outstanding pianist Roger Vignoles present in memorable form. This album belongs in the collection of all lovers of song. --Sarah Bryan Miller

Customer Reviews:

Susan Graham, Songs of Reynaldo Hahn.......2007-01-10

Stunning. The sticker on the front of the CD (New York Times quote) says it all: "breathtaiking and unforgettable!".

Excellent Catalyst for Seduction. Buy It........2006-05-19

'La Belle Epoque, The Songs of Reynaldo Hahn' by mezzo-soprano Susan Graham, accompanied by pianist, Roger Vignoles, is much different from my earlier subject of a Graham Review, some songs from Berlioz. The Berlioz material struck me as a concerto for orchestra and voice. This was excellent material for to wow a mate on a first date. Reynaldo Hahn's chamber songs are for much more intimate venues and objectives. Even more than any other 'Lieder' or 'Chansom' specialist I can think of, these are the sorts of things you want to use when the object is seduction.

The songs are so gentle and so seductive that they are as likely to set the tone for the seducer as well as for the seductee. Even if you are not in a seductive situation, the songs will make you want to be there.

All this means is that while Reynaldo Hahn does not have the great reputation of Berlioz or Shubert or Schuman or Debussy, you really should know his songs, and Ms. Graham does a great interpretation to make this introduction.

Graham's Artistry Makes for Compelling Listening in a Collection of Songs from a 'Minor' Composer.......2006-02-27

This was only Graham's second solo outing, and for many listeners it confirmed the promise of her d?but recording of "Les Nuits d'?t?" -- an unusual accomplishment for a relatively minor project.

I know the songs of Reynaldo Hahn from a number of worthy recordings from other artists -- Rachel Yakar, Martyn Hill, Bruno Laplante, Mady Mespl?, Graham Johnson & Co. (the Hyperion French Song Edition), one-offs on Elly Ameling albums, not to mention vintage recordings by Hahn himself. All the same, this recording was a complete revelation. Her beauty of tone, her ease with the French language (surpassing, I daresay, the much-vaunted Francophony of Felicity Lott), her canny selection of songs, Vignoles's sensitive accompaniment, they all add up. But there's that (ahem) je-ne-sais-quoi that makes something a classic, and this album has it. It captures an era, it creates a time and place that come wafting out of your speakers.

My favorite song on this record is "Si la nuit n'est pas ?toil?e" -- it is a rapturous melody to a quintessential Victor Hugo text. But there is nary a false note on the entire album. I do recommend, if you can find it, the Ameling album "Serenata," which includes two Hahn songs I haven't encountered elsewhere, "L'amiti?" with its faint melancholy and "La vie est belle" with its French ?lan.

As we know, Graham has gone on to much bigger things, but she retains her commitment to the art of song and to breathing fresh life into French rarities (as in her delightful operetta album). In terms of tone, timbre, and intonation, for my money she has the most beautiful voice in opera today. My only hope is that she doesn't go the way of Ren?e Fleming and become The Voice Beautiful ... she veered a bit in that direction with her recent Chausson record, and I hope she gets back to business and gets her vivid personality back in action in her song performances.

The beauty of "La Belle Époque".......2005-09-13

This is one of the most beautiful vocal recordings I have recently experienced. The songs of Reynaldo Hahn are beautiful gems exquisitly presented by the polished voice of Susan Graham. I have gone back to this recording many times.

A very good Hahn collection.......2004-12-05

Venezuelan-born Reynaldo Hahn was taken to Paris at age 3, and became, early enough (his most famous song, Si mes vers avaient des ailes, was composed when he was 12!) a steady feature in the musical life of Paris.

Lover of Marcel Proust, sought-after musical entertainer in the salons of the Highest Society, diarist, composer, singer, renowned conductor, influential music writer in the most powerful daily in France (Le Figaro) finally General Manager of the Opéra Comique before dying of a brain tumor in 1947, Hahn was a multi-faceted musician of the highest probity. His songs are simple, patrician, utterly elegant, and always set to the best poetry. His simplicity and purity of means accomplish in little what many pretentious thunderers fail even to approximate.

