No. 0 [Import]

Product Description
Release from Famous Italian Diva Performing Songs Written by Popular Singer and Composer - Renato Zero.

No. 0,Mina,Sony Int'l,Euro-Pop,Int'l & World Music,Italian Pop,Italy,Pop,Rock/Pop,World Music

Average customer rating: A Voice FEEL THIS excellent Unplugged PROLIFIC AND POWERFUL-TRUTH

MTV Unplugged No. 2.0 Lauryn Hill Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | R&B | Styles | Music General | Soul | R&B | Styles | Music General | Live Albums | R&B | Styles | Music Pop | Styles | Blowout Music | Stores | Music R&B | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Sony | Computers Brands | Computers Features | Electronics | Desktops | Monitors | Networking | Notebooks Similar Items: The Miseducation Of Lauryn Hill Lauryn Hill - MTV Unplugged No. 2.0 The Score Mama's Gun Baduizm ASIN: B000065625 Release Date: 2002-05-07

Tracks:

1. Intro
2. Mr. Intentional
3. Adam Lives In Theory
4. Interlude 1
5. Oh Jerusalem
6. Interlude 2
7. Freedom Time
8. Interlude 3
9. I Find It Hard To Say (Rebel)
10. Just Like Water
11. Interlude 4
12. Just Want You Around
13. I Gotta Find Peace Of Mind

Tracks:

1. Interlude 5
2. Mystery Of Iniquity
3. Interlude 6
4. I Get Out
5. Interlude 7
6. I Remember
7. So Much Things To Say
8. The Conquering Lion
9. Outro

Amazon.com

Lauryn Hill has loudly (and justifiably) been declared a brilliant artist already in her young career, and MTV Unplugged No. 2.0 will do nothing to dissuade anyone. This double-CD acoustic set contains snippets from her debut album, but most of it is new material that Hill performs with raw, shockingly honest intensity. Coming on the heels of a well-publicized period of depression and unhappiness for the ex-Fugees singer, Hill's reenergized outlook is plainly evident in this stripped-down performance--it's basically just Hill and her unplugged guitar--as well as the highly spiritual nature of the material. Cutting across musical styles from bossa nova ("Just Like Water") to Marley-esque rebel songs ("Oh Jerusalem," "The Conquering Lion," "Freedom Time"), the singer's voice is throaty and rough throughout, giving the performance an earthy, heartfelt pull. It's a deeply personal performance, filled with blistering social commentary and the evils of self-delusion while detailing her ongoing attempt to escape from the public persona her fame has created. In destroying her old artistry, she discovers a new creative force, yielding a mesmerizing and enchanting classic. --Jake Barnes

Customer Reviews:

A Voice.......2007-06-30

This CD is a pure step out. A step out in a world where the media is filtering down all expressions. The CD will open your eyes heart and mind if only you let it. Some people Might not Initially get it (Understand) because of where they are in the mind, body and spirit. But like Most revolutionary Art it will be more understood in the future. To think that A diamond multi award winning artist will flop or lose her talents is laughable. She's creating Love, Communicating to people in need,While Bearing herself to create a sense of unity amongst her and her fans. Many artist today create such a image in today's media, that it's hard to relate to their Expression. The album is truth, reality, and a awakening. It's Something Deeper than the usual. There's A voice there that will speak, Uplift, and Touch you. The Chords are Repetitive and simple. The Lyrics are the centerpiece and foreground. If anyone is Debating a purchase or don't get it. READ the lyrics from her site and Youtube search Lauryn Hill. God Bless

FEEL THIS.......2007-05-14

WITH THIS YOU SEE LAURYN HILL RAW AND BROKE DOWN AND THAT WAS COOL THAT SHE ALLOWED YOU TO SEE HER THIS WAY

excellent.......2007-03-30

...this album was great! I loved this album, it was so honest true. Its an album that is sit back and chill. Its deep/sad... its a lot of things.

Unplugged.......2007-03-29

If your ears are plugged up with music from mains stream media you will be deeply disappointed. With this album she was going through a transformation that only spiritual people (Not religious) are able to relate to. She was singing about life, struggles and the world that we live in.
I am proud of her and respect her a lot because she had the guts to do what many people don't even dream about.

PROLIFIC AND POWERFUL-TRUTH.......2007-03-13

Truth is prolific. Instead of singing about love lost and found. Lauryn talks about solutions to life's problems. She talks about religion as repenting and letting go of all of the things in life that are killing you. This is prolific and ultimately delivered in a way that is both personal and raw. Anyone who doesn't feel this album is unwilling to deal with the truth that Lauryn shares (i.e. "WE ARE ALL A MESS"). There are very few artist that leave you speachless and engrossed in the power of their words and voice. They include Meshelle Ndegeocello, Tracy Chapman, Lauryn Hill, Bob Marley and others. Those are just my favorites. These artist share the truths about life. We all hurt. We all lie. We all cheat ourselves and others. WOW. If you are looking for music that will inspire, motivate and leave you feeling as if you have gone on a journey and come home a better person then you need to listen to this album.

Average customer rating: A superb Haydn benchmark Perfect Dinner Music Delightful Background Music He truly is the father of string quartets! A matter of taste?

