| 1. Neri |
| 2. Il Cielo |
| 3. I Migliori Anni Della Nostra Vita |
| 4. Fermoposta |
| 5. Galeotto Fu il Canotto |
| 6. Mi Vendo |
| 7. Amico |
| 8. Cercami |
| 9. Profumi, Balocchi E Maritozzi |
| 10. Ha Tanti Cieli la Luna |
Editorial Reviews
Product Description
Release from Famous Italian Diva Performing Songs Written by Popular Singer and Composer - Renato Zero.
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.
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.
I have found that after listening to it hundreds of times that using iTunes in shuffle mode keeps it fresh.
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.
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).
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.
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.
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.
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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.
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...
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!
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.
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.
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!
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.
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.
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.
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.
I see two major problems with this performance of "Die Nullte." The first has to do with the orchestra. Other reviewers have alluded to the inadequacy of the NSO of Ireland in dealing with the Eighth, and certainly in the much earlier "Die Nullte," where Bruckner's indications are rather sparse, this comes through. The sound of the brass is brash, harsh, interjectory, insensitive to orchestral and compositional context, and Tintner and the producer should have realized this and corrected it early on. One example--there could have been many more--can be found in the trumpet line at the end of the expository statement of the secondary material. Bruckner does write a crescendo, but Tintner allows the trumpets to swell from a brass piano to a brass fortissimo, thereby completely obliterating, in a gesture that goes nowhere, the sound of the rest of the ensemble. The overall line is obscured and the revelatory power of fortissimo brass, which should have been saved for the Coda, has been cheapened through overuse before we've even reached the development. The problem is complicated by the string section's refusal to break out of the piano-forte dynamic range. I can hear absolutely no distinction between double and triple forte in the string section throughout the performance; nor is there ever any archness or bite in the articulation of notes, and in the Scherzo that would have been most welcome.
The second major problem has to do is one of the classic Bruckner issues, and it is related to the first. As so many are fond of creating architectural metaphors for Bruckner's music, I would characterize the problem as being between an architecture of blocks and an architecture of lines. Tintner has certainly opted for the former here, where individual sections are often phrased beautifully, but those sections don't relate to each other and don't create a feeling of forward momentum. Create an architecture of free-standing blocks without connection or mutual support and, no matter how individually inspiring, the whole will collapse. For Tintner's "Die Nullte," this block-like conception is at its worst in the Finale, where the initial Moderato section is treated almost as a separate piece of music from the fugue that follows. (From the liner notes, one can surmise that Tintner wished the Moderato really was a separate piece.) In the development, for example, there is hardly any attempt to create tension in the bars that lead up to the reappearance of the fugue, even when Bruckner clearly calls for it in the score. Suddenly, we are dropped back into the fugue, and the overall sense is that the music has unfolded as a series of interruptions instead of as a process of fulfillment.
A few points about individual movements could be made. Particularly in the first movement, I think Tintner has made some excellent tempo choices. Of course, "Die Nullte" is the "young" Bruckner, from the point of view of his compositional career, and generally these younger pieces can do amazing things at faster tempos; having said that, Tintner chooses the relaxed, more uniform approach to pacing reflected in his other Bruckner recordings for Naxos, and the music bears up well. Unfortunately, the orchestra seems to disagree with the conductor from time to time--in the retransition of the first movement, and several places in the second movement--which often results in a sudden flurry of catching up on some instrumentalist's or section's part. Some severe tuning mishaps occur in the winds in the second movement, and there are a handful of poorly played passages. One of the most regrettable is the hissing and splatting of the horn on the last note (!) of the Finale. Tintner himself makes the recurring mistake all too common in Bruckner of dropping a quarter rest from two bars of silence (just after the opening "ritornello" of the Scherzo). These are all small points, though, and the fundamental disappointment of the performance stems, I think, from the mishandling of strings and brass and the neglect of the overall musical line.
Though it has problems of its own, I would recommend the Chailly/RSO Berlin recording of "Die Nullte," which quite frankly dances circles around this one both in terms of performance and interpretation.
Personally, I am a "Haas man," when it comes to the Eighth, i.e. I prefer the Haas edition to the Nowak. I do not subscribe to the opinion that the Haas is somehow not a valid edition because it incorporates elements from different versions so it represents a score that Bruckner never really laid eyes on. I have been an avid Bruckner fan for nearly 20 years, and yes, like many of us, I got caught up in "the problem of the versions" for awhile...but I eventually got tired of all of that, and now I go mainly by what my ears tell me, and I like the passages that Haas put back into the Adagio and Finale of the Eighth; and when I listen to a recording of the Nowak edition, it sounds like something is missing to me.
I think Tintner makes a great case for the 1887 score, and it is a well-played and well-recorded version to boot. This recording blows Inbal's away. Inbal's first two movements are so fast they sound like a "run through," and even the finale sounds too fast. I have never understood Inbal's approach: in addition to just not sounding "right," the fast tempos don't really allow some of the details, such as the woodwind parts that were left out of the later revisions, to be fully heard. Some of Tintner's tempos are a bit slow, but he lets us hear a lot more details, and ultimately his tempos are convincing. Hats off to Tintner and Naxos for having the courage to release a recording of this "rare" version, in a market flooded with Haas and Nowak.
I am very pleased that Tintner has crowned his cycle with very satisfying accounts of the Eighth and Ninth, especially since I am not really a fan of the rest of his cycle. His Bruckner is too slow and "single tempo" for me. There is a style of Bruckner that I have come to refer to as "New Age Bruckner." This style, which began to emerge not long after the onset of the "digital era" is characterized by uniformly slow, safe, cushy performances, dressed up in the latest plushy digital finery. They are relatively light in the bass, and do not have strong timpani to underpin Bruckner's grand climaxes. Many of them are not without an element of spirituality, and some are actually quite lovely, but they make little attempt to present and overcome the spiritual upheavals that are central to the Bruckner symphonies, and that make the hard-won victories of their finales, and their codas (esp. those of the Fifth and Eighth), all the more satisfying.
Imo, some of the conductors and performances that fall into this "New Age" category are: Chailly's 2,3,5&7-9 (although his 7&9 do have their satisfying moments); Haitink's most recent (VPO) recordings of 4,5,& 8 (athough his earlier 2,6; 1970's 7th; and 1980's 8&9 Concertgebouw recordings are still among my favorites); and Sinopoli's 8&9 (a shame because his 3,4,&7 are still among my favorites). Some of you Karajan bashers may like hearing that, as much as I enjoy most of his full DG cycle, his final recordings of the Seventh and Eighth, as much as I was intitally impressed with the latter, have not worn very well. Even some of Barenboim's Teldec cycle has the ring of "New Age Bruckner" to me, esp. his 2,4,6,&7, which is a little curious considering that his style is generally very much informed by Furtwangler and the "old school" of Bruckner conducting, with it's more flexible tempi, heightened sense of drama, strong underpinning of bass and timpani, etc. (although his BPO Ninth is one of my five favorite out of the nearly 60 that I have, and I also like his Eighth very much). Incidentally, I feel that Barenboim's earlier Chicago cycle on DG is one of the most underrated, as a whole, and in terms of the individual performances, overall exceeding the Teldec BPO cycle, mostly by virtue of the fact that the former's 2,4,6,&7 are all preferable.
Some might put Celibidache's late Bruckner into the same category, but while his late Bruckner recording were slow, some agonizingly so, slow alone doesn't necessarily make it "New Age Bruckner," imo. There were elements of Celibidache's approach to Bruckner that continued to be informed by the "old school," such as the full bass and strong timpani, even as his tempi wandered off into eternity. I feel that part of what was going on with Celibidache, other than the fact that he always "marched to his own drummer," was that he was trying to make the listener hear Bruckner as he heard it in his head, and experienced it in his soul...and sometimes, toward the end of his life, the "Being Celibidache" ride was a bit too slow for many of us.
My early days as a "Brucknerian" were very much influenced by the "New Agers," and in fact, I was not very receptive to the "old school;" but once I heard some of the better Bruckner recordings by conductors like Furwangler, Schuricht, Abendroth, Kabasta, Hausegger, Horenstein, etc., I began to feel like there were elements of their approach that were still valid, and shouldn't be written off as anachronistic. I have, by no means, become stritctly an "old schooler"--hell, one of my favorite Bruckner recordings is still the Giulini VPO Eighth, hardly an "old school" interpretation, despite its strong bass and timpani (btw, has the Vienna Phil ever sounded better, in a recording, than they do on Giulini's Eighth and Ninth?)--but I have come to prefer Bruckner performances that effectively incorporate the old and the new.
Anyway, enough of my ramblings. If you don't already have Tintner's Eighth and Ninth, get 'em, but unless you like your Bruckner slow, approach the rest of the cycle with a bit of caution...but maybe at Naxos prices you can't go wrong; and sometimes you can get them REALLY inexpensively through the marketplace. Once again, Naxos raises the question: if they can produce good recorded performances at reasonable prices, why can't more other labels? Currently it seems like they are the only label keeping the rather stagnant classical music market alive.
Overall good for budget but does not dissplace Karajan and Jochum and even Barenboim.