Hahn himself had a light little baritone voice, a little croak of a voice, really, with which he became popular in high society drawing rooms before the First World War: a voice that charmed duchesses and made the most reserved princesses smile. He even made some 50 records between 1920 and 1930, which show his unique, expressive musicality, unfailing sense of phrasing, elegance of style, and fine piano-playing (He almost invariably accompanies himself.)

Hahn's own 78s, and a very few others by the likes of Ninon Vallin, give a clear recorded testimony of how his songs ought to be performed: simply, elegantly, with charm.

Graham is a lovely singer and a supple musician. Her French is not exactly top-notch but most people will not care: they will respond to her beautiful sound and endearing manner. The pianist is also good.

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Music ALIVE!
Full Circle With Kremer's Eight Seasons
Rapturous
"Eight wonders"
From the River Plate (Rio de la Plata).

Vivaldi and Piazzolla: Eight Seasons

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000206A4
Release Date: 2000-02-29

Tracks:

'La Primavera' - Concerto In E Major, Op. 8 No. 1: Allegro
'La Primavera' - Concerto In E Major, Op. 8 No. 1: Largo
'La Primavera' - Concerto In E Major, Op. 8 No. 1: Allegro
Verano Porteno: Summer In Buenos Aires
'L'Estate' - Concerto In G Minor, Op. 8 No. 2: Allegro Non Molto
'L'Estate' - Concerto In G Minor, Op. 8 No. 2: Adagio
'L'Estate' - Concerto In G Minor, Op. 8 No. 2: Presto
Otono Porteno: Autumn In Buenos Aires
'L'Autunno' - Concerto In F Major, Op. 8 No. 3: Allegro
'L'Autunno' - Concerto In F Major, Op. 8 No. 3: Adagio Molto
'L'Autunno' - Concerto In F Major, Op. 8 No. 3: Allegro
Invierno Porteno: Winter In Buenos Aires
'L'Invierno' - Concerto In F Minor, Op. 8 No. 4: Allegro Non Molto
'L'Invierno' - Concerto In F Minor, Op. 8 No. 4: Largo
'L'Invierno' - Concerto In F Minor, Op. 8 No. 4: Allegro
Primavera Portena: Spring In Buenos Aires

Amazon.com

Despite global warming, Vivaldi's The Four Seasons is more popular than ever. But it still seems strange that Gidon Kremer and his Kremerata Baltica ensemble--a group that continues to stun us with riveting performances of lesser-heard works--would tackle the tried-and-true baroque masterpiece. Luckily, Kremer inventively separates each Vivaldi season with a corresponding composition from Astor Piazzolla's Four Seasons Suite, making for fascinating comparisons. Kremer's performances of the Vivaldi are remarkable, sounding solid and fresh. And like an infectious Broadway musical, Piazzolla's seasons always seem on the verge of a giddy dance number. Kremer really gets to show off on these tango-inspired pieces, but he's charming throughout. The programming probably won't make this your reference Four Seasons, but for those who love their Vivaldi in small doses or fans of Kremer's Tango Ballet disc, this is a must-have. --Jason Verlinde

Customer Reviews:

Music ALIVE!.......2006-03-12

I really know hardly anything about Argentinan music or Kremer, but I bought this album after I became enraptured with the spring and summer suites at a ballet. My local company created a piece inspired by the works of expatriate artist Amaranth Ehrenhalt and set to alternating Vivaldi and Piazzola selections. I was amazed by how Vivaldi's Seasons took on new life. Everything was vivid and fluid and meshed perfectly with the dance. I recommend this--you can truely feel the seasons alive in all of their glory.
BTW: Rio de la Plata means River of Silver.