Haydn: Complete String Quartets Angeles String Quartet Manufacturer: Philips ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Classical | Box Sets | Stores | Music Similar Items: Haydn: Complete Symphonies (Box Set) Haydn: Complete Piano Trios Haydn: The Complete Piano Sonatas Schubert: The String Quartets Brahms: Complete String Quartets, Quintets & Sextets ASIN: B0000501PC Release Date: 2001-05-22

Tracks:

1. Str Qt in E flat, Op.0: I. Presto
2. Str Qt in E flat, Op.0: II. Menuetto
3. Str Qt in E flat, Op.0: III. Adagio
4. Str Qt in E flat, Op.0: IV. Menuetto
5. Str Qt in E flat, Op.0: V. Finale: Presto
6. Str Qt in B flat, Op.1 No.1: I. Presto
7. Str Qt in B flat, Op.1 No.1: II. Menuetto
8. Str Qt in B flat, Op.1 No.1: III. Adagio
9. Str Qt in B flat, Op.1 No.1: IV. Menuetto
10. Str Qt in B flat, Op.1 No.1: V. Presto
11. Str Qt in E flat, Op.1 No.2: I. Allegro
12. Str Qt in E flat, Op.1 No.2: II. Menuetto
13. Str Qt in E flat, Op.1 No.2: III. Adagio
14. Str Qt in E flat, Op.1 No.2: IV. Menuetto
15. Str Qt in E flat, Op.1 No.2: V. Presto
16. Str Qt in D, Op.1 No.3: I. Adagio
17. Str Qt in D, Op.1 No.3: II. Menuetto
18. Str Qt in D, Op.1 No.3: III. Presto
19. Str Qt in D, Op.1 No.3: IV. Menuetto
20. Str Qt in D, Op.1 No.3: V. Finale: Presto

Tracks:

1. Str Qt in G, Op.1 No.4: I. Presto
2. Str Qt in G, Op.1 No.4: II. Menuetto
3. Str Qt in G, Op.1 No.4: III. Adagio Ma Non Tanto
4. Str Qt in G, Op.1 No.4: IV. Menuetto
5. Str Qt in G, Op.1 No.4: V. Presto
6. Str Qt in C, Op.1 No.6: I. Presto Assai
7. Str Qt in C, Op.1 No.6: II. Menuetto
8. Str Qt in C, Op.1 No.6: III. Adagio
9. Str Qt in C, Op.1 No.6: IV. Menuetto
10. Str Qt in C, Op.1 No.6: V. Finale: Presto
11. Str Qt in A, Op.2 No.1: I. Allegro
12. Str Qt in A, Op.2 No.1: II. Menuetto
13. Str Qt in A, Op.2 No.1: III. Adagio
14. Str Qt in A, Op.2 No.1: IV. Menuetto
15. Str Qt in A, Op.2 No.1: V. Allegro Molto

Tracks:

1. Str Qt in E, Op.2 No.2: I. Allegro Molto
2. Str Qt in E, Op.2 No.2: II. Menuetto
3. Str Qt in E, Op.2 No.2: III. Adagio
4. Str Qt in E, Op.2 No.2: IV. Menuetto
5. Str Qt in E, Op.2 No.2: V. Finale: Presto
6. Str Qt in F, Op.2 No.4: I. Presto
7. Str Qt in F, Op.2 No.4: II. Menuetto
8. Str Qt in F, Op.2 No.4: III. Adagio
9. Str Qt in F, Op.2 No.4: IV Menuetto: Allegretto
10. Str Qt in F, Op.2 No.4: V. Allegro
11. Str Qt in B flat, Op.2 No.6: I. Adagio
12. Str Qt in B flat, Op.2 No.6: II. Menuetto
13. Str Qt in B flat, Op.2 No.6: III. Presto: Scherzo
14. Str Qt in B flat, Op.2 No.6: IV. Menuetto
15. Str Qt in B flat, Op.2 No.6: V. Presto

Tracks:

1. Str Qt in C, Op.9 No.1: I. Moderato
2. Str Qt in C, Op.9 No.1: II. Menuetto: Un Poco Allegretto
3. Str Qt in C, Op.9 No.1: III. Adagio
4. Str Qt in C, Op.9 No.1: IV. Finale: Presto
5. Str Qt in E flat, Op.9 No.2: I. Moderato
6. Str Qt in E flat, Op.9 No.2: II. Menuetto
7. Str Qt in E flat, Op.9 No.2: III. Adagio
8. Str Qt in E flat, Op.9 No.2: IV. Finale: Allegro Molto
9. Str Qt in G, Op.9 No.3: I. Allegro Moderato
10. Str Qt in G, Op.9 No.3: II. Menuetto
11. Str Qt in G, Op.9 No.3: III. Largo
12. Str Qt in G, Op.9 No.3: IV. Finale: Presto
13. Str Qt in d, Op.9 No.4: I. Moderato
14. Str Qt in d, Op.9 No.4: II. Menuetto
15. Str Qt in d, Op.9 No.4: III. Adagio Cantabile
16. Str Qt in d, Op.9 No.4: IV. Finale: Presto

Tracks:

1. Str Qt in B flat, Op.9 No.5: I. Poco Adagio: Theme And Vars
2. Str Qt in B flat, Op.9 No.5: II. Menuet: Allegretto
3. Str Qt in B flat, Op.9 No.5: III. Largo Cantabile
4. Str Qt in B flat, Op.9 No.5: IV. Finale: Presto
5. Str Qt in A, Op.9 No.6: I. Presto
6. Str Qt in A, Op.9 No.6: II. Menuetto
7. Str Qt in A, Op.9 No.6: III. Adagio
8. Str Qt in A, Op.9 No.6: IV. Finale: Presto
9. Str Qt in E, Op.17 No.1: I. Moderato
10. Str Qt in E, Op.17 No.1: II. Menuet
11. Str Qt in E, Op.17 No.1: III. Adagio
12. Str Qt in E, Op.17 No.1: IV. Finale: Presto
13. Str Qt in F, Op.17 No.2: I. Moderato
14. Str Qt in F, Op.17 No.2: II. Menuet: Poco Allegretto
15. Str Qt in F, Op.17 No.2: III. Adagio
16. Str Qt in F, Op.17 No.2: IV. Finale: Allegro Di Molto

Tracks:

1. Str Qt in E flat, Op.17 No.3: I. Andante Grazioso
2. Str Qt in E flat, Op.17 No.3: II. Menuet: Allegretto
3. Str Qt in E flat, Op.17 No.3: III. Adagio
4. Str Qt in E flat, Op.17 No.3: IV. Allegro Di Molto
5. Str Qt in c, Op.17 No.4: I. Moderato
6. Str Qt in c, Op.17 No.4: II. Menuet: Allegretto
7. Str Qt in c, Op.17 No.4: III. Adagio Cantabile
8. Str Qt in c, Op.17 No.4: IV. Finale: Allegro
9. Str Qt in G, Op.17 No.5: I. Moderato
10. Str Qt in G, Op.17 No.5: II. Menuet: Allegretto
11. Str Qt in G, Op.17 No.5: III. Adagio
12. Str Qt in G, Op.17 No.5: IV. Finale: Presto
13. Str Qt in D, Op.17 No.6: I. Presto
14. Str Qt in D, Op.17 No.6: II. Menuet
15. Str Qt in D, Op.17 No.6: III. Largo
16. Str Qt in D, Op.17 No.6: IV. Finale: Allegro

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. Str Qt in B flat, Op.33 No.4: I. Allegro Moderato
2. Str Qt in B flat, Op.33 No.4: II. Scherzo: Allegretto
3. Str Qt in B flat, Op.33 No.4: III. Largo
4. Str Qt in B flat, Op.33 No.4: IV. Presto
5. Str Qt in G, Op.33 No.5: I. Vivace Assai
6. Str Qt in G, Op.33 No.5: II. Largo E Cantabile
7. Str Qt in G, Op.33 No.5: III. Scherzo: Allegro
8. Str Qt in G, Op.33 No.5: IV. Finale: Allegretto
9. Str Qt in D, Op.33 No.6: I. Vivace Assai
10. Str Qt in D, Op.33 No.6: II. Andante
11. Str Qt in D, Op.33 No.6: III. Scherzo: Allegretto
12. Str Qt in D, Op.33 No.6: IV. Finale: Allegretto
13. Str Qt in d, Op.42: I. Andante Ed Innocentemente
14. Str Qt in d, Op.42: II. Menuet
15. Str Qt in d, Op.42: III. Adagio E Cantabile
16. Str Qt in d, Op.42: IV. Finale: Presto

Tracks:

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

Tracks:

1. Str Qt in f#, Op.50 No.4: I. Allegro Spirito
2. Str Qt in f#, Op.50 No.4: II. Andante
3. Str Qt in f#, Op.50 No.4: III. Menuetto
4. Str Qt in f#, Op.50 No.4: IV. Fuga: Allegro Moderato
5. Str Qt in F, Op.50 No.5: I. Allegro Moderato
6. Str Qt in F, Op.50 No.5: II. Poco Adagio
7. Str Qt in F, Op.50 No.5: III. Menuetto
8. Str Qt in F, Op.50 No.5: IV. Finale: Vivace
9. Str Qt in D, Op.50 No.6 'The Frog': I. Allegro
10. Str Qt in D, Op.50 No.6 'The Frog': II. Poco Adagio
11. Str Qt in D, Op.50 No.6 'The Frog': III. Menuetto: Allegretto
12. Str Qt in D, Op.50 No.6 'The Frog': IV. Finale: Allegro Con Spirito

Tracks:

1. Str Qt inG, Op.54 No.1: I. Vivace Assai
2. Str Qt inG, Op.54 No.1: II. Allegretto
3. Str Qt inG, Op.54 No.1: III. Menuet
4. Str Qt inG, Op.54 No.1: IV. Vivace
5. Str Qt in C, Op.54 No.2: I. Vivace
6. Str Qt in C, Op.54 No.2: II. Adagio -
7. Str Qt in C, Op.54 No.2: III. Menuetto: Allegretto
8. Str Qt in C, Op.54 No.2: IV. Adagio
9. Str Qt in E, Op.54 No.3: I. Allegretto
10. Str Qt in E, Op.54 No.3: II. Largo
11. Str Qt in E, Op.54 No.3: III. Menuetto: Allegretto
12. Str Qt in E, Op.54 No.3: IV. Finale: Presto

Tracks:

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

Tracks:

1. Str Qt in C, Op.64 No.1: I. Allegro Moderato
2. Str Qt in C, Op.64 No.1: II. Menuet: Allegro Ma Non Troppo
3. Str Qt in C, Op.64 No.1: III. Allegretto Scherzando
4. Str Qt in C, Op.64 No.1: IV. Finale: Presto
5. Str Qt in b, Op.64 No.3: I. Allegro Spirito
6. Str Qt in b, Op.64 No.3: II. Adagio Ma Non Troppo
7. 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 All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music Improvisation | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Canzones | Sonatas | Forms & Genres | Classical | Styles | Music Passacaglias | Variations | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Organ | Keyboard | Instruments | 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 Bach: Sacred Masterpieces J.S. Bach: 6 Brandenburgische Konzerte [Australia] Vivaldi Concertos Bach: Cantatas Volumes 1-5 (75 Cantatas for Sundays and Feast Days of the Church Year) 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 Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Solti, Sir Georg | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Bruckner | Bruckner, Anton | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Classical | Box Sets | Stores | Music Similar Items: Mahler - The Symphonies / Chicago Symphony Orchestra, Sir Georg Solti Bruckner: The Symphonies Strauss: Orchestral Works Bruckner: The Nine Symphonies; Helgoland Shostakovich: The Symphonies - Concertgebouw Orchestra / London Philharmonic Orchestra / Bernard Haitink ASIN: B0000042ED Release Date: 1996-07-08

Tracks:

1. I. Allegro
2. II. Andante
3. III. Scherzo: Presto
4. IV. Finale: Moderato

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. I. Feierlich, Misterioso
2. II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
3. 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: 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 Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Bruckner | Bruckner, Anton | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Similar Items: Mahler: The Symphonies Anton Bruckner: The Symphonies Beethoven: Symphonies Nos. 1-9 [Special Edition] [Hybrid SACD] Brahms: Works for Solo Piano Brahms: Chamber Music (Complete) (Box Set) 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: One of the great CD sets of all time One of two "keepers" Bach the organ works Peter Hurford gives incisive readings EMPHATICALLY 5 stars!