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
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MTV Unplugged No. 2.0
Lauryn Hill Manufacturer: Sony ProductGroup: Music Binding: Audio CD  General
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ASIN: B000065625 Release Date: 2002-05-07 |
Tracks:
- Intro
- Mr. Intentional
- Adam Lives In Theory
- Interlude 1
- Oh Jerusalem
- Interlude 2
- Freedom Time
- Interlude 3
- I Find It Hard To Say (Rebel)
- Just Like Water
- Interlude 4
- Just Want You Around
- I Gotta Find Peace Of Mind
Tracks:
- Interlude 5
- Mystery Of Iniquity
- Interlude 6
- I Get Out
- Interlude 7
- I Remember
- So Much Things To Say
- The Conquering Lion
- 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 BarnesCustomer Reviews:
A Voice.......2007-06-30
FEEL THIS.......2007-05-14
excellent.......2007-03-30
Unplugged.......2007-03-29
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
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Haydn: Complete String Quartets
Angeles String Quartet Manufacturer: Philips ProductGroup: Music Binding: Audio CD Quartets
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ASIN: B0000501PC Release Date: 2001-05-22 |
Tracks:
- Str Qt in E flat, Op.0: I. Presto
- Str Qt in E flat, Op.0: II. Menuetto
- Str Qt in E flat, Op.0: III. Adagio
- Str Qt in E flat, Op.0: IV. Menuetto
- Str Qt in E flat, Op.0: V. Finale: Presto
- Str Qt in B flat, Op.1 No.1: I. Presto
- Str Qt in B flat, Op.1 No.1: II. Menuetto
- Str Qt in B flat, Op.1 No.1: III. Adagio
- Str Qt in B flat, Op.1 No.1: IV. Menuetto
- Str Qt in B flat, Op.1 No.1: V. Presto
- Str Qt in E flat, Op.1 No.2: I. Allegro
- Str Qt in E flat, Op.1 No.2: II. Menuetto
- Str Qt in E flat, Op.1 No.2: III. Adagio
- Str Qt in E flat, Op.1 No.2: IV. Menuetto
- Str Qt in E flat, Op.1 No.2: V. Presto
- Str Qt in D, Op.1 No.3: I. Adagio
- Str Qt in D, Op.1 No.3: II. Menuetto
- Str Qt in D, Op.1 No.3: III. Presto
- Str Qt in D, Op.1 No.3: IV. Menuetto
- Str Qt in D, Op.1 No.3: V. Finale: Presto
Tracks:
- Str Qt in G, Op.1 No.4: I. Presto
- Str Qt in G, Op.1 No.4: II. Menuetto
- Str Qt in G, Op.1 No.4: III. Adagio Ma Non Tanto
- Str Qt in G, Op.1 No.4: IV. Menuetto
- Str Qt in G, Op.1 No.4: V. Presto
- Str Qt in C, Op.1 No.6: I. Presto Assai
- Str Qt in C, Op.1 No.6: II. Menuetto
- Str Qt in C, Op.1 No.6: III. Adagio
- Str Qt in C, Op.1 No.6: IV. Menuetto
- Str Qt in C, Op.1 No.6: V. Finale: Presto
- Str Qt in A, Op.2 No.1: I. Allegro
- Str Qt in A, Op.2 No.1: II. Menuetto
- Str Qt in A, Op.2 No.1: III. Adagio
- Str Qt in A, Op.2 No.1: IV. Menuetto
- Str Qt in A, Op.2 No.1: V. Allegro Molto
Tracks:
- Str Qt in E, Op.2 No.2: I. Allegro Molto
- Str Qt in E, Op.2 No.2: II. Menuetto
- Str Qt in E, Op.2 No.2: III. Adagio
- Str Qt in E, Op.2 No.2: IV. Menuetto
- Str Qt in E, Op.2 No.2: V. Finale: Presto
- Str Qt in F, Op.2 No.4: I. Presto
- Str Qt in F, Op.2 No.4: II. Menuetto
- Str Qt in F, Op.2 No.4: III. Adagio
- Str Qt in F, Op.2 No.4: IV Menuetto: Allegretto
- Str Qt in F, Op.2 No.4: V. Allegro
- Str Qt in B flat, Op.2 No.6: I. Adagio
- Str Qt in B flat, Op.2 No.6: II. Menuetto
- Str Qt in B flat, Op.2 No.6: III. Presto: Scherzo
- Str Qt in B flat, Op.2 No.6: IV. Menuetto
- Str Qt in B flat, Op.2 No.6: V. Presto
Tracks:
- Str Qt in C, Op.9 No.1: I. Moderato
- Str Qt in C, Op.9 No.1: II. Menuetto: Un Poco Allegretto
- Str Qt in C, Op.9 No.1: III. Adagio
- Str Qt in C, Op.9 No.1: IV. Finale: Presto
- Str Qt in E flat, Op.9 No.2: I. Moderato
- Str Qt in E flat, Op.9 No.2: II. Menuetto
- Str Qt in E flat, Op.9 No.2: III. Adagio
- Str Qt in E flat, Op.9 No.2: IV. Finale: Allegro Molto
- Str Qt in G, Op.9 No.3: I. Allegro Moderato
- Str Qt in G, Op.9 No.3: II. Menuetto
- Str Qt in G, Op.9 No.3: III. Largo
- Str Qt in G, Op.9 No.3: IV. Finale: Presto
- Str Qt in d, Op.9 No.4: I. Moderato
- Str Qt in d, Op.9 No.4: II. Menuetto
- Str Qt in d, Op.9 No.4: III. Adagio Cantabile
- Str Qt in d, Op.9 No.4: IV. Finale: Presto
Tracks:
- Str Qt in B flat, Op.9 No.5: I. Poco Adagio: Theme And Vars
- Str Qt in B flat, Op.9 No.5: II. Menuet: Allegretto
- Str Qt in B flat, Op.9 No.5: III. Largo Cantabile
- Str Qt in B flat, Op.9 No.5: IV. Finale: Presto
- Str Qt in A, Op.9 No.6: I. Presto
- Str Qt in A, Op.9 No.6: II. Menuetto
- Str Qt in A, Op.9 No.6: III. Adagio
- Str Qt in A, Op.9 No.6: IV. Finale: Presto
- Str Qt in E, Op.17 No.1: I. Moderato
- Str Qt in E, Op.17 No.1: II. Menuet
- Str Qt in E, Op.17 No.1: III. Adagio
- Str Qt in E, Op.17 No.1: IV. Finale: Presto
- Str Qt in F, Op.17 No.2: I. Moderato
- Str Qt in F, Op.17 No.2: II. Menuet: Poco Allegretto
- Str Qt in F, Op.17 No.2: III. Adagio
- Str Qt in F, Op.17 No.2: IV. Finale: Allegro Di Molto
Tracks:
- Str Qt in E flat, Op.17 No.3: I. Andante Grazioso
- Str Qt in E flat, Op.17 No.3: II. Menuet: Allegretto
- Str Qt in E flat, Op.17 No.3: III. Adagio
- Str Qt in E flat, Op.17 No.3: IV. Allegro Di Molto
- Str Qt in c, Op.17 No.4: I. Moderato
- Str Qt in c, Op.17 No.4: II. Menuet: Allegretto
- Str Qt in c, Op.17 No.4: III. Adagio Cantabile
- Str Qt in c, Op.17 No.4: IV. Finale: Allegro
- Str Qt in G, Op.17 No.5: I. Moderato
- Str Qt in G, Op.17 No.5: II. Menuet: Allegretto
- Str Qt in G, Op.17 No.5: III. Adagio
- Str Qt in G, Op.17 No.5: IV. Finale: Presto
- Str Qt in D, Op.17 No.6: I. Presto
- Str Qt in D, Op.17 No.6: II. Menuet
- Str Qt in D, Op.17 No.6: III. Largo
- Str Qt in D, Op.17 No.6: IV. Finale: Allegro
Tracks:
- Str Qt in E flat, Op.20 No.1: I. Allegro Moderato
- Str Qt in E flat, Op.20 No.1: II. Menuet: Un Poco Allegretto
- Str Qt in E flat, Op.20 No.1: III. Affettuoso E Sostenuto
- Str Qt in E flat, Op.20 No.1: IV. Finale: Presto
- Str Qt in C, Op.20 No.2: I. Moderato
- Str Qt in C, Op.20 No.2: II. Capriccio: Adagio
- Str Qt in C, Op.20 No.2: III. Menuet: Allegretto
- Str Qt in C, Op.20 No.2: IV. Fuga A Quattro Soggeti: Allegro
- Str Qt in g, Op.20 No.3: I. Allegro Con Spirito
- Str Qt in g, Op.20 No.3: II. Menuet: Allegretto
- Str Qt in g, Op.20 No.3: III. Poco Adagio
- Str Qt in g, Op.20 No.3: IV. Allegro Di Molto
Tracks:
- Str Qt in D, Op.20 No.4: I. Allegro Di Molto
- Str Qt in D, Op.20 No.4: II. Un Poco Adagio E Affettuoso
- Str Qt in D, Op.20 No.4: II. Menuet Alla Zingarese
- Str Qt in D, Op.20 No.4: IV. Presto E Scherzando
- Str Qt in f, Op.20 No.5: I. Moderato
- Str Qt in f, Op.20 No.5: II. Menuet
- Str Qt in f, Op.20 No.5: III. Adagio
- Str Qt in f, Op.20 No.5: IV. Fuga A Due Soggetti
- Str Qt in A, Op.20 No.6: I. Allegro Di Molto E Scherzando
- Str Qt in A, Op.20 No.6: II. Adagio
- Str Qt in A, Op.20 No.6: III. Menuetto
- Str Qt in A, Op.20 No.6: IV. Fuga A Tre Soggetti: Allegro
Tracks:
- Str Qt in b, Op.33 No.1: I. Allegro Moderato
- Str Qt in b, Op.33 No.1: II. Scherzo: Allegro
- Str Qt in b, Op.33 No.1: III. Andante
- Str Qt in b, Op.33 No.1: IV. Presto
- Str Qt in E flat, Op.33 No.2 'The Joke': I. Allegro Moderato, Cantabile
- Str Qt in E flat, Op.33 No.2 'The Joke': II. Scherzo: Allegro
- Str Qt in E flat, Op.33 No.2 'The Joke': III. Largo Sostenuto
- Str Qt in E flat, Op.33 No.2 'The Joke': IV. Finale: Presto
- Str Qt in C, Op.33 No.3 'The Bird': I. Allegro Moderato
- Str Qt in C, Op.33 No.3 'The Bird': II. Scherzo: Allegretto
- Str Qt in C, Op.33 No.3 'The Bird': III. Adagio
- Str Qt in C, Op.33 No.3 'The Bird': IV. Rondo: Presto
Tracks:
- Str Qt in B flat, Op.33 No.4: I. Allegro Moderato
- Str Qt in B flat, Op.33 No.4: II. Scherzo: Allegretto
- Str Qt in B flat, Op.33 No.4: III. Largo
- Str Qt in B flat, Op.33 No.4: IV. Presto
- Str Qt in G, Op.33 No.5: I. Vivace Assai
- Str Qt in G, Op.33 No.5: II. Largo E Cantabile
- Str Qt in G, Op.33 No.5: III. Scherzo: Allegro
- Str Qt in G, Op.33 No.5: IV. Finale: Allegretto
- Str Qt in D, Op.33 No.6: I. Vivace Assai
- Str Qt in D, Op.33 No.6: II. Andante
- Str Qt in D, Op.33 No.6: III. Scherzo: Allegretto
- Str Qt in D, Op.33 No.6: IV. Finale: Allegretto
- Str Qt in d, Op.42: I. Andante Ed Innocentemente
- Str Qt in d, Op.42: II. Menuet
- Str Qt in d, Op.42: III. Adagio E Cantabile
- Str Qt in d, Op.42: IV. Finale: Presto
Tracks:
- Str Qt in B flat, Op.50 No.1: I. Allegro
- Str Qt in B flat, Op.50 No.1: II. Adagio Non Lento
- Str Qt in B flat, Op.50 No.1: III. Poco Allegretto
- Str Qt in B flat, Op.50 No.1: IV. Finale: Vivace
- Str Qt in C, Op.50 No.2: I. Vivace
- Str Qt in C, Op.50 No.2: II. Adagio Cantabile
- Str Qt in C, Op.50 No.2: III. Menuetto: Allegretto
- Str Qt in C, Op.50 No.2: IV. Finale: Vivace Assai
- Str Qt in E flat, Op.50 No.3: I. Allegro Con Brio
- Str Qt in E flat, Op.50 No.3: II. Andante Piu Tosto Allegretto
- Str Qt in E flat, Op.50 No.3: III. Menuetto: Allegretto
- Str Qt in E flat, Op.50 No.3: IV. Finale: Presto
Tracks:
- Str Qt in f#, Op.50 No.4: I. Allegro Spirito
- Str Qt in f#, Op.50 No.4: II. Andante
- Str Qt in f#, Op.50 No.4: III. Menuetto
- Str Qt in f#, Op.50 No.4: IV. Fuga: Allegro Moderato
- Str Qt in F, Op.50 No.5: I. Allegro Moderato
- Str Qt in F, Op.50 No.5: II. Poco Adagio
- Str Qt in F, Op.50 No.5: III. Menuetto
- Str Qt in F, Op.50 No.5: IV. Finale: Vivace
- Str Qt in D, Op.50 No.6 'The Frog': I. Allegro
- Str Qt in D, Op.50 No.6 'The Frog': II. Poco Adagio
- Str Qt in D, Op.50 No.6 'The Frog': III. Menuetto: Allegretto
- Str Qt in D, Op.50 No.6 'The Frog': IV. Finale: Allegro Con Spirito
Tracks:
- Str Qt inG, Op.54 No.1: I. Vivace Assai
- Str Qt inG, Op.54 No.1: II. Allegretto
- Str Qt inG, Op.54 No.1: III. Menuet
- Str Qt inG, Op.54 No.1: IV. Vivace
- Str Qt in C, Op.54 No.2: I. Vivace
- Str Qt in C, Op.54 No.2: II. Adagio -
- Str Qt in C, Op.54 No.2: III. Menuetto: Allegretto
- Str Qt in C, Op.54 No.2: IV. Adagio
- Str Qt in E, Op.54 No.3: I. Allegretto
- Str Qt in E, Op.54 No.3: II. Largo
- Str Qt in E, Op.54 No.3: III. Menuetto: Allegretto
- Str Qt in E, Op.54 No.3: IV. Finale: Presto
Tracks:
- Str Qt in A, Op.55 No.1: I. Allegro
- Str Qt in A, Op.55 No.1: II. Adagio Cantabile
- Str Qt in A, Op.55 No.1: III. Menuet
- Str Qt in A, Op.55 No.1: IV. Finale: Vivace
- Str Qt in f, Op.55 No.2 'The Razor': I. Andante
- Str Qt in f, Op.55 No.2 'The Razor': II. Allegro
- Str Qt in f, Op.55 No.2 'The Razor': III. Menuetto: Allegretto
- Str Qt in f, Op.55 No.2 'The Razor': IV. Presto
- Str Qt in B flat, Op.55 No.3: I. Vivace Assai
- Str Qt in B flat, Op.55 No.3: II. Adagio Ma Non Troppo
- Str Qt in B flat, Op.55 No.3: III. Menuetto
- Str Qt in B flat, Op.55 No.3: IV. Presto
Tracks:
- Str Qt in C, Op.64 No.1: I. Allegro Moderato
- Str Qt in C, Op.64 No.1: II. Menuet: Allegro Ma Non Troppo
- Str Qt in C, Op.64 No.1: III. Allegretto Scherzando