Full Circle With Kremer's Eight Seasons.......2005-10-19

Gidon Kremer has been building himself quite the reputation as an interpreter of the music of the late and great Argentine musical polymath, Astor Piazzolla. Here he takes the very well-known Four Seasons of Vivaldi and stands them up to the Four Seasons of Piazzolla and the result is an aural delight.
Most who are reading this are probably curious about this CD for one of two reasons: either they are Vivaldi fans, or they are Piazzolla fans. But who says that being a fan of one has to exclude the other? After you listen to this, you are likely to become a fan of the music of both composers and of Gidon Kremer as well if you were not already.
Being a huge Piazzolla fan,I never tire of hearing different interpretations of one of his most important works. The Four Seasons of Buenos Aires may be born of tango, but it is much more than that. It is a masterful marriage of classical elements with those of tango. Piazzolla could do many things with music and what he has created with his Four Seasons is an electrifying blend that will stand the test of time.
And so here is Gidon Kremer with yet another skillful and faithful interpretation of the both the spirit and the letter of Astor Piazzolla's music, cleverly juxtaposed with that of one of the Old Masters. Kremer brings us full circle with his presentation of the Four Seasons sequences of both composers, beginning with Vivaldi's La Primavera (Spring) and after a musical journey through the year, ending with Primavera Portena (Buenos Aires Spring) so that we finish where we began.
Kremer and his Kremerata Baltica do a virtuoso job throughout. Though I am a partisan of the music of Piazzolla, I enjoy Kremer's interpretation of Vivaldi as well. If you know and love this music as I do, then Eight Seasons merits an esteemed slot in your CD collection.

Rapturous.......2004-07-21

Parts of this recording are so beautiful that when I listen while working, I have to pause what I am doing and close my eyes. I don't remember how I ended up buying this CD (it certainly wasn't planned), but I am so grateful.

My rabbit hates it though. When I listen to it at home, he stamps his feet. So I can only listen to it at work. :(

"Eight wonders".......2003-02-24

Gidon Kremer's musical explorations were very famous from the beginning and during the last few years he is gaining almost a "classical superstar" status. I was a little suspicious about those beautifully packaged CDs with sort of "trendy" and almost too interesting sounding titles for serious classical achievements. BUT!! I couldn't be more wrong. "After Mozart" or "Eight Seasons" seem to be some of the most inspiring recordings I've heard. While listening to "Eight Seasons" at "concert" levels in a privacy of my room, I felt "goose bumps" for several times and I had to laugh out of pleasure, thinking: this is SOOO good. Gidon Kremer and his "baltic fresh" Kremerata Baltica are pursuing and tacking the pure essence of music. Programming the mix of Piazzola and Vivaldi doesn't seem extraordinary anymore. It is pure music, pure joy. Technical bravura and excellent sound are only side things. Tango nuevo - widely popularized music form and one of the most (ab)used baroque masterpieces join as one in a fresh and artistically meaningful entity. What more can we wish for ?
Piazzola sounds energetic and powerful and Vivaldi the freshest out of numerous interpretetions. Mixed in an interesting sequence they form a new "Opus".

I also strongly recommend "After Mozart" with its mixture of contemporary music and timeless, for many "godlike" Mozart. A recording that makes him human and even more divine at the same time.

From the River Plate (Rio de la Plata)........2002-11-10

The River Plate, an akward translation from the spanish "Rio de la Plata", is the widest river on the world. It both separates and bonds Buenos Aires with Montevideo, capitals cities of Argentina and Uruguay respectively. If I could ask Billy Joel how would he name this river, I think that much alike his excellent album "River of Dreams", he would call it "River of Tango".
Yesterday night I attended Mr. Kremer and the Baltic Kamerata's performance, where in addition to Mahler's 10th Adaggio, they played these "eight seasons". I think that for Mr. Kremer and his ensemble, coming to play to South America and precisely to the birthplace of tango, could be a "tour the force".
Well, he & the Kamerata were magnificient, classy. He kept us on our feet, applauding, for more than fifteen minutes.
This CD has capture the thrilling of his live performances.It is the kind of recording that becomes a milestone in our "audio memory", as Mr. Karajan liked to say. Enjoy it.

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Simply unreal
a brave journey
A for effort, C for execution
BARBRA,BARBRA,BARBRA!
A promise fulfilled

Classical Barbra
Barbra Streisand
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Je M'appelle Barbra
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The Third Album

ASIN: B000002549
Release Date: 1990-10-25

Tracks:

Beau Soir
Brezairola
Verschwiegene Liebe
Pavane (Vocalise)
Apres Un Reve
In Trutina
Lascia Ch'io Pianga
Mondnacht
Dank Sei Dir, Herr
I Loved You

Customer Reviews:

Simply unreal.......2007-05-16

I find it utterly, amazingly, unthinkable that ANYone can come up with ONE 'negative' thing to say about this collection by the inimitable Ms Streisand. This CD..this music --- just transports me....elevates me...changes my mood and outlook......it is an ethereal listening experience..almost religiously hypnotic in its beauty, eloquence, and simplistic beauty. Some of the songs bring a lump to my throat. It's a joy and a privilege to hear this Artist render her vocal and emotional interpretation of these classic aural wonders.........a true gift to the ears. Bravo. I wish I could give it more than 5 stars/ Lisa Guerci in CT

a brave journey.......2007-05-14

to record this set of songs was a huge risk for barbra streisand to take. but what other singer would put themselves on the line like this and record a whole album of classical material except barbra streisand?

dusty springfield had a song or two that borrowed melodies from the classical music genre, and aretha franklin famously growled her way through 'nessun dorma' at the grammys back in 1999. but this is very different and bold.
and no one, not even those with the vocals chops and training like linda ronstadt wouldn't take this one on for size.

it is easy to hear that streisand has put all her stylistic trademarks on hold and performed her recital with integrity. and at times, a different streisand emerges and it's quite nice. it's only a phrase here and a note there but it's interesting to hear.

be warned--she still sounds like barbra streisand. and there's one song i personally wish she hadn't sang (the canteloube), only because there's another song in that canon that might have served her even better called 'la dellaisado'.

A for effort, C for execution.......2006-08-23

One does have to applaud Barbra for the effort, for showing that she really does care about music, not just her own. Everyone knows about her forays into pop, rock and even disco. Alas, while her voice is lovely, it seems more like an album of lullabies than classical lieder. She actually did a more authentic classical performance of a Schubert song on her TV special "Barbra Streisand and Other Musical Instruments." Alas, this serious effort never comes close to showing the range of her voice that she played with in that 2 1/2 minute song. A missed opportunity.

BARBRA,BARBRA,BARBRA!.......2006-03-04

This CD shows why Streisand is who she is; the ultimate DIVA! This lady can sing anything and on this wonderful collection she proves it. Barbra recored the album way back in 1973, and because the record label was afraid of low sales due to the classical nature of the material, didn't release it until 1976. What a treat for fans of Barbra and fans of classical music. Barbra showcases hew vocal strengths in the 10 tracks singing in different languages. I first heard this CD at a dinner party 15 years ago and pretty much forgot about it until I saw a few for sale on Ebay. I remembered loving it and immediately bought it through Amazon. I highly recommend this CD for all those people who simply love music. It will put you in a very relaxed mood, almost as if your home is filled with candles. Since I bought it I've listened to it at least 20 times or more and will continue playing it in my home. Don't worry if you can't understand what Barbra is saying if you don't comprehend the laguage of the song; you'll know it's still Barbra doing what she does the best. A few final notes ; Barbra Streisand was nominated for a Grammy for the album. And Streisand has personally stated that this was the hardest album vocally she has ever worked on in her career. In short a beautiful CD for any home.

A promise fulfilled.......2006-02-02

In 1963, when Streisand released her first album, there was no doubt she was a unique and talented singer. Some ten years later, after becoming a great success, she proved with "Classical Barbra" what a nurtured and developed talent is capable of. She didn't sit on her laurels and continue to churn out Broadway warhorses in an attempt to play it safe. Instead, like a true artist, she challenged her abilities. Her reward, and ours as well, is this absolutely gorgeous CD. Her voice, at a level of near perfection, glides effortlessly across each tender note of these well picked gems. If anyone ever doubted man's reason for existence, please, do yourself a favor and buy this CD. You will be inspired for a lifetime.

Elgar: Cello Concerto; Sea Pictures; Cockaigne Overture

Average customer rating:

Wonderful performances and remastering
DuPre at her best
Don't even think about buying another performance!
Sea Pictures, a life changing event, Lord Elgar, I worship thee!
The Definitive Elgar Cello Concerto

Elgar: Cello Concerto; Sea Pictures; Cockaigne Overture

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Dvorák: Cello Concerto; Tchaikovsky / Karajan, Rostropovich,
Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy

ASIN: B0002VEQGG
Release Date: 2004-09-07

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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A Little Piece of total enjoyment
Wonderful!

Flute For Relaxation

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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