Bach: The Organ Works Johann Sebastian Bach , and Peter Hurford Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Carl Philipp Emman. Bach | Bach, Carl Philipp Emman. | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Heinichen | Heinichen, Johann David | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Canzones | Sonatas | Forms & Genres | Classical | Styles | Music Passacaglias | Variations | Forms & Genres | Classical | Styles | Music Variations | Forms & Genres | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Organ | Keyboard | Instruments | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Box Sets | Stores | Music ASIN: B0000041KD Release Date: 1995-07-10

Tracks:

1. Toccata And Fugue In F Major: Toccata
2. Toccata And Fugue In F Major: Fugue
3. Prelude And Fugue In G Major
4. Prelude And Fugue In E Minor: Prelude
5. Prelude And Fugue In E Minor: Fugue
6. Prelude And Fugue In C Major
7. Prelude And Fugue In C Minor
8. Prelude and Fugue in D major: Prelude
9. Prelude and Fugue in D major: Fugue
10. Toccata And Fugue In D Minor: Toccata
11. Toccata And Fugue In D Minor: Fugue

Tracks:

1. Toccata, Adagio, And Fugue In C Major: Toccata
2. Toccata, Adagio, And Fugue In C Major: Adagio
3. Toccata, Adagio, And Fugue In C Major: Fugue
4. Fantasia And Fugue In C Major
5. Prelude And Fugue In E Minor
6. Prelude And Fugue In A Minor
7. Kleines harmonisches Labyrinth
8. Toccata And Fugue In D Minor: Toccata
9. Toccata And Fugue In D Minor: Fugue
10. Trio In C Minor
11. Fantasia And Fugue In G Minor: Fantasia
12. Fantasia And Fugue In G Minor: Fugue

Tracks:

1. Fantasia In G Major
2. Fugue In B Minor
3. Trio In D Minor
4. Prelude And Fugue In G Minor
5. Fantasia In C Minor
6. Fugue In G Major
7. Fantasia And Fugue In C Minor: Fantasia
8. Fantasia And Fugue In C Minor: Fugue
9. Fugue In G Major
10. Fugue In C Minor
11. Fugue In G Major
12. Fantasia And Fugue In C Major
13. Pedal-Exercitium
14. Passacaglia And Fugue In C Minor: Passacaglia
15. Passacaglia And Fugue In C Minor: Fugue

Tracks:

1. Clavier Ubung III: Prelude In E Flat Major
2. Clavier Ubung III: Kyrie, Gott Vater in Ewigkeit
3. Clavier Ubung III: Christe, aller Welt Trost
4. Clavier Ubung III: Kyrie, Gott heiliger Geist
5. Clavier Ubung III: Allein Gott in der Hoh' sei Ehr'
6. Clavier Ubung III: Dies sind die heilgen
7. Clavier Ubung III: Wir glauben all' an einen Gott
8. Clavier Ubung III: Vater unser im Himmelreich
9. Clavier Ubung III: Christ unser Herr zum Jordan kam
10. Clavier Ubung III: Aus tiefer Not schrei ich zu dir
11. Clavier Ubung III: Jesus Christus unser Heiland, der von uns
12. Clavier Ubung III: Fugue In E Flat Major

Tracks:

1. Clavier Ubung III: Kyrie, Gott Vater in Ewigkeit
2. Clavier Ubung III: Christe, aller Welt Trost
3. Clavier Ubung III: Kyrie, Gott heiliger Geist
4. Clavier Ubung III: Allein Gott in der Hoh' sei Ehr'
5. Clavier Ubung III: Allein Gott in der Hoh' sei Ehr'
6. Clavier Ubung III: Dies sind die heilgen sehn Gebot'
7. Clavier Ubung III: Wir glauben all' an einen Gott
8. Clavier Ubung III: Vater unse im Himmelreich
9. Clavier Ubung III: Christ unser Herr zum Jordan kam
10. Clavier Ubung III: Aus tiefer Not schrei ich zu dir
11. Clavier Ubung III: Jesus Christus unser Hieland, der von uns
12. Chorale Preludes From The Kirnberger Collection: Wer nur den lieben Gott lasst walten
13. Chorale Preludes From The Kirnberger Collection: Wer nur den lieben Gott lasst walten
14. Chorale Preludes From The Kirnberger Collection: Ach Gott und Herr
15. Chorale Preludes From The Kirnberger Collection: Ach Gott und Herr
16. Chorale Preludes From The Kirnberger Collection: Wo soll ich fliehen hin
17. Chorale Preludes From The Kirnberger Collection: Christ lag in Todesbanden
18. Chorale Preludes From The Kirnberger Collection: Christum sollen wir loben schon
19. Chorale Preludes From The Kirnberger Collection: Gelobet seist du, Jesu Christ
20. Chorale Preludes From The Kirnberger Collection: Herr Christ, der ein'ge Gottes Sohn
21. Chorale Preludes From The Kirnberger Collection: Nun komm', der Heiden Heiland
22. Chorale Preludes From The Kirnberger Collection: Vom Himmel hoch, da komm' ich her
23. Chorale Preludes From The Kirnberger Collection: Vom Himmel hoch, da komm' ich her
24. Chorale Preludes From The Kirnberger Collection: Das Jesulein soll doch mein Trost
25. Chorale Preludes From The Kirnberger Collection: Gottes Sohn ist kommen
26. Chorale Preludes From The Kirnberger Collection: Lob sei dem allmachtigen
27. Chorale Preludes From The Kirnberger Collection: Durch Adams Fall ist ganz verderbt
28. Chorale Preludes From The Kirnberger Collection: Liebster Jesu, wir sind hier
29. Chorale Preludes From The Kirnberger Collection: Ich hab' mein Sach' Gott heimgestellt
30. Chorale Preludes From The Kirnberger Collection: Ich hab' mein Sach' Gott heimgestellt
31. Chorale Preludes From The Kirnberger Collection: Herr Jesu Christ, dich zu uns wend'
32. Chorale Preludes From The Kirnberger Collection: Wir Christenleut
33. Chorale Preludes From The Kirnberger Collection: Allein Gott in der Hoh' sei Ehr'
34. Chorale Preludes From The Kirnberger Collection: In dich hab' ich gehoffet, Herr
35. Chorale Preludes From The Kirnberger Collection: Jesu, meine Freude