- Str Qt in C, Op.64 No.1: IV. Finale: Presto
- Str Qt in b, Op.64 No.3: I. Allegro Spirito
- Str Qt in b, Op.64 No.3: II. Adagio Ma Non Troppo
- Str Qt in b, Op.64 No.3: III. Menuet: Allegretto -
Amazon.com's Best of 2001
A massive set--67 string quartets on 21 discs in a budget-priced, shelf-friendly, compact box. So the obvious question is: do you need it? The equally obvious answer is a resounding "yes" if you love these endlessly inventive quartets and if you appreciate superbly played performances that capture both the letter and the spirit of Haydn's genius. The Angeles String Quartet isn't as well known as some ensembles that have recorded complete Haydn sets, but they are superior to all, with the arguable exception of the Tatrai Quartet. They demonstrate technical polish and rich, warm sound that's never cloying. And they give these works the forward-moving impetus they need within a classical framework, eschewing both anachronistic Romanticism and the mechanical astringency of period specialists.The Angeles Quartet is unique in its mastery of early as well as late works, in tune with Haydn's stylistic development and sensitive to the attractions of each of these remarkable pieces. So they infuse the visionary slow movements of the late quartets with the appropriate depth and at the same time revel in the muscularity of the Opus 76 No.2's catchy Menuetto, the humor of the "Joke" Quartet, Opus 33 No.2, and the power of the Allegro con spirito of Opus 76 No.1. Most impressive is their way with the early quartets--no small matter when you consider that the contents of the first six discs precede the Opus 20 set generally considered as signaling the maturity of the form. The Angeles make even the earliest quartets, five-movement divertimentos for four strings, a habit-forming delight. Their playing here is full of exuberance, wittily playful and rough, peasantlike by turns. The sonics are outstanding, too, well-balanced, warm, and lifelike. An indispensable recording. --Dan Davis
Customer Reviews:
A superb Haydn benchmark.......2007-06-28
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
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
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
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
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Bach: The Organ Works (Box Set)
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00004SAAX Release Date: 2001-10-09 |
Customer Reviews:
Bach Organ Works - Helmut Walcha.......2007-01-05
Glorious.......2006-07-01
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
A real bargain at under $100.......2005-12-20
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
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Anton Bruckner: The Symphonies
Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Romantic
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ASIN: B0000042ED Release Date: 1996-07-08 |
Tracks:
- I. Allegro
- II. Andante
- III. Scherzo: Presto
- IV. Finale: Moderato
Tracks:
- I. Allegro
- II. Adagio
- III. Scherzo: Schnell - Trio: Langsamer
- IV. Finale: Bewegt, Feurig
Tracks:
- I. Moderato
- II. Andante: Feierlich, Etwas Bewegt
- III. Scherzo: Massig Schnell
- IV. Finale: Mehr Schnell
- I. Adagio - Allegro
Tracks:
- II. Adagio, Sehr Langsam
- III. Scherzo: Molto Vivace (Schnell)
- IV. Finale: Adagio - Allegro Moderato
Tracks:
- I. Gemassigt, Mehr Bewegt, Misterioso
- II. Andante: Bewegt, Feierlich, Quasi Adagio
- III. Scherzo: Ziemlich Schnell
- IV. Finale: Allegro
Tracks:
- I. Bewegt, Nicht Zu Schnell
- II. Andante Quasi Allegretto
- III.Scherzo: Bewegt
- IV. Finale: Bewegt, Doch Nicht Zu Schnell
Tracks:
- I. Majestoso
- II. Adagio: Sehr Feierlich
- III. Scherzo: Nicht Schnell - Trio: Langsam
- IV. Finale: Bewegt, Doch Nicht Zu Schnell
Tracks:
- I. Allegro Moderato
- II. Adagio: Sehr Feierlich Und Sehr Langsam
- III. Scherzo: Sehr Schnell - Trio: Etwas Langsamer
- IV. Finale: Bewegt, Doch Nicht Zu Schnell
Tracks:
- I. Allegro Moderato
- II. Scherzo: Allegro Moderato - Trio: Langsam
- III. Adagio: Feierlich Langsam, Doch Nicht Schleppend
- IV. Finale: Feierlich, Nicht Schnell
Tracks:
- I. Feierlich, Misterioso
- II. Scherzo: Bewegt, Lebhaft - Trio: Schnell
- III. Adagio: Langsam, Feierlich
Customer Reviews:
Some of the best Bruckner on disc.......2007-05-31
Solti's Sine Qua Non of Brucker Ninths.......2006-05-18
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
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
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
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Bruckner: The Symphonies
Manufacturer: Philips ProductGroup: Music Binding: Audio CD Romantic
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ASIN: B0009A41VU Release Date: 2005-10-11 |
Customer Reviews:
A very solid, enjoyable Bruckner Cycle.......2007-07-21
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
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
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
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
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.
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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
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ASIN: B0000041KD Release Date: 1995-07-10 |
Tracks:
- Toccata And Fugue In F Major: Toccata
- Toccata And Fugue In F Major: Fugue
- Prelude And Fugue In G Major
- Prelude And Fugue In E Minor: Prelude
- Prelude And Fugue In E Minor: Fugue
- Prelude And Fugue In C Major
- Prelude And Fugue In C Minor
- Prelude and Fugue in D major: Prelude
- Prelude and Fugue in D major: Fugue
- Toccata And Fugue In D Minor: Toccata
- Toccata And Fugue In D Minor: Fugue
Tracks:
- Toccata, Adagio, And Fugue In C Major: Toccata
- Toccata, Adagio, And Fugue In C Major: Adagio
- Toccata, Adagio, And Fugue In C Major: Fugue
- Fantasia And Fugue In C Major
- Prelude And Fugue In E Minor
- Prelude And Fugue In A Minor
- Kleines harmonisches Labyrinth
- Toccata And Fugue In D Minor: Toccata
- Toccata And Fugue In D Minor: Fugue
- Trio In C Minor
- Fantasia And Fugue In G Minor: Fantasia
- Fantasia And Fugue In G Minor: Fugue
Tracks:
- Fantasia In G Major
- Fugue In B Minor
- Trio In D Minor
- Prelude And Fugue In G Minor
- Fantasia In C Minor
- Fugue In G Major
- Fantasia And Fugue In C Minor: Fantasia
- Fantasia And Fugue In C Minor: Fugue
- Fugue In G Major
- Fugue In C Minor
- Fugue In G Major
- Fantasia And Fugue In C Major
- Pedal-Exercitium
- Passacaglia And Fugue In C Minor: Passacaglia
- Passacaglia And Fugue In C Minor: Fugue
Tracks:
- Clavier Ubung III: Prelude In E Flat Major
- Clavier Ubung III: Kyrie, Gott Vater in Ewigkeit
- Clavier Ubung III: Christe, aller Welt Trost
- Clavier Ubung III: Kyrie, Gott heiliger Geist
- Clavier Ubung III: Allein Gott in der Hoh' sei Ehr'
- Clavier Ubung III: Dies sind die heilgen
- Clavier Ubung III: Wir glauben all' an einen Gott
- Clavier Ubung III: Vater unser im Himmelreich
- Clavier Ubung III: Christ unser Herr zum Jordan kam
- Clavier Ubung III: Aus tiefer Not schrei ich zu dir
- Clavier Ubung III: Jesus Christus unser Heiland, der von uns
- Clavier Ubung III: Fugue In E Flat Major
Tracks:
- Clavier Ubung III: Kyrie, Gott Vater in Ewigkeit
- Clavier Ubung III: Christe, aller Welt Trost
- Clavier Ubung III: Kyrie, Gott heiliger Geist
- Clavier Ubung III: Allein Gott in der Hoh' sei Ehr'
- Clavier Ubung III: Allein Gott in der Hoh' sei Ehr'
- Clavier Ubung III: Dies sind die heilgen sehn Gebot'
- Clavier Ubung III: Wir glauben all' an einen Gott
- Clavier Ubung III: Vater unse im Himmelreich
- Clavier Ubung III: Christ unser Herr zum Jordan kam
- Clavier Ubung III: Aus tiefer Not schrei ich zu dir
- Clavier Ubung III: Jesus Christus unser Hieland, der von uns
- Chorale Preludes From The Kirnberger Collection: Wer nur den lieben Gott lasst walten
- Chorale Preludes From The Kirnberger Collection: Wer nur den lieben Gott lasst walten
- Chorale Preludes From The Kirnberger Collection: Ach Gott und Herr
- Chorale Preludes From The Kirnberger Collection: Ach Gott und Herr
- Chorale Preludes From The Kirnberger Collection: Wo soll ich fliehen hin
- Chorale Preludes From The Kirnberger Collection: Christ lag in Todesbanden
- Chorale Preludes From The Kirnberger Collection: Christum sollen wir loben schon
- Chorale Preludes From The Kirnberger Collection: Gelobet seist du, Jesu Christ
- Chorale Preludes From The Kirnberger Collection: Herr Christ, der ein'ge Gottes Sohn
- Chorale Preludes From The Kirnberger Collection: Nun komm', der Heiden Heiland
- Chorale Preludes From The Kirnberger Collection: Vom Himmel hoch, da komm' ich her
- Chorale Preludes From The Kirnberger Collection: Vom Himmel hoch, da komm' ich her
- Chorale Preludes From The Kirnberger Collection: Das Jesulein soll doch mein Trost
- Chorale Preludes From The Kirnberger Collection: Gottes Sohn ist kommen
- Chorale Preludes From The Kirnberger Collection: Lob sei dem allmachtigen
- Chorale Preludes From The Kirnberger Collection: Durch Adams Fall ist ganz verderbt
- Chorale Preludes From The Kirnberger Collection: Liebster Jesu, wir sind hier
- Chorale Preludes From The Kirnberger Collection: Ich hab' mein Sach' Gott heimgestellt
- Chorale Preludes From The Kirnberger Collection: Ich hab' mein Sach' Gott heimgestellt
- Chorale Preludes From The Kirnberger Collection: Herr Jesu Christ, dich zu uns wend'
- Chorale Preludes From The Kirnberger Collection: Wir Christenleut
- Chorale Preludes From The Kirnberger Collection: Allein Gott in der Hoh' sei Ehr'
- Chorale Preludes From The Kirnberger Collection: In dich hab' ich gehoffet, Herr
- Chorale Preludes From The Kirnberger Collection: Jesu, meine Freude
Tracks:
- Sonata No. 1 In E Flat Major: I Allegro moderato
- Sonata No. 1 In E Flat Major: II Adagio
- Sonata No. 1 In E Flat Major: III Allegro
- Sonata No. 2 In C Minor: I Vivace
- Sonata No. 2 In C Minor: II Largo
- Sonata No. 2 In C Minor: III Allegro
- Sonata No. 3 In D Minor: I Andante
- Sonata No. 3 In D Minor: II Adagio e dolce
- Sonata No. 3 In D Minor: III Vivace
- Sonata No. 4 In E Minor: I Adagio - Vivace
- Sonata No. 4 In E Minor: II Andante
- Sonata No. 4 In E Minor: III Un poco allegro
- Sonata No. 5 In C Major: I Allegro
- Sonata No. 5 In C Major: II Largo
- Sonata No. 5 In C Major: III Allegro
- Sonata No. 6 In G Major: I Vivace
- Sonata No. 6 In G Major: II Lento
- Sonata No. 6 In G Major: III Allegro
Tracks:
- Chorale Variations: Ach, was soll ich Sunder machen
- Chorale Variations: Christ, du bist der helle Tag
- Chorale Variations: O Gott, du frommer Gott
- Chorale Variations: Canonische Veranderungen: Vom Himmel hoch, da komm' ich her
- Chorale Variations: Sei gegrusset, Jesu gutig
Tracks:
- Choralvariationen: Allein Gott in der Hoh' sei Ehr'
- Schubler Chorale Preludes: Wachet auf, ruft uns die Stimme
- Schubler Chorale Preludes: Wo soll ich fliehen hin
- Schubler Chorale Preludes: Wer nur den lieben Gott labt walten
- Schubler Chorale Preludes: Meine Seele erhebt den Herren
- Schubler Chorale Preludes: Ach bleib' bei uns, Herr Jesu Christ
- Schubler Chorale Preludes: Kommst du nun, Jesu, vom Himmel herunter
- Chorale Preludes: Liebster Jesue, wir sind hier
- Chorale Preludes: Liebster Jesu, wir sind hier
- Chorale Preludes: Lobt Gott, ihr Christen, allzugleich
- Chorale Preludes: Meine Seele erhebt den Herren
- Chorale Preludes: Nun freut euch, lieben Christen g'mein
- Chorale Preludes: Valet will ich dir geben
- Chorale Preludes: Valet will ich dir geben
- Chorale Preludes: Vater unser im Himmelreich
- Chorale Preludes: Vom Himmel hoch, da komm' ich her
- Chorale Preludes: Wie schon leuchtet der Morgenstern
- Chorale Preludes: Wie glauben all' an einen Gott
Tracks:
- Concerto No. 1 In G Major: (Allegro)
- Concerto No. 1 In G Major: Grave
- Concerto No. 1 In G Major: Presto
- Concerto No. 2 In A Minor: (Allegro)
- Concerto No. 2 In A Minor: Adagio
- Concerto No. 2 In A Minor: Allegro
- Concerto No. 3 In C Major: (Allegro)
- Concerto No. 3 In C Major: Adagio
- Concerto No. 3 In C Major: Allegro
- Concerto No. 4 In C Major
- Concerto No. 5 In D Minor: (Allegro) - Grave e fuga
- Concerto No. 5 In D Minor: Largo e spiccato
- Concerto No. 5 In D Minor: (Allegro)
- Concerto No. 6 In E Flat Major
- Chorale Preludes: Herr Jesu Christ, dich zu uns wend'
- Chorale Preludes: Herzlich tut mich verlangen
- Chorale Preludes: Jesus, meine Zuversicht
- Chorale Preludes: In dulci jubilo
Tracks:
- Neumeister Chorale Preludes: Der Tag, der ist so freudenreich (Ein Kindelein so lobelich)
- Neumeister Chorale Preludes: Wir Christenleut
- Neumeister Chorale Preludes: Das alte Jahr vergangen ist
- Neumeister Chorale Preludes: Herr Gott, nun schleuss den Himmel auf
- Neumeister Chorale Preludes: Herzliebster Jesu, was hast du verbrochen
- Neumeister Chorale Preludes: O Jesu, wie ist dein Gestalt
- Neumeister Chorale Preludes: O Lamm Gottes, unschuldig
- Neumeister Chorale Preludes: Christe, der du bist Tag und Licht
- Neumeister Chorale Preludes: Ehre sei dir, Christe, der du leidest Not
- Neumeister Chorale Preludes: Wir glauben all' an einen Gott
- Neumeister Chorale Preludes: Aus tiefster Not schrei ich zu dir
- Neumeister Chorale Preludes: Allein zu dir, Herr Jesu Christ
- Neumeister Chorale Preludes: Ach, Gott und Herr
- Neumeister Chorale Preludes: Ach Herr, mich armen Sunder (Herzlich tut mich verlangen)
- Neumeister Chorale Preludes: Durch Adams Fall ist ganz verderbt
- Neumeister Chorale Preludes: Du Friedefurst, Herr Jesu Christ
- Neumeister Chorale Preludes: Erhalt uns, Herr, bei deinem Wort
- Neumeister Chorale Preludes: Wenn dich Ungluck tut greifen an
- Neumeister Chorale Preludes: Jesu, meine Freude
- Neumeister Chorale Preludes: Gott ist mein Heil, mein Hilf und Trost
- Neumeister Chorale Preludes: Jesu, meines Lebens Leben
- Neumeister Chorale Preludes: Als Jesus Christus in der Nacht
- Neumeister Chorale Preludes: Ach Gott, tu dich erbarmen
- Neumeister Chorale Preludes: O Herre Gott dein gottlich Wort
- Neumeister Chorale Preludes: Nun lasst uns den Leib begraben
- Neumeister Chorale Preludes: Christus, der ist mein Leben
- Neumeister Chorale Preludes: Ich hab mein Sach Gott heimgestellt
- Neumeister Chorale Preludes: Herr Jesu Christ, du hochstes Gut
- Neumeister Chorale Preludes: Herzlich lieb hab ich dich, o Herr
- Neumeister Chorale Preludes: Was Gott tut, das ist wohlgetan
- Neumeister Chorale Preludes: Alle Menschen mussen sterben
Tracks:
- Neumeister Chorales: Machs mit mir, Gott, nach deiner Gut
- Neumeister Chorales: Werde munter, mein Gemute
- Neumeister Chorales: Wie nach einer Wasserquelle
- Neumeister Chorales: Christ, der du bist der helle Tag
- 'The Eighteen' Chorale Preludes: Komm, heiliger Geist
- 'The Eighteen' Chorale Preludes: Komm, heiliger Geist
- 'The Eighteen' Chorale Preludes: An Wasserflussen Babylon
- 'The Eighteen' Chorale Preludes: Schmucke dich, o liebe Seele
- 'The Eighteen' Chorale Preludes: Herr Jesu Christ, dich zu uns wend'
- 'The Eighteen' Chorale Preludes: O Lamm Gottes unschuldig
- 'The Eighteen' Chorale Preludes: Nun danket alle Gott
- 'The Eighteen' Chorale Preludes: Von Gott will ich nicht lassen
- 'The Eighteen' Chorale Preludes: Nun komm' der Heiden Heiland
- 'The Eighteen' Chorale Preludes: Nun komm' der Heiden Heiland
- 'The Eighteen' Chorale Preludes: Nun komm' der Heiden Heiland
- 'The Eighteen' Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
Tracks:
- 'The Eighteen' Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
- 'The Eighteen' Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
- 'The Eighteen' Chorale Preludes: Jesus Christus, unser Heiland
- 'The Eighteen' Chorale Preludes: Jesus Christus, unser Heiland
- 'The Eighteen' Chorale Preludes: Komm, Gott, Schopfer, heiliger Geist
- 'The Eighteen' Chorale Preludes: Vor deinen Thron (Wenn wir in hochsten Noten sein)
- Miscellaneous Chorale Preludes: O Lamm Gottes unschuldig
- Miscellaneous Chorale Preludes: Ach Gott und Herr
- Miscellaneous Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
- Miscellaneous Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
- Miscellaneous Chorale Preludes: Allein Gott in der Hoh' sei Ehr'
- Miscellaneous Chorale Preludes: Christ Lag in Todesbanden
- Miscellaneous Chorale Preludes: Der Tag, der ist so freudenreich
- Miscellaneous Chorale Preludes: Ein' festeBurg ist unser Gott
- Miscellaneous Chorale Preludes: Erbarm' dich mein, o Herre Gott
- Miscellaneous Chorale Preludes: Gelobet seist du, Jesu Christ
- Miscellaneous Chorale Preludes: Gelobet seist du, Jesu Christ
- Miscellaneous Chorale Preludes: Gottes Sohn ist kommen
- Miscellaneous Chorale Preludes: Herr Gott, wir loben dich
Tracks:
- Eight Short Preludes And Fugues: Prelude And Fugue In C Major
- Eight Short Preludes And Fugues: Prelude And Fugue In D Minor
- Eight Short Preludes And Fugues: Prelude And Fugue In E Minor
- Eight Short Preludes And Fugues: Prelude And Fugue In F Major
- Eight Short Preludes And Fugues: Prelude And Fugue In G Major
- Eight Short Preludes And Fugues: Prelude And Fugue In G Minor
- Eight Short Preludes And Fugues: Prelude And Fugue In A Minor
- Eight Short Preludes And Fugues: Prelude And Fugue In B Flat Major
- Trio In G Major
- Prelude and Fugue in F minor: Prelude
- Prelude and Fugue in F minor: Fugue
- Trio In G Minor
- Prelude and Fugue in A major: Prelude
- Prelude and Fugue in A major: Fugue
- Prelude and Fugue in G major: Prelude
- Prelude and Fugue in G major: Fugue
- Allabreve In D Major
- Prelude In G Major
- Fugue In D Major
- Prelude and Fugue in D minor: Prelude
- Prelude and Fugue in D minor: Fugue
Tracks:
- Prelude And Fugue In C Minor: Prelude
- Prelude And Fugue In C Minor: Fugue
- Prelude In C Major
- Fugue In G Minor
- Canzona In D Minor
- Prelude In A Minor
- Fugue In C Minor
- Pastorale In F Major
- Fantasia In G Major
- Aria In F Major
- Prelude and Fugue in C major: Prelude
- Prelude and Fugue in C major: Fugue
Tracks:
- Toccata And Fugue In E Major: Toccata
- Toccata And Fugue In E Major: Fugues I & II
- Fantasia In B Minor
- Prelude and Fugue in A minor: Prelude
- Prelude and Fugue in A minor: Fugue
- Prelude and Fugue in B minor: Prelude
- Prelude and Fugue in B minor: Fugue
- Prelude and Fugue in C major: Prelude
- Prelude and Fugue in C major: Fugue
- Trio In G Major
- Prelude, Trio And Fugue In B Flat Major: Prelude
- Prelude, Trio And Fugue In B Flat Major: Trio
- Prelude, Trio And Fugue In B Flat Major: Fugue
- Ricercar A 6 In C Minor
- Prelude And Fugue In G Minor
Tracks:
- Nun komm, der Heiden Heiland
- Gottes Sohn ist kommen
- Herr Christ, der ein'ge Gottes Sohn
- Lob sei dem allmachtigen Gott
- Puer natus in Bethlehem
- Gelobet seist du, Jesu Christ
- Der Tag, der ist so freudenreich
- Vom Himmel hoch, da komm ich her
- Vom Himmel kam der Engel Schar
- In dulci jubilo
- Lobt Gott, ihr Christen allzugleich
- Jesu, meine Freude
- Christum wir sollen loben schon
- Wir Christenleut
- Helft mir, Gottes Gute preisen
- Das alte Jahr vergangen ist
- In dir ist Freude
- Mit Fried' und Freud' ich fahr dahin
- Herr Gott, nun schleuss den Himmel auf
- O Lamm Gottes, unschuldig
- Christe, du Lamm Gottes
- Christus, der uns selig macht
- Da Jesus an dem Kreuze stund
- O Mensch, bewein dein Sunde gross
- Wir danken dir, Herr Jesu Christ
- Hif Gott, dass mir's gelinge
- Christ lag in Todesbanden
- Jesus Christus, unser Heiland
- Christ ist erstanden
- Erstanden ist der heil' ge Geist
- Erschienen ist der herrliche Tag
- Heut triumphieret
- Komm, Gott, Schopfer, heiliger Geist
- Herr Jesu Christ, dich zu uns wend'
- Liebster Jesu, wir sind hier
- Liebster Jesu, wir sind hier
- Dies sind die heilgen zehn Gebot
- Vater unser im Himmelreich
- Durch Adams Fall ist ganz verderbt
- Es ist da Heil uns kommen her
- Ich ruf' zu dir, Herr Jesu Christ
Tracks:
- In dich hab ich gehoffet, Herr
- Wenn wir in hochsten Noten sein
- Wer nur den lieben Gott lasst walten
- Alle Menschen mussen sterben
- Ach wie nichtig, ach wie fluchtig
- Ach Gott, vom Himmel sieh' darein
- Ach Herr, mich armen Sunder
- Ach, was ist doch unser Leben
- Auf meinen lieben Gott
- Aus der Tiefe rufe ich
- Christ ist erstanden
- Christus, der uns selig macht
- Gott der Vater wohn' uns bei
- In dulci jubilo
- Jesu, der du meine Seele
- Liebster Jesu wir sind hier
- Nun freut euch
- O Herre Gott, dein gottlich Wort
- O Vater, allmachtiger Gott
- Schmucke dich, o liebe Seele
- Vater unser im Himmelreich
- Vater unser im Himmelreich
- Vater unser im Himmelreich
- Wie schon leuchtet der Morgenstern
- Wir glauben all' an einen Gott
- Christus, der uns selig macht
- Herr Christ, der einig Gotts Sohn
- 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 HurwitzCustomer Reviews:
One of the great CD sets of all time.......2006-02-08
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
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
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
EMPHATICALLY 5 stars!.......2004-02-27
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.
