Ich Lieb Dich

1. Ich Lieb' Dich Jeden Tag Ein Bißchen Mehr

2. Komm Mit Mir Im Frühling Nach Venedig

3. Laßt Uns Nie Mehr Auseinandergehn

4. Weine Nicht Beim Abschied

5. In Mir Klingt Ein Lied

6. Land Der Glücklichen

7. Memories of Love

8. Ich Träum' So Gern Mit Dir

9. Verliebte Mädchen

10. Fremde Sterne

11. Geh, Wenn du Willst

12. Hit Medley

Tracks:

Hallelujah - Ambrosian Singers
I Know That My Redeemer Liveth - Ambrosian Singers
Pie Jesu - Victoria De Los Angeles
In Excelsis Deo - Teresa Berganza
Jesu Bleibet Meine Freude - Choir Of King's College Cambridge
Ave Maria - Philip Ledger
Zadok The Priest - Coronation Anthem - Choir Of King's College, Cambridge
Wie Lieblich Sing Deine Wohnungen - Phiharmonia Chorus
Sanctus Fortis - Richard Lewis
Agnus Dei - Dame Janet Baker
Cujus Animam Gementem - Robert Gambill
Lacrimosa - New Philharmonia Orchestra
Ave Maria - Gerald Moore
Ingemisco - Confutatis - Dies Irae - New Philharmonia Chorus

Tracks:

Panis Angelicus - Elisabeth Schwarzkopf
Herrscher Des Himmels, Erhore Das Lallen - Choir Of King's College, Cambridge
Ouverture - L'Adieu Des Bergers - Choeurs Rene Duclos
Libera Me Domine - Dietrich Fischer-Dieskau
Ave Verum Corpus, K618 - Swedish Radio Chorus
Die HImmel Erzahlen Die Ehre Gottes - Jose Van Dam
Komm, Holder Lenz! - Chor Der Deutschen Oper Berlin
Lord God Of Abraham - New Philharmonia Chorus
And Then Shall Your Light Break Forth - New Philharmonia Chorus
Miserere Mei, Deus - Stephen Cleobury
Erbarme Dich, Sein Gott - Julia Hamari
O Haupt Voll Blut Und Wundern - Julia Hamari
Ich Folge Dir Gleichfalls - Lisa Otto
Ach Herr, Lass Dein Lieb' Engelein - Lisa Otto

Customer Reviews:

A wonderful and varied compilation of Sacred Choral Works.......2001-08-13

This is a 2 CD set and is one of my favorites. While this CD contains several pieces that the general public probably hears often (Handel's Messiah, Bach's Jesu Bleibet mein freund) it also contains some not well known pieces. Of particular quality is the recording of Gregorio Allegri's MISERE MEI DEUS, a piece composed at the end of the Renaissance era. This piece, lasting roughly 13 minutes, is a master stroke of pure choral music. The piece is repetitive but Allegri builds up to a fantastic ending. Also of note is the glorious recording of Mozart's AVE VERUM CORPUS, Hadyn's DIE SCHOPFUNG, and Brahm's EIN DEUTCHES REQUIEM. A MUST for any choral music fan.

Average customer rating:

Too bad we don't have the option of 10 stars....
The greatest lyric tenor of the recorded era.
Thrilling lyricism
German bel canto indeed

Fritz Wunderlich: Great German Tenor
Fritz Wunderlich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Very Best of
Schumann: Dichterliebe / Wunderlich, Giesen
The Magic of Wunderlich [Includes Bonus DVD]
Schubert: Die Schöne Müllerin, 3 Lieder / Fritz Wunderlich
The Art of Fritz Wunderlich

ASIN: B000002S0N
Release Date: 1991-07-01

Tracks:

Don Giovanni: Folget der Heissgeliebten, Act II
Don Giovanni: Welch ein graunvolles Bild, Act I
Die Entfuhrung Aus Dem Serail: Konstanze, Dich wiederzusehen
Xerxes: Ombra mai fu, Act I
Die Weisse Dame: Komm', o holde Dame, Act II
Der Liebestrank: Welche Huld und welche Reize, Act I
Der Wildschutz: Bleiben soll ich - aus dem Parke erklingen die lieblichen Tone, Act II
Der Wildschutz: Ihr Weib? - Mein teures Weib!, Act II
Der Barbier von Bagdad: So leb' ich noch - Vor deinem Fenster die Blumen, Act I
Martha: Wie das schnattert, wie das plappert, Act I
Die Lustigen Weiber Von Windsor Act 2: Fenton! - Mein Madchen, Act II
Manon: Ich schloss die Augen, Act II
Mignon: Leb' wohl, Mignon, Act II
Mignon: Wo bin ich? - Wie strahlt das Gluck auf mich hernieder, Act III

Tracks:

Die Verkaufte Braut: Komm', mein Sohnchen, auf ein Wort, Act II
Die Verkaufte Braut: So find' ich dich, Feinsliebchen, hier-Mien lieber Schatz, nun aufgepasst, Act II
Eugen Onegin: Wohin bist du Entschwunden, Act II
Eugen Onegin: Mein Feind! Mein Feind! Wie konnte es geschehen, Act II
Pique Dame: Voll Unruh' ist mein Sehnen- Ich muss Sie sprechen, ich Beschwore Sie, Act I
Der Evangelimann: Selig sind, die Verfolgung leiden, Act II
Rigoletto: Freundlich blick' ich, Act I
Rigoletto: O wie so trugerisch, Act II
La Boheme