Tracks:

1. Sonata No. 1 In E Flat Major: I Allegro moderato
2. Sonata No. 1 In E Flat Major: II Adagio
3. Sonata No. 1 In E Flat Major: III Allegro
4. Sonata No. 2 In C Minor: I Vivace
5. Sonata No. 2 In C Minor: II Largo
6. Sonata No. 2 In C Minor: III Allegro
7. Sonata No. 3 In D Minor: I Andante
8. Sonata No. 3 In D Minor: II Adagio e dolce
9. Sonata No. 3 In D Minor: III Vivace
10. Sonata No. 4 In E Minor: I Adagio - Vivace
11. Sonata No. 4 In E Minor: II Andante
12. Sonata No. 4 In E Minor: III Un poco allegro
13. Sonata No. 5 In C Major: I Allegro
14. Sonata No. 5 In C Major: II Largo
15. Sonata No. 5 In C Major: III Allegro
16. Sonata No. 6 In G Major: I Vivace
17. Sonata No. 6 In G Major: II Lento
18. Sonata No. 6 In G Major: III Allegro

Tracks:

1. Chorale Variations: Ach, was soll ich Sunder machen
2. Chorale Variations: Christ, du bist der helle Tag
3. Chorale Variations: O Gott, du frommer Gott
4. Chorale Variations: Canonische Veranderungen: Vom Himmel hoch, da komm' ich her
5. Chorale Variations: Sei gegrusset, Jesu gutig

Tracks:

1. Choralvariationen: Allein Gott in der Hoh' sei Ehr'
2. Schubler Chorale Preludes: Wachet auf, ruft uns die Stimme
3. Schubler Chorale Preludes: Wo soll ich fliehen hin
4. Schubler Chorale Preludes: Wer nur den lieben Gott labt walten
5. Schubler Chorale Preludes: Meine Seele erhebt den Herren
6. Schubler Chorale Preludes: Ach bleib' bei uns, Herr Jesu Christ
7. Schubler Chorale Preludes: Kommst du nun, Jesu, vom Himmel herunter
8. Chorale Preludes: Liebster Jesue, wir sind hier
9. Chorale Preludes: Liebster Jesu, wir sind hier
10. Chorale Preludes: Lobt Gott, ihr Christen, allzugleich
11. Chorale Preludes: Meine Seele erhebt den Herren
12. Chorale Preludes: Nun freut euch, lieben Christen g'mein
13. Chorale Preludes: Valet will ich dir geben
14. Chorale Preludes: Valet will ich dir geben
15. Chorale Preludes: Vater unser im Himmelreich
16. Chorale Preludes: Vom Himmel hoch, da komm' ich her
17. Chorale Preludes: Wie schon leuchtet der Morgenstern
18. Chorale Preludes: Wie glauben all' an einen Gott

Tracks:

1. Concerto No. 1 In G Major: (Allegro)
2. Concerto No. 1 In G Major: Grave
3. Concerto No. 1 In G Major: Presto
4. Concerto No. 2 In A Minor: (Allegro)
5. Concerto No. 2 In A Minor: Adagio
6. Concerto No. 2 In A Minor: Allegro
7. Concerto No. 3 In C Major: (Allegro)
8. Concerto No. 3 In C Major: Adagio
9. Concerto No. 3 In C Major: Allegro
10. Concerto No. 4 In C Major
11. Concerto No. 5 In D Minor: (Allegro) - Grave e fuga
12. Concerto No. 5 In D Minor: Largo e spiccato
13. Concerto No. 5 In D Minor: (Allegro)
14. Concerto No. 6 In E Flat Major
15. Chorale Preludes: Herr Jesu Christ, dich zu uns wend'
16. Chorale Preludes: Herzlich tut mich verlangen
17. Chorale Preludes: Jesus, meine Zuversicht
18. Chorale Preludes: In dulci jubilo

Tracks:

1. Neumeister Chorale Preludes: Der Tag, der ist so freudenreich (Ein Kindelein so lobelich)
2. Neumeister Chorale Preludes: Wir Christenleut
3. Neumeister Chorale Preludes: Das alte Jahr vergangen ist
4. Neumeister Chorale Preludes: Herr Gott, nun schleuss den Himmel auf
5. Neumeister Chorale Preludes: Herzliebster Jesu, was hast du verbrochen
6. Neumeister Chorale Preludes: O Jesu, wie ist dein Gestalt
7. Neumeister Chorale Preludes: O Lamm Gottes, unschuldig
8. Neumeister Chorale Preludes: Christe, der du bist Tag und Licht
9. Neumeister Chorale Preludes: Ehre sei dir, Christe, der du leidest Not
10. Neumeister Chorale Preludes: Wir glauben all' an einen Gott
11. Neumeister Chorale Preludes: Aus tiefster Not schrei ich zu dir
12. Neumeister Chorale Preludes: Allein zu dir, Herr Jesu Christ
13. Neumeister Chorale Preludes: Ach, Gott und Herr
14. Neumeister Chorale Preludes: Ach Herr, mich armen Sunder (Herzlich tut mich verlangen)
15. Neumeister Chorale Preludes: Durch Adams Fall ist ganz verderbt
16. Neumeister Chorale Preludes: Du Friedefurst, Herr Jesu Christ
17. Neumeister Chorale Preludes: Erhalt uns, Herr, bei deinem Wort
18. Neumeister Chorale Preludes: Wenn dich Ungluck tut greifen an
19. Neumeister Chorale Preludes: Jesu, meine Freude
20. Neumeister Chorale Preludes: Gott ist mein Heil, mein Hilf und Trost
21. Neumeister Chorale Preludes: Jesu, meines Lebens Leben
22. Neumeister Chorale Preludes: Als Jesus Christus in der Nacht
23. Neumeister Chorale Preludes: Ach Gott, tu dich erbarmen
24. Neumeister Chorale Preludes: O Herre Gott dein gottlich Wort
25. Neumeister Chorale Preludes: Nun lasst uns den Leib begraben
26. Neumeister Chorale Preludes: Christus, der ist mein Leben
27. Neumeister Chorale Preludes: Ich hab mein Sach Gott heimgestellt
28. Neumeister Chorale Preludes: Herr Jesu Christ, du hochstes Gut
29. Neumeister Chorale Preludes: Herzlich lieb hab ich dich, o Herr
30. Neumeister Chorale Preludes: Was Gott tut, das ist wohlgetan
31. Neumeister Chorale Preludes: Alle Menschen mussen sterben

Tracks:

1. Neumeister Chorales: Machs mit mir, Gott, nach deiner Gut
2. Neumeister Chorales: Werde munter, mein Gemute
3. Neumeister Chorales: Wie nach einer Wasserquelle
4. Neumeister Chorales: Christ, der du bist der helle Tag
5. 'The Eighteen' Chorale Preludes: Komm, heiliger Geist
6. 'The Eighteen' Chorale Preludes: Komm, heiliger Geist
7. 'The Eighteen' Chorale Preludes: An Wasserflussen Babylon
8. 'The Eighteen' Chorale Preludes: Schmucke dich, o liebe Seele
9. 'The Eighteen' Chorale Preludes: Herr Jesu Christ, dich zu uns wend'
10. 'The Eighteen' Chorale Preludes: O Lamm Gottes unschuldig
11. 'The Eighteen' Chorale Preludes: Nun danket alle Gott
12. 'The Eighteen' Chorale Preludes: Von Gott will ich nicht lassen
13. 'The Eighteen' Chorale Preludes: Nun komm' der Heiden Heiland
14. 'The Eighteen' Chorale Preludes: Nun komm' der Heiden Heiland
15. 'The Eighteen' Chorale Preludes: Nun komm' der Heiden Heiland
16. 'The Eighteen' Chorale Preludes: Allein Gott in der Hoh' sei Ehr'

Tracks:

1. 'The Eighteen' Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
2. 'The Eighteen' Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
3. 'The Eighteen' Chorale Preludes: Jesus Christus, unser Heiland
4. 'The Eighteen' Chorale Preludes: Jesus Christus, unser Heiland
5. 'The Eighteen' Chorale Preludes: Komm, Gott, Schopfer, heiliger Geist
6. 'The Eighteen' Chorale Preludes: Vor deinen Thron (Wenn wir in hochsten Noten sein)
7. Miscellaneous Chorale Preludes: O Lamm Gottes unschuldig
8. Miscellaneous Chorale Preludes: Ach Gott und Herr
9. Miscellaneous Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
10. Miscellaneous Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
11. Miscellaneous Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
12. Miscellaneous Chorale Preludes: Christ Lag in Todesbanden
13. Miscellaneous Chorale Preludes: Der Tag, der ist so freudenreich
14. Miscellaneous Chorale Preludes: Ein' festeBurg ist unser Gott
15. Miscellaneous Chorale Preludes: Erbarm' dich mein, o Herre Gott
16. Miscellaneous Chorale Preludes: Gelobet seist du, Jesu Christ
17. Miscellaneous Chorale Preludes: Gelobet seist du, Jesu Christ
18. Miscellaneous Chorale Preludes: Gottes Sohn ist kommen
19. Miscellaneous Chorale Preludes: Herr Gott, wir loben dich

Tracks:

1. Eight Short Preludes And Fugues: Prelude And Fugue In C Major
2. Eight Short Preludes And Fugues: Prelude And Fugue In D Minor
3. Eight Short Preludes And Fugues: Prelude And Fugue In E Minor
4. Eight Short Preludes And Fugues: Prelude And Fugue In F Major
5. Eight Short Preludes And Fugues: Prelude And Fugue In G Major
6. Eight Short Preludes And Fugues: Prelude And Fugue In G Minor
7. Eight Short Preludes And Fugues: Prelude And Fugue In A Minor
8. Eight Short Preludes And Fugues: Prelude And Fugue In B Flat Major
9. Trio In G Major
10. Prelude and Fugue in F minor: Prelude
11. Prelude and Fugue in F minor: Fugue
12. Trio In G Minor
13. Prelude and Fugue in A major: Prelude
14. Prelude and Fugue in A major: Fugue
15. Prelude and Fugue in G major: Prelude
16. Prelude and Fugue in G major: Fugue
17. Allabreve In D Major
18. Prelude In G Major
19. Fugue In D Major
20. Prelude and Fugue in D minor: Prelude
21. Prelude and Fugue in D minor: Fugue

Tracks:

1. Prelude And Fugue In C Minor: Prelude
2. Prelude And Fugue In C Minor: Fugue
3. Prelude In C Major
4. Fugue In G Minor
5. Canzona In D Minor
6. Prelude In A Minor
7. Fugue In C Minor
8. Pastorale In F Major
9. Fantasia In G Major
10. Aria In F Major
11. Prelude and Fugue in C major: Prelude
12. Prelude and Fugue in C major: Fugue

Tracks:

1. Toccata And Fugue In E Major: Toccata
2. Toccata And Fugue In E Major: Fugues I & II
3. Fantasia In B Minor
4. Prelude and Fugue in A minor: Prelude
5. Prelude and Fugue in A minor: Fugue
6. Prelude and Fugue in B minor: Prelude
7. Prelude and Fugue in B minor: Fugue
8. Prelude and Fugue in C major: Prelude
9. Prelude and Fugue in C major: Fugue
10. Trio In G Major
11. Prelude, Trio And Fugue In B Flat Major: Prelude
12. Prelude, Trio And Fugue In B Flat Major: Trio
13. Prelude, Trio And Fugue In B Flat Major: Fugue
14. Ricercar A 6 In C Minor
15. Prelude And Fugue In G Minor

Tracks:

1. Nun komm, der Heiden Heiland
2. Gottes Sohn ist kommen
3. Herr Christ, der ein'ge Gottes Sohn
4. Lob sei dem allmachtigen Gott
5. Puer natus in Bethlehem
6. Gelobet seist du, Jesu Christ
7. Der Tag, der ist so freudenreich
8. Vom Himmel hoch, da komm ich her
9. Vom Himmel kam der Engel Schar
10. In dulci jubilo
11. Lobt Gott, ihr Christen allzugleich
12. Jesu, meine Freude
13. Christum wir sollen loben schon
14. Wir Christenleut
15. Helft mir, Gottes Gute preisen
16. Das alte Jahr vergangen ist
17. In dir ist Freude
18. Mit Fried' und Freud' ich fahr dahin
19. Herr Gott, nun schleuss den Himmel auf
20. O Lamm Gottes, unschuldig
21. Christe, du Lamm Gottes
22. Christus, der uns selig macht
23. Da Jesus an dem Kreuze stund
24. O Mensch, bewein dein Sunde gross
25. Wir danken dir, Herr Jesu Christ
26. Hif Gott, dass mir's gelinge
27. Christ lag in Todesbanden
28. Jesus Christus, unser Heiland
29. Christ ist erstanden
30. Erstanden ist der heil' ge Geist
31. Erschienen ist der herrliche Tag
32. Heut triumphieret
33. Komm, Gott, Schopfer, heiliger Geist
34. Herr Jesu Christ, dich zu uns wend'
35. Liebster Jesu, wir sind hier
36. Liebster Jesu, wir sind hier
37. Dies sind die heilgen zehn Gebot
38. Vater unser im Himmelreich
39. Durch Adams Fall ist ganz verderbt
40. Es ist da Heil uns kommen her
41. Ich ruf' zu dir, Herr Jesu Christ

Tracks:

1. In dich hab ich gehoffet, Herr
2. Wenn wir in hochsten Noten sein
3. Wer nur den lieben Gott lasst walten
4. Alle Menschen mussen sterben
5. Ach wie nichtig, ach wie fluchtig
6. Ach Gott, vom Himmel sieh' darein
7. Ach Herr, mich armen Sunder
8. Ach, was ist doch unser Leben
9. Auf meinen lieben Gott
10. Aus der Tiefe rufe ich
11. Christ ist erstanden
12. Christus, der uns selig macht
13. Gott der Vater wohn' uns bei
14. In dulci jubilo
15. Jesu, der du meine Seele
16. Liebster Jesu wir sind hier
17. Nun freut euch
18. O Herre Gott, dein gottlich Wort
19. O Vater, allmachtiger Gott
20. Schmucke dich, o liebe Seele
21. Vater unser im Himmelreich
22. Vater unser im Himmelreich
23. Vater unser im Himmelreich
24. Wie schon leuchtet der Morgenstern
25. Wir glauben all' an einen Gott
26. Christus, der uns selig macht
27. Herr Christ, der einig Gotts Sohn
28. Fugue In G Minor

Amazon.com

When it comes to organ music there's Bach, and there's everyone else. The actual amount of organ music that he composed is in dispute for a couple of reasons. On issue is attribution: much of the music exists only in copies from Bach's pupils and family members, and so the question of authorship may be in doubt. The other issue is which instrument Bach actually intended some of the keyboard music to be played on. Although scholars agonize over this problem, the fact is that Bach's music usually sounds fine played even on kazoos--it's almost indestructible--so the organ suits it in any case. This collection is one of the most comprehensive available, and it's excellently played and recorded. --David Hurwitz

Customer Reviews:

One of the great CD sets of all time.......2006-02-08

Like another reviewer here I grew up on Helmut Walcha's DG set on LP, and was also familiar with a number of other "great Bach organ work" collections.

One can cavil over the way Hurford takes some of the pieces, I suppose, but his flair, imaginative registrations, and sheer musicality are hard to beat, and the recording too is fantastic.

It's quite easy to listen to three or four CDs from this set in a row, which says something about how fertile Bach's imagination, but also how absorbing Hurford's performance, and how willing he is to avoid generic and worthy church-like interpretations. This is music and music-making of the highest quality.

One of two "keepers".......2005-07-02

A lot of reviews rave about this set. I just wish they would say why it's so good and I hope they're, well, comparing it to something. Most seem to like the "choice of registration" which maybe one way an organist sizes another up.

Preferences in interpretation generally reflect the emphera of a time, and not absolutes. Choice one for this guy is probably Walcha. Dignified and insightful playing probably much more in line with what was expected of, and provided by, Bach way back when.

This set is flashier and lighter in some ways, more bombastic in others--very much a late Twentieth Century effort. Superficial. It suits a less thoughtful approach to the music which isn't a bad thing and isn't necessarily "damning with faint praise." I just doubt if this is really what the music should sound like and I don't mean that in the same way when I say that about Gould's playing. Gould was highlighting an intense part of Bach's craft, pointing the way into the music so to say.

This is a good set for those who like to shake the timbers with organ music; when it was first released in the early digital era it was marketed that way. Bach's music is pretty bullet-proof so it can stand this kind of approach. If you're not a hyper-critical listener, a period instrument hardliner, or a professional organist with strong well thought out opinions this is probably the set for you as the Walcha will sound dry and academic. On the other hand, if you are a powerful admirer of rock and roll classical this might actually be way too much Bach for you. I generally play this set (or Stokowski transcriptions) when I'm in a brain-dead mood and I want Bach-like stimulation without any work on my part. It's really quite nice.

Bach the organ works.......2004-11-23

A poor, jumpy, amateurish and unimaginative rendition of the pedal exercitium in g minor is what sticks to mind. Although its only an exercise i think it's worth more than that. More interesting stop combinations could have been used here. The toccata and fugue in d minor was too 'fancy' and was a boring affair overall with a silly choice of stops. I expected more from Peter Hurford. If this is the first time you've heard organ music please don't run away beacause of this. It can be so much more intersting.

Overall i dont think these performances do Bach Justice. Better versions can be found at virtuallybaroque.com (not my site)and better still competely free.

Peter Hurford gives incisive readings.......2004-04-05

Peter Hurford's traversal of the entire organ literature for London Decca is truly one of the greatest recorded achievements. All of the performances in this seventeen-disc set are immaculately played and perfectly performed. His vision, technicality, and sensibility make him a sensitive and authoritative interpreter of J.S. Bach's organ works. The records are mostly digital, crystal clear, and quite powerful. Hurford's command of his technique is astounding. I cannot stress how important this set truly is. I HIGHLY recommend buying this compilation. At about 8 dollars a CD, this is most certainly a steal.

EMPHATICALLY 5 stars!.......2004-02-27

Bach's organ works place incredible demands on the performer, both physically (consider the endurance it takes to play the massive Toccata in F major), technically (the Trio Sonatas, among many others), and interpretationally. Peter Hurford triumphantly meets those demands in a spectacular set of recordings.

To those who are doubters: listen to the (in)famous Toccata and Fugue in D minor, that overplayed warhorse. Hurford brings to it an electricity that makes you feel you are hearing it for the first time again. He also has an amazing ear for registrations, one of the most underestimated difficulties of an organist's art, never wearying the ear, but using a wide palette of colors. [Bach himself was widely known for his innovative registrational practices. Contemporaries remarked that when he was testing organs he would pull combinations of stops that they were certain would sound badly together, only to find that he had created an entirely new sound. Thus, creative registrations should not offend purists in any way.]

Hurford's approach to these works obviously takes into consideration, but is certainly not bound by, historically informed performing practices. His phrasing is immaculate, and consistently interesting. In all, this is a stunning accomplishment.

GET THIS WHILE IT REMAINS AVAILABLE. The classical recording industry is in trouble, and the deletions axe is constantly falling. Large, expensive sets like this are sure to go. While the price itself appears high, it is really very reasonable, running under $8 per disc.

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 All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Heinichen | Heinichen, Johann David | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Fugues | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Canzones | Sonatas | Forms & Genres | Classical | Styles | Music Passacaglias | Variations | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Organ | Keyboard | Instruments | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Box Sets | Stores | Music 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:

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

Tracks:

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

Tracks:

1. Prld & Fuge in C, BWV 545: Prld
2. Prld & Fuge in C, BWV 545: Fuge
3. Fuge in G, BWV 577
4. Prld & Fuge in d, BWV 539: Prld
5. Prld & Fuge in d, BWV 539: Fuge
6. Choral: Wo soll ich fliehen hin, BWV 694
7. Partita sopra: O Gott, du frommer Gott, BWV 767
8. Choral: Wir Christenleut hab'n jetzund Freud, BWV 710
9. Alla Breve in D, BWV 589
10. Canzona in d, BWV 588
11. Fuge in c, BWV 575
12. Fuga sopra il Magnificat: Meine Seele erhebet den Herren, BWV 733
13. Kleines harmonisches Labyrinth (Introitus, Centrum, Exitus), BWV 591
14. Prld & Fuge in a, BWV 551: Prld
15. Prld & Fuge in a, BWV 551: Fuge

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. Prld & Fuge, BWV 532: Prld
2. Prld & Fuge, BWV 532: Fuge
3. Trio in d, BWV 656
4. Orgelchorale aus Achtzehn Chorale: O Lamm Gottes, unschuldig, BWV 656
5. Orgelchorale aus Achtzehn Chorale: Nun komm, der Heiden Heiland, BWV 659
6. Orgelchorale aus Achtzehn Chorale: Trio super 'Nun komm, der Heiden Heiland, BWV 660
7. Orgelchorale aus Achtzehn Chorale: Nun komm, der Heiden Heiland' in organo pleno, BWV 661
8. Orgelchorale aus Achtzehn Chorale: Fantasia super Komm, heiliger Geist, BWV 651
9. Orgelchorale aus Achtzehn Chorale: Komm, heiliger Geist, BWV 652
10. Orgelchorale aus Achtzehn Chorale: Nun danket alle Gott, BWV 657
11. Orgelchorale aus Achtzehn Chorale: Jesus Christus, unser Heiland, BWV 665
12. Orgelchorale aus Achtzehn Chorale: Jesus Christus, unser Heiland, BWV 666
13. Orgelchorale aus Achtzehn Chorale: Komm, Gott Schopfer, BWV 667

Tracks:

1. Konzert in a, BWV 593: Allegro