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J.S. Bach: Complete Works for Organ (Box Set)
Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B000005ECW Release Date: 1994-10-04 |
Tracks:
- Prld & Fuge in e, BWV 548: Praludium
- Prld & Fuge in e, BWV 548: Fuge
- Choral: An Wasserflussen Babylon..., BWV 653
- Choral: Von Gott will ich nicht lassen..., BWV 658
- Choral: Schmucke dich, o liebe Seele..., BWV 654
- Prld & Fuge in b, BWV 544: Praludium
- Prld & Fuge in b, BWV 544: Fuge
- Drei Chorale: Allein Gott in der Hoh' sei Ehr'...: Cantus firmus im Sopran, BWV 662
- Drei Chorale: Allein Gott in der Hoh' sei Ehr'...: Cantus firmus im Tenor, BWV 663
- Drei Chorale: Allein Gott in der Hoh' sei Ehr'...: Trio, BWV 664
Tracks:
- Toccata (Dorisch) & Fuge in d, BWV 538: Toccata
- Toccata (Dorisch) & Fuge in d, BWV 538: Fuge
- Orgelbuchlein, BWV 618: O Lamm Gottes unschuldig
- Orgelbuchlein, BWV 619: Christe, du Lamm Gottes
- Orgelbuchlein, BWV 620: Christus, der uns selig macht
- Orgelbuchlein, BWV 621: Da Jesus an dem Kreuze stund
- Orgelbuchlein, BWV 622: O Mensch, bewein' dein' Sunde gro
- Orgelbuchlein, BWV 623: Wir danken dir, Herr Jesu Christ
- Orgelbuchlein, BWV 624: Hilf Gott, damir's gelinge
- Prld & Fuge in g, BWV 535: Prld
- Prld & Fuge in g, BWV 535: Fuge
- Orgelbuchlein, BWV 625: Christ lag in Todesbanden
- Orgelbuchlein, BWV 626: Jesus Christus, unser Heiland
- Orgelbuchlein, BWV 627: Christ ist erstanden (3 vers)
- Orgelbuchlein, BWV 628: Erstanden ist der heil'ge Christ
- Orgelbuchlein, BWV 629: Erschienen ist der herrliche Tag
- Orgelbuchlein, BWV 630: Heut' triumphiret Gottes Sohn
- Toccata & Fuge in C, BWV 566: Toccata
- Toccata & Fuge in C, BWV 566: Fuge
- Orgelbuchlein, BWV 631: Komm, Gott Schopfer, heilieger Geist
- Orgelbuchlein, BWV 632: Herr Jesu Christ, dich zu uns wend
Tracks:
- Prld & Fuge in C, BWV 545: Prld
- Prld & Fuge in C, BWV 545: Fuge
- Fuge in G, BWV 577
- Prld & Fuge in d, BWV 539: Prld
- Prld & Fuge in d, BWV 539: Fuge
- Choral: Wo soll ich fliehen hin, BWV 694
- Partita sopra: O Gott, du frommer Gott, BWV 767
- Choral: Wir Christenleut hab'n jetzund Freud, BWV 710
- Alla Breve in D, BWV 589
- Canzona in d, BWV 588
- Fuge in c, BWV 575
- Fuga sopra il Magnificat: Meine Seele erhebet den Herren, BWV 733
- Kleines harmonisches Labyrinth (Introitus, Centrum, Exitus), BWV 591
- Prld & Fuge in a, BWV 551: Prld
- Prld & Fuge in a, BWV 551: Fuge
Tracks:
- Prld & Fuge in e, BWV 533: Prld
- Prld & Fuge in e, BWV 533: Fuge
- Chorale: Nun freut euch, lieben Christen g'mein, BWV 734
- Chorale: Liebster Jesu, wir sind hier, BWV 730
- Chorale: Liebster Jesu, wir sind hier, BWV 731
- Chorale: In dulci jubilo, BWV 729
- Chorale: Herzlich tut mich verlangen, BWV 727
- Prld & Fuge in C, BWV 531: Prld
- Prld & Fuge in C, BWV 531: Fuge
- Chorale: Herr Jesu Christ, dich zu uns wend, BWV726
- Chorale: Allein Gott in der Hoh'sei Ehr' (Bicinium), BWV 711
- Chorale: Allein Gott in der Hoh'sei Ehr', BWV 715
- Chorale: Fuga super Allein Gott in der Hoh' sei Ehr', BWV 716
- Chorale: Allein Gott in der Hoh' sei Ehr' (manualiter), BWV 717
- Chorale: Christ lag in Todesbanden, BWV 718
- Chorale: Ach Gott und Herr (per canonem), BWV 714
- Fantasia con imitazione in b, BWV 563
- Chorale: Gelobet seist du, Jesu Christ, BWV 722
- Chorale: Gottes Sohn ist kommen, BWV 724
- Chorale: Jesus, meine Zuversicht, BWV 728
- Chorale: Lobt Gott, ihr Christen, allzugleich, BWV 732
- Chorale: Vater unser im Himmelreich, BWV 737
- Chorale: Vom Himmel hoch, da komm'ich her, BWV 738
- Chorale: Wie schon leuchter der Morgenstern, BWV 739
- Chorale: Wir glauben all' an einen Gott, BWV 765
- Chorale: Herr Gott, dich loben wir, BWV 725
Tracks:
- Prld & Fuge in c: Prld
- Prld & Fuge in c: Fuge
- Chorale: Herr Jesu Christ, dich zu uns wend, BWV 709
- Chorale: Liebster Jesu, wir sind hier, BWV 706 (1+2)
- Chorale: Erbarm' dich mein, o Herre Gott, BWV 721
- Chorale: Wer nur den lieben Gott la walten, BWV 690
- Chorale: Wer nur den lieben Gott la walten, BWV 691
- Chorale: Christ lag in Todesbanden, BWV 695
- Prld & Fuge in c: Prld
- Prld & Fuge in c: Fuge
- Partita: sopra Christ, der du bist der helle Tag, BWV 766
- Sieben Fughetten Fur Die Weinachtszeit: Christum wir sollen loben schon, BWV 696
- Sieben Fughetten Fur Die Weinachtszeit: Gelobet seist du, Jesu Christ, BWV 697
- Sieben Fughetten Fur Die Weinachtszeit: Herr Christ, der ein'ge Gottes Sohn, BWV 698
- Sieben Fughetten Fur Die Weinachtszeit: Nun komm'der Heiden Heiland, BWV 699
- Sieben Fughetten Fur Die Weinachtszeit: Von Himmel hoch da komm' ich her, BWV 701
- Sieben Fughetten Fur Die Weinachtszeit: Gottes Sohn ist kommen, BWV 703
- Sieben Fughetten Fur Die Weinachtszeit: Lob sei dem allmachtigen Gott, BWV 704
- Choral: Vom Himmel hoch da komm' ich her, BWV 700
- Fuge in b uber ein Theme von Corelli, BWV 579
- Fantasia: Jesu, meine Freude, BWV 713
- Choral: In dich hab' ich gehoffet, Herr, BWV 712
Tracks:
- Prld & Fuge in C, BWV 547: Prld
- Prld & Fuge in C, BWV 547: Fuge
- Canonic Vars: Vom Himmel hoch, da komm' ich her, BWV 769
- Clavier Ubung Dritter Teil: Prld in E flat, BWV 552
- Chorale: Kyrie, Gott Vater in Ewigkeit, BWV 669
- Chorale: Christe, aller Welt Trost, BWV 670
- Chorale: Kyrie, Gott heilinger Geist, BWV 671
- Chorale: Kyrie, gott Vater in Ewigkeit (manualiter), BWV 672
- Chorale: Christe, aller Welt Trost (manualiter), BWV 673
- Chorale: Kyrie, Gott heiliger Geist (manualiter), BWV 674
- Chorale: Allein Gott in der Hoh' sei Ehr', BWV 675
- Chorale: Allein Gott in der Hoh' sei Ehr', BWV 676
- Chorale: Allein Gott in der Hoh' sei Ehr' (Fughetta), BWV 677
- Chorale: Dies sind die heil'gen zehn Gebot, BWV 678
- Chorale: Dies sind die heil'gen zehn Gebot (Fughetta), BWV 679
Tracks:
- Chorale: Wir glauben all' an einen Gott, BWV 680
- Chorale: Wir glauben all' an einen Gott (Fughetta) (manualiter), BWV 681
- Chorale: Vater unser im Himmelreich, BWV 682
- Chorale: Vater unser im Himmelreich (manualiter), BMV 683
- Chorale: Christ, unser Herr, zum Jordan kam, BWV 684
- Chorale: Christ, unser Herr, zum Jordan kam (manualiter), BWV 685
- Chorale: Aus tiefer Not schrei' ich zu dir, BWV 686
- Chorale: Aus tiefer Not schrei' ich zu dir (manualiter), BWV 687
- Chorale: Jesu Christus, unser Heiland, BWV 688
- Chorale: Jesu Christus, unser Heiland (Fuga) (manualiter), BWV 689
- Vier Duette: Duetto I, BWV 802
- Vier Duette: Duetto II, BWV 803
- Vier Duette: Duetto III, BWV 804
- Vier Duette: Duetto IV, BWV 805
- Fuge in E flat, BWV 552
- Chorale: Herr Jesu Christ, dich zu uns wend' (Trio), BWV 655
- Chorale: Vor Deinen Thron tret' ich, BWV 668
Tracks:
- Prld & Fuge in c, BWV 546: Prld
- Prld & Fuge in c, BWV 546: Fuge
- Orgelbuchlein: Chorale: Liebster Jesu, wir sind hier, BWV 633
- Orgelbuchlein: Chorale: Liebster Jesu, wir sind hier, BWV 634
- Orgelbuchlein: Chorale: Dies sind die heil' gen zehn Gebott, BWV 635
- Orgelbuchlein: Chorale: Vater unser im Himmelreich, BWV 636
- Orgelbuchlein: Chorale: Durch Adam's Fall ist ganz verderbt, BWV 637
- Orgelbuchlein: Chorale: Es ist das Heil uns kommen her, BWV 638
- Orgelbuchlein: Chorale: Ich ruf' zu dir, Herr Jesu Christ, BWV 639
- Orgelbuchlein: Chorale: Ich dich hab'ich gehoffet, Herr, BWV 640
- Orgelbuchlein: Chorale: Wenn wir in hochsten Noten sein, BWV 641
- Orgelbuchlein: Chorale: Wer nur den lieben Gott la walten, BWV 642
- Orgelbuchlein: Chorale: Alle Menschen mussen sterben, BWV 643
- Orgelbuchlein: Chorale: Ach wie nichtig, ach, wir fluchtig, BWV 644
- Partita Sopra: Sei gregrut, Jesu gutig, BWV 768
- Prld & Fuge in f, BWV 534: Prld
- Prld & Fuge in f, BWV 534: Fuge
- Fant in C, BWV 570
Tracks:
- Piece d'Orgue in G, BWV 572: Tres vitement-Gravement-Lentement
- Orgelbuchlein: Chorale: Nun komm' der Heiden Heiland, BWV 599
- Orgelbuchlein: Chorale: Gottes Sohn ist kommen, BWV 600
- Orgelbuchlein: Chorale: Herr Christ, der ein' ge Gottes Sohn, BWV 601
- Orgelbuchlein: Chorale: Lob sei dem allmachtigen Gott, BWV 602
- Orgelbuchlein: Chorale: Puer natus in Bethlehem, BWV 603
- Orgelbuchlein: Chorale: Gelobt seist du, Jesu Christ, BWV 604
- Orgelbuchlein: Chorale: Der Tag, der ist so freudenreich, BWV 605
- Orgelbuchlein: Chorale: Vom Himmel hoch da komm' ich her, BWV 606
- Orgelbuchlein: Chorale: Vom Himmel kam der Engel Schar, BWV 607
- Orgelbuchlein: Chorale: In dulci jubilo, BWV 608
- Orgelbuchlein: Chorale: Lobt Gott, ihr Christen, allzugleich, BWV 609
- Orgelbuchlein: Chorale: Jesu, meine Freude, BWV 610
- Orgelbuchlein: Chorale: Christum wir sollen loben schon, BWV 611
- Orgelbuchlein: Chorale: Wir Christenleut, BWV 612
- Orgelbuchlein: Chorale: Helft mir, Gootes Gute preisen, BWV 613
- Orgelbuchlein: Chorale: Das alte Jahr vergangen ist, BWV 614
- Orgelbuchlein: Chorale: In dir ist Freude, BWV 615
- Orgelbuchlein: Chorale: Mir Fried' und Freud' ich fahr' dahin, BWV 616
- Orgelbuchlein: Chorale: Herr Gott, nun schleuden Himmel auf, BWV 617
- Fant in c, BWV 562
- Choral: Wir glauben all' an einen Gott, Vater, BWV 740
- Fant: Super Valet will ich dir geben, BWV 735
- Choral: Valet will ich dir geben, BWV 736
- Fuge uber ein Thema von Giovanni Legrenzi in c, BWV 574
Tracks:
- Prld & Fuge, BWV 532: Prld
- Prld & Fuge, BWV 532: Fuge
- Trio in d, BWV 656
- Orgelchorale aus Achtzehn Chorale: O Lamm Gottes, unschuldig, BWV 656
- Orgelchorale aus Achtzehn Chorale: Nun komm, der Heiden Heiland, BWV 659
- Orgelchorale aus Achtzehn Chorale: Trio super 'Nun komm, der Heiden Heiland, BWV 660
- Orgelchorale aus Achtzehn Chorale: Nun komm, der Heiden Heiland' in organo pleno, BWV 661
- Orgelchorale aus Achtzehn Chorale: Fantasia super Komm, heiliger Geist, BWV 651
- Orgelchorale aus Achtzehn Chorale: Komm, heiliger Geist, BWV 652
- Orgelchorale aus Achtzehn Chorale: Nun danket alle Gott, BWV 657
- Orgelchorale aus Achtzehn Chorale: Jesus Christus, unser Heiland, BWV 665
- Orgelchorale aus Achtzehn Chorale: Jesus Christus, unser Heiland, BWV 666
- Orgelchorale aus Achtzehn Chorale: Komm, Gott Schopfer, BWV 667
Tracks:
- Konzert in a, BWV 593: Allegro
- Konzert in a, BWV 593: Adagio
- Konzert in a, BWV 593: Allegro
- Konzert in d, BWV 596: (Allegro)-Grave-Fuga
- Konzert in d, BWV 596: Largo
- Konzert in d, BWV 596: Finale
- Konzert in C, BWV 594: (Allegro)
- Konzert in C, BWV 594: Rezitativ Adagio
- Konzert in C, BWV 594: Allegro
- Konzert in G, BWV 592: (Allegro)
- Konzert in G, BWV 592: Grave (Adagio)
- Konzert in G, BWV 592: Presto (assai)
- Konzert in C, BWV 595: (Allegro)
- Aria in F, BWV 587
- Prld & Fuge in A, BWV 536: Prld
- Prld & Fuge in A, BWV 536: Fuge
- Choral: An Wasserflussen Babylon, BWV 653b
- Prld & Fuge in G, BWV 550: Prld
- Prld & Fuge in G, BWV 550: Fuge
- Trio in g, BWV 584
Tracks:
- Toccata in d, BWV 565
- Toccate & Fuge in F, BWV 540: Toccata
- Toccate & Fuge in F, BWV 540: Fuge
- Prld (Fant) & Fuge in g, BWV 542: Prld
- Prld (Fant) & Fuge in g, BWV 542: Fuge
- Pastorella, BWV 590: 1
- Pastorella, BWV 590: 2
- Pastorella, BWV 590: 3
- Pastorella, BWV 590: 4
- Prld & Fuge in a, BWV 543: Prld
- Prld & Fuge in a, BWV 543: Fuge
- Toccata in C, BWV 564: Toccata
- Toccata in C, BWV 564: Adagio
- Toccata in C, BWV 564: Fuge
Tracks:
- Son I in E flat, BWV 525: Allegro moderato
- Son I in E flat, BWV 525: Adagio
- Son I in E flat, BWV 525: Allegro
- Son II in c, BWV 526: Vivace
- Son II in c, BWV 526: Largo
- Son II in c, BWV 526: Allegro
- Son III in d, BWV 527: Andante
- Son III in d, BWV 527: Adagio e dolce
- Son III in d, BWV 527: Vivace
- Son IV in e, BWV 528: Adagio
- Son IV in e, BWV 528: Andante
- Son IV in e, BWV 528: Un poco allegro
- Son V in C, BWV 529: Allegro
- Son V in C, BWV 529: Largo
- Son V in C, BWV 529: Allegro
- Son VI in G, BWV 530: Vivace
- Son VI in G, BWV 530: Lento
- Son VI in G, BWV 530: Allegro
Tracks:
- Passacaglia E Tema Fugatum in c, BWV 582
- Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 645: Wachet auf, ruft uns die Stimme
- Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 646: Wo soll ich fliehen hin
- Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 647: Wer nur den lieben Gott la...
- Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 648: Meine Seele erhebet den Herren
- Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 649: Ach, bleib' bei uns
- Sechs Chorale von Verschiedener Art (Schubler-Chorale), BWV 650: Kommst du nun, Jesu...
- Fuge in g, BWV 578
- Prld & Fuge in g, BWV 541: Prld
- Prld & Fuge in g, BWV 541: Fuge
- Choral: Ein' feste Burg ist unser Gott, BWV 720
- Prld in G, BWV 568
- Adagio, BWV 1027: Adagio
- Adagio, BWV 1027: Allegro moderato (trio) (1027a)
- Ricercare a 6 (aus Das musikalische Opfer), BWV 1079-5
- Prld in a, BWV 569
Amazon.com
Marie-Claire Alain is not only one of the greatest organists alive today, but she stands directly in a what is undoubtedly the world's greatest tradition of organ playing. It was France that first rediscovered and cultivated Bach's organ music, and which in turn stimulated the great works of Franck, Widor, Vierne, and their school. Alain has recorded Bach's complete organ music no less than three times, here on historical organs of Bach's own time. Each disc is planned as a recital that showcases both the music and the instrument. Her performances are simply the last word in style, musicianship, and virtuosity. Magnificent. --David HurwitzCustomer Reviews:
Complete set CD review of Bach.......2007-05-12
The Definitive Collection of Bach .......2005-09-25
Monumental Artistry.......2003-03-08
The sound is pure sonority, almost perfect, and the technical prowess is just awesome. Out of the millions of notes played, I never heard a miscue or slight jiggle. Still, keyboard wizardry is only part of the story. The registration is a work of art in itself. Alain understand the difference between the Baroque and the Modern, the French and the German and the old and the new. Just as she is a "natural" for Widor or Vierne, she also seems to have entered the Bach mind on some of these.
This is a fabulous collection worthy of any serious student of classical music. Nowhere can one derive such satisfaction that listenting to Bach played by Ms. Alain.
A Happy Sacrifice.......2001-06-30
Bach on the Organ.......2001-06-23
One day, I chanced to buy a CD with an assortment of classical music. I did that once every so often, since classical CD's are so cheap. I slipped it into my car not knowing at all what I'd just stumbled on. The second piece on this CD was music of an order I had not yet before encountered. To boot, I had just installed a new subwoofer in the car. Then this organ piece comes on.
My friends. From that moment, I was a different person. It didn't hit me as hard initially, but I couldn't let go of this stupendous work of such magnificence. For days on end, I would play this one piece of organ music. Treasuring it as a jewel. I couldn't get over how grand, how utterly wonderful this work was, from every single note to it's entire whole. I've always enjoyed music, but this was something else. It made me feel miniscule. How could anyone.... I'm a financial consultant, and gosh did this make me feel worthless. Alright, I'll let you know which it was --Toccata and Fugue in D Minor (Dorian) for the organ. Not even one of Bach's major pieces. This was Miklos Spanyi on organ who did this. Marie-Claire does a good job on this set, but I had heard it first on the other recording, and you know it's never as good as the first time.
Brethren, this wasn't the end. After a few weeks of listening to this, I kid you not, I would break down like a child when I played it. Sobbing and crying. Weeping uncontrollably. I'm a grown man, but it happened. I could not understand. I could not remember breaking down this way, so violently, since I was young boy. I am not a sop at all, one of those guys with a soft feminine side........no, no, no. This is what Bach can do to you.
I was listening to angels. I could see them. No way I'll write my full name here in case this gets out. If I listened to it in the car, I would have to stop when Bach's counterpoints started their agonizing attacks of sheer splendor. I would stop the car on the side of the road, racked in sobs. I stopped listening to it in the morning going to work because my eyes would be red when I got into the office. In oblivion, driving home one night I did get a speeding ticket.
I would be convulsing in anguish. As the Toccata builds to its end, Bach brings your pitiful soul through a wavy staircase lined with golden crescendos that don't seem to end. He then takes your wretched spirit, once strong, but piteous in the face of such perfection, and places it on the doorstep of the Fugue. At this grand entrance on the cadence, at this very point I would invariably be out of control, bawling like a babe.
It was then I needed to see who this Bach was. Then I see a complete set of Bach Organ Works by a renowned organist. I was trembling when I got the set. It's about 3 years now, and I have since learned how to control myself. I am sorry I talk about Bach's organ and his effect on me, but please, I was just describing one gem. This is the collection. Buy it and be immersed in wonder.
There is good literature that goes with the set. If you are looking for sentiment and give up a little bit of quality, you'll notice some difference. The recordings are excellent, but the idea of this grand project was to have it on a baroque organ, sounding like it would back then.
They do mention the need for the organist to have to coax and cajole the instrument, unlike the modern electronic machines. The recordings are on a restored organ, which at first made me a little disappointed, but after a while you realize it presents the organist's talent quite a bit more. I also love hearing the slight sounds of the stops in the background - just that added sense of needing to be on earth before reaching glory.
Thank you Alain
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Bruckner: Symphony No. 8 (1887 version, ed. Nowak) / Symphony No. 0 "Die Nullte"
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Romantic
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ASIN: B000009OMA Release Date: 1998-07-28 |
Tracks:
- Symphony No. 8 In C Minor: Allegro moderato
- Symphony No. 8 In C Minor: Scherzo : Allegro moderato - Trio : Allegro moderato
- Symphony No. 8 In C Minor: Adagio : Feierlich langsam, doch nicht schleppend
Tracks:
- Symphony No. 8 In C Minor: Finale : Feierlich, Nicht Schnell
- Symphony No. 0 In D Minor 'Die Nullte': Allegro
- Symphony No. 0 In D Minor 'Die Nullte': Andante
- Symphony No. 0 In D Minor 'Die Nullte': Scherzo : Presto - Trio : Langsamer und ruhiger
- Symphony No. 0 In D Minor 'Die Nullte': Finale : Moderato
Amazon.com
George Tintner's program notes forthrightly touch upon both the strengths and gaucheries of Bruckner's seldom heard 1887 first version of the Eighth Symphony and the composer's early "Symphony No. 0." Tintner proves just as clear-headed and loving a Brucknerian from the vantagepoint of the podium. He takes the composer's tempo relationships on faith, letting the music run its natural course while never letting the momentum sag one drop. The orchestra breathes as well as sings together, although the splendid brass section tends to overpower the winds during loud tuttis. Still and all, anyone who cares about Bruckner should not pass up this illuminating release. --Jed DistlerCustomer Reviews:
All about Naught (or, To Say Nothing of the Eighth).......2006-07-27
I see two major problems with this performance of "Die Nullte." The first has to do with the orchestra. Other reviewers have alluded to the inadequacy of the NSO of Ireland in dealing with the Eighth, and certainly in the much earlier "Die Nullte," where Bruckner's indications are rather sparse, this comes through. The sound of the brass is brash, harsh, interjectory, insensitive to orchestral and compositional context, and Tintner and the producer should have realized this and corrected it early on. One example--there could have been many more--can be found in the trumpet line at the end of the expository statement of the secondary material. Bruckner does write a crescendo, but Tintner allows the trumpets to swell from a brass piano to a brass fortissimo, thereby completely obliterating, in a gesture that goes nowhere, the sound of the rest of the ensemble. The overall line is obscured and the revelatory power of fortissimo brass, which should have been saved for the Coda, has been cheapened through overuse before we've even reached the development. The problem is complicated by the string section's refusal to break out of the piano-forte dynamic range. I can hear absolutely no distinction between double and triple forte in the string section throughout the performance; nor is there ever any archness or bite in the articulation of notes, and in the Scherzo that would have been most welcome.
The second major problem has to do is one of the classic Bruckner issues, and it is related to the first. As so many are fond of creating architectural metaphors for Bruckner's music, I would characterize the problem as being between an architecture of blocks and an architecture of lines. Tintner has certainly opted for the former here, where individual sections are often phrased beautifully, but those sections don't relate to each other and don't create a feeling of forward momentum. Create an architecture of free-standing blocks without connection or mutual support and, no matter how individually inspiring, the whole will collapse. For Tintner's "Die Nullte," this block-like conception is at its worst in the Finale, where the initial Moderato section is treated almost as a separate piece of music from the fugue that follows. (From the liner notes, one can surmise that Tintner wished the Moderato really was a separate piece.) In the development, for example, there is hardly any attempt to create tension in the bars that lead up to the reappearance of the fugue, even when Bruckner clearly calls for it in the score. Suddenly, we are dropped back into the fugue, and the overall sense is that the music has unfolded as a series of interruptions instead of as a process of fulfillment.
A few points about individual movements could be made. Particularly in the first movement, I think Tintner has made some excellent tempo choices. Of course, "Die Nullte" is the "young" Bruckner, from the point of view of his compositional career, and generally these younger pieces can do amazing things at faster tempos; having said that, Tintner chooses the relaxed, more uniform approach to pacing reflected in his other Bruckner recordings for Naxos, and the music bears up well. Unfortunately, the orchestra seems to disagree with the conductor from time to time--in the retransition of the first movement, and several places in the second movement--which often results in a sudden flurry of catching up on some instrumentalist's or section's part. Some severe tuning mishaps occur in the winds in the second movement, and there are a handful of poorly played passages. One of the most regrettable is the hissing and splatting of the horn on the last note (!) of the Finale. Tintner himself makes the recurring mistake all too common in Bruckner of dropping a quarter rest from two bars of silence (just after the opening "ritornello" of the Scherzo). These are all small points, though, and the fundamental disappointment of the performance stems, I think, from the mishandling of strings and brass and the neglect of the overall musical line.
Though it has problems of its own, I would recommend the Chailly/RSO Berlin recording of "Die Nullte," which quite frankly dances circles around this one both in terms of performance and interpretation.
Tintner makes the best case, yet, for the 1887 version.......2005-02-19
Personally, I am a "Haas man," when it comes to the Eighth, i.e. I prefer the Haas edition to the Nowak. I do not subscribe to the opinion that the Haas is somehow not a valid edition because it incorporates elements from different versions so it represents a score that Bruckner never really laid eyes on. I have been an avid Bruckner fan for nearly 20 years, and yes, like many of us, I got caught up in "the problem of the versions" for awhile...but I eventually got tired of all of that, and now I go mainly by what my ears tell me, and I like the passages that Haas put back into the Adagio and Finale of the Eighth; and when I listen to a recording of the Nowak edition, it sounds like something is missing to me.
I think Tintner makes a great case for the 1887 score, and it is a well-played and well-recorded version to boot. This recording blows Inbal's away. Inbal's first two movements are so fast they sound like a "run through," and even the finale sounds too fast. I have never understood Inbal's approach: in addition to just not sounding "right," the fast tempos don't really allow some of the details, such as the woodwind parts that were left out of the later revisions, to be fully heard. Some of Tintner's tempos are a bit slow, but he lets us hear a lot more details, and ultimately his tempos are convincing. Hats off to Tintner and Naxos for having the courage to release a recording of this "rare" version, in a market flooded with Haas and Nowak.
I am very pleased that Tintner has crowned his cycle with very satisfying accounts of the Eighth and Ninth, especially since I am not really a fan of the rest of his cycle. His Bruckner is too slow and "single tempo" for me. There is a style of Bruckner that I have come to refer to as "New Age Bruckner." This style, which began to emerge not long after the onset of the "digital era" is characterized by uniformly slow, safe, cushy performances, dressed up in the latest plushy digital finery. They are relatively light in the bass, and do not have strong timpani to underpin Bruckner's grand climaxes. Many of them are not without an element of spirituality, and some are actually quite lovely, but they make little attempt to present and overcome the spiritual upheavals that are central to the Bruckner symphonies, and that make the hard-won victories of their finales, and their codas (esp. those of the Fifth and Eighth), all the more satisfying.
Imo, some of the conductors and performances that fall into this "New Age" category are: Chailly's 2,3,5&7-9 (although his 7&9 do have their satisfying moments); Haitink's most recent (VPO) recordings of 4,5,& 8 (athough his earlier 2,6; 1970's 7th; and 1980's 8&9 Concertgebouw recordings are still among my favorites); and Sinopoli's 8&9 (a shame because his 3,4,&7 are still among my favorites). Some of you Karajan bashers may like hearing that, as much as I enjoy most of his full DG cycle, his final recordings of the Seventh and Eighth, as much as I was intitally impressed with the latter, have not worn very well. Even some of Barenboim's Teldec cycle has the ring of "New Age Bruckner" to me, esp. his 2,4,6,&7, which is a little curious considering that his style is generally very much informed by Furtwangler and the "old school" of Bruckner conducting, with it's more flexible tempi, heightened sense of drama, strong underpinning of bass and timpani, etc. (although his BPO Ninth is one of my five favorite out of the nearly 60 that I have, and I also like his Eighth very much). Incidentally, I feel that Barenboim's earlier Chicago cycle on DG is one of the most underrated, as a whole, and in terms of the individual performances, overall exceeding the Teldec BPO cycle, mostly by virtue of the fact that the former's 2,4,6,&7 are all preferable.
Some might put Celibidache's late Bruckner into the same category, but while his late Bruckner recording were slow, some agonizingly so, slow alone doesn't necessarily make it "New Age Bruckner," imo. There were elements of Celibidache's approach to Bruckner that continued to be informed by the "old school," such as the full bass and strong timpani, even as his tempi wandered off into eternity. I feel that part of what was going on with Celibidache, other than the fact that he always "marched to his own drummer," was that he was trying to make the listener hear Bruckner as he heard it in his head, and experienced it in his soul...and sometimes, toward the end of his life, the "Being Celibidache" ride was a bit too slow for many of us.
My early days as a "Brucknerian" were very much influenced by the "New Agers," and in fact, I was not very receptive to the "old school;" but once I heard some of the better Bruckner recordings by conductors like Furwangler, Schuricht, Abendroth, Kabasta, Hausegger, Horenstein, etc., I began to feel like there were elements of their approach that were still valid, and shouldn't be written off as anachronistic. I have, by no means, become stritctly an "old schooler"--hell, one of my favorite Bruckner recordings is still the Giulini VPO Eighth, hardly an "old school" interpretation, despite its strong bass and timpani (btw, has the Vienna Phil ever sounded better, in a recording, than they do on Giulini's Eighth and Ninth?)--but I have come to prefer Bruckner performances that effectively incorporate the old and the new.
Anyway, enough of my ramblings. If you don't already have Tintner's Eighth and Ninth, get 'em, but unless you like your Bruckner slow, approach the rest of the cycle with a bit of caution...but maybe at Naxos prices you can't go wrong; and sometimes you can get them REALLY inexpensively through the marketplace. Once again, Naxos raises the question: if they can produce good recorded performances at reasonable prices, why can't more other labels? Currently it seems like they are the only label keeping the rather stagnant classical music market alive.
Good ....but.......2004-09-13
Overall good for budget but does not dissplace Karajan and Jochum and even Barenboim.
Impressive Bruckner.......2003-06-21
This symphony is fascinating mainly because the market only practically has original Haas 1890 version and Nowak recordings in the market and only Inbal, as I understand, recorded this 1887 version. What struck me was this symphony's difference from Haas version is like stepping into an alternate universe. It doesn't sound independent from Haas version, yet there is many intriguing differences.
I personally love the first and second movement. The first movement is much more spiritual and mysterious compared to Haas version, whereas the latter sounds rushed when you hear both versions of the same movement. The second movement has much more vigour whereas the Haas version is more simplified and rather, dignified compared to a much more brash 1887 version. My only complaint is the 1887 version of Adagio, with painful counterpoints and very, very sappy climax. No fault of Tintner for that is why the Adagio is the only redeeming feature of 1890 Haas Version.
Georg Tintner maybe the sole sparkling gem of Naxos' compared to a huge array of maestros on other labels like Deutche Gramophon or EMI. Listeners don't simply buy his Bruckner because simply the recording is much more affordable. The Ireland Symphony is on a class on it's own with Tintner leading "Die Nullte" symphony, i considered the best symphony of Bruckner after Symphony no 4 and 8. I think it's one of the CDs that all lovers of symphonic music should own.
First thoughts..........2003-03-31
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- Prld And Fugue in C, BWV.547: Fugue
- Chorale: Von Gott Will Ich Nicht Lassen, BWV.658
- Prld And Fugue in A, BWV.536: Prld
- Prld And Fugue in A, BWV.536: Fugue
- Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.662
- Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.663
- Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.664
- Trio Son No.1 in Eflat, BWV.525: I: (Unknown)
- Trio Son No.1 in Eflat, BWV.525: II: Adagio
- Trio Son No.1 in Eflat, BWV.525: III: Allegro
- Chorale: Schmucke Dich, O Liebe Seele, BWV. 654
Tracks:
- Passacaglia And Fugue in c, BWV.582
- Fantasia Super Jesu, Meine Freude, BWV.713
- Prld And Fugue in d, BWV.539: Prld
- Prld And Fugue in d, BWV.539: Fugue
- Chorale Vars: Vom Himmel Hoch, Da Komm' Ich Her, BWV.769
- Prld And Fugue in g, BWV.535: Prld
- Prld And Fugue in g, BWV.535: Fugue
- Chrale: An Wasserflussen Babylon, BWV.653
- Prld And Fugue in C, BWV.545: Prld
- Prld And Fugue in C, BWV.545: Fugue
- Chorale: Nun Danket Alle Gott, BWV.657
Tracks:
- Prld: Eflat, BWV.552/1
- 1. Chorale: Kyrie, Gott Vater in Ewigkeit, BWV.669
- 2. Chorale: Christe, Aller Welt Trost, BWV.670
- 3. Chorale: Kyrie, Gott Heiliger Geist, BWV.671
- 8. Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.676
- 10. Chorale: Dies Sind Die Sind Die Heil'gen Zehn Gebot', BWV.678
- 12. Chorale: Wir Glauben All' An Einen Gott, BWV.680
- 14. Chorale: Vater Unser Im Himmelreich, BWV.682
- 16. Chorale: Christ, Unser Herr, Zum Jordan Kam, BWV.684
- 18. Chorale: Aus Tiefer Not Schrei Ich Zu Dir, BWV.686
- 20. Chorale: Jesus Christus, Unser Heiland, BWV.688
- Fugue: Eflat, BWV.552/2
- Duetto No.1: e, BWV.802
- Duetto No.2: F, BWV.803
- Duetto No.3: G, BWV.804
- Duetto No.4: a, BWV.805
Tracks:
- 7. Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV.675
- 4. Chorale: Kyrie, Gott Vater in Ewigkeit, BWV.672
- 5. Chorale: Christe, Aller Welt Trost, BWV.673
- 6. Chorale: Kyrie, Gott Heiliger Geist, BWV.674
- 9. Fughetta Super Allein Gott in Der Hoh' Sei Ehr', BWV.677
- 11. Fughetta Super Dies Sind Die Heil'gen Zehn Gebot', BWV.679
- 13. Fughetta Super Wir Glauben All' An Einen Gott, BWV.681
- 15. Chorale: Vater Unser Im Himmelreich, BWV.683
- 17. Chorale: Christ, Unser Herr, Zum Jordan Kam, BWV.685
- 19. Chorale: Aus Tiefer Not Schrei Ich Zu Dir, BWV.687
- 21. Fuga Super Jesus Christus, Unser Heiland, BWV.689
- Prld And Fugue in e, BWV.548: Prld
- Prld And Fugue in e, BWV.548: Fugue
- Chorale: Wachet Auf, Ruft Uns Die Stimme, BWV.645
- Chorale: Wo Soll Ich Fliehen Hin, BWV.646
- Chorale: Wer Nur Den Lieben Gott Lasst Walten, BWV.647
- Chorale: Meine Seele Erhebet Den Herren, BWV.648
- Chorale: Ach, Blieb' Bei Uns Herr Jesu Christ, BWV.649
- Chorale: Kommst Du Nun, Jesu, Vom Himmel, BWV.650
- Trio Son No.2 c, BWV.526: I: Vivace
- Trio Son No.2 c, BWV.526: II: Largo
- Trio Son No.2 c, BWV.526: III: Allegro
Tracks:
- Fuga Sopra Il Magnificat, BWV.733
- Chorale: Nun Komm' Der Heiden Heiland, BWV.699
- Chorale: Lob Sei Dem Allmacht'gen Gott, BWV.704
- Chorale: Vom Himmel Hoch, Da Komm' Ich Her, BWV.738
- Chorale: Allein Gott in Der Hoh' Sei Ehr', BWV. 715
- Chorale: Gelobet Seist Du, Jesu Christ, BWV.722
- Chorale: Vom Himmel Hoch, Da Komm' Ich Her, BWV.700
- Chorale: Christum Wir Sollen Loben Schon, BWV.696
- Chorlae: Lobt Gott, Ihr Christen, Allzugleich, BWV.732
- Chorale: In Dulci Jubilo, BWV.729
- Chorale: Gelobet Seist Du, Jesu Christ, BWV.697
- Chorale: Vom Himmel Hoch, Da Komm' Ich Her, BWV.701
- Prld in G, BWV.568
- Fantasia Super Valet Will Ich Dir Geben, BWV.735
- Chorale: Ach Gott, Vom Himmel Sieh' Darein, BWV.741
- Chorale: Ach Gott Und Herr, BWV.714
- Chorale: In Dich Hab' Ich Gehoffet, Herr, BWV.712
- Chorale: Erbarm' Dich Mein, O Herre Christ, BWV.721
- Chorale: Herzlich Tut Mich Verlangen, BWV.727
- Chorale: Wo Soll Ich Fliehen Hin, BWV.728
- Chorale: Jesus, Meine Zuversicht, BWV.728
- Chorale: Wer Nu Den Lieben Gott Lasst Walten, BWV.691
- Chorale: Wer Nur Den Lieben Gott Lasst Walten, BWV.690
- Chorale: Liebster Jesu, Wir Sind Hier, BWV.706
- Chorale: Valet Will Ich Dir Geben, BWV.736
Tracks:
- 1. Chorale: Der Tag, Der Ist So Freudenreich, BWV.719
- 2. Chorale: Wir Christenleut', BWV.1090
- 3. Chorale: Das Alte Jahr Vergangen Ist, BWV.1091
- 4. Chorale: Her Gott, Nun Schleuss Den Himmel Auf, BWV.1092
- 5. Chorale: Herzliebster Jesu, Was Hast Du Verbrochen, BWV.1093
- 6. Chorale: O Jesu, Wie Ist Dein Gestalt, BWV.1094
- 7. Chorale: O Lamm Gottes, Unschuldig, BWV.1095
- 8. Chorale: Christe, Der Du Bist Tag Und Licht, BWV.1096
- 9. Chorale: Ehre Sei Dir, Christe, Der Du Leidest Not, BWV.1097
- 10. Chorale: Wir Glauben All in Einen Gott, BWV.1098
- 11. Chorale: Aus Tiefer Not Schrei Ich Zu Dir, BWV.1099
- 12. Chorale: Allein Zu Dir, Herr Jesu Christ, BWv.1100
- 13. Chorale: Ach Gott Und Herr, BWV.714
- 14. Chorale: Ach Herr, Mich Armen Sunder, BWV.742
- 15. Chorale: Durch Adams Fall Ist Ganz Verderbt, BWV. 1101
- 16. Chorale: Du Friedefurst, Herr Jesu, BWV.1102
- 17. Chorale: Erhalt Uns, Herr, Bei Deinem Wort, BWV.1103
- 18. Chorale: Vater Unser Im Himmelreich, BWV.737
- 19. Chorale: Wenn Dich Ungluck Tut Greifen An, BWV.1104
- 20. Chorale: Jesu, Meine Freude, BWV.1105
- 21. Chorale: Gott Ist Mein Heil, Mein Hilf Und Trost, BWV.1106
- 22. Chorale: Jesus, Meines Lebens Leben, BWV.1107
- 23. Chorale: Als Jesus Christ in Der Nacht, BWV.1108
- 24. Chorale: Ach Gott, Zu Dich Erbarmen, BWV.1109
- 25. Chorale: O Herre Gott, Dein Gottlich Wort, BWV.1110
Tracks:
- 26. Chorale: Nun Lasst Uns Den Leib Begraben, BWV.1111
- 27. Chorale: Christus, Der Ist Mein Leben, BWV.1112
- 28. Chorale: Ich Hab' Mein Sach Gott Heimgestellt, BWV.1113
- 29. Chorale: Herr Jesu Christ, Du Hochstes Gut, BWV.1114
- 30. Chorale: Herzlich Lieb Hab' Ich Dich, O Herr, BWV.1115
- 31. Chorale: Was Gott Tut, Das Ist Wohlgetan, BWV.1116
- 32. Chorale: Alle Menschen Mussen Sterben, BWV.1117
- 33. Chorale: Mach's Mit Mir Gott, Nach Deiner Gut
- 34. Chorale: Werde Munter Mein Gemute, BWV.1118
- 35. Chorale: Wie Nach Einer Wasserquelle, BWV.1119
- 36. Chorale: Christe, Der Du Bist Der Helle Tag, BWV.1120
- 37. Chorale: Ich Ruf' Zu Dir, Herr Jesu Christ, BWV.639
- 38. Chorale: Herr Christ Der Ein'ge Gottes-Sohn, BWV.601
- Prld And Fugue in C, BWV.553
- Prld And Fugue in d, BWV.554
- Prld And Fugue in e, BWV.555
- Prld And Fugue in F, BWV.556
- Prld And Fugue in G, BWV.557
- Prld And Fugue in g, BWV.558
- Prld And Fugue in a, BWV.559
- Prld And Fugue in Bflat, BWV.560
Customer Reviews:
Bach for professional listeners.......2006-01-30
Bach Organ Works on original organs.......2004-10-24
Average customer rating: 
|
Orgelkonzert in der Dresdner Frauenkirche
Manufacturer: Berlin Classics ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
| Featured Composers, A-Z
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Reger, Max
| ( R )
| Featured Composers, A-Z
| Classical
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Fugues
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| Classical
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Preludes
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Toccatas
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General
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| Historical Periods
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Chamber Music
| Forms & Genres
| Classical (c.1770-1830)
| Historical Periods
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| Reger, Max
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| Historical Periods
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ASIN: B00002DFH0 Release Date: 2000-03-28 |
Tracks:
- Toccata And Fugue in F, BWV 540
- Chor Arrangement, 'Allein Gott In Der Hoh' Sei Ehr'', BWV 676
- Fant And Fugue in g, BWV 542
- Fant On: 'Come, Holy Ghost, Lord God', BWV 651
- Fant In G, BWV 572
- Prld And Fugue in C
- Toccata: 'Praise To The Lord, The Almighty'
- Fant On The Chor: 'A Mighty Fortress Is Our God', Op.27
World Music:
- Not a Second Time [Import]
- O Amante [Import]
- O Malandro 50 Anos [Import]
- Olli Kahn [CD-single] [Import]
- Palais des Congres 2004 [Import]
- Palais Schaumburg [Import]
- Por Siempre Jorrín [Import]
- Quelqu Un M'a Dit [Import]
- Return to Spiritlands
- Rise and Shine
World Music
Giovanni Battista Martini: Sonate d'intavolatura per l'organo e il cembalo
Ghosts...of the Civil Dead [Soundtrack]
Experience Hendrix: The Best Of Jimi Hendrix [Import] [Live]
Dedications for Saxophone & Piano
Forever Gold: BBC Big Band Swing the Night Away
Dark Intervals [Gold CD] [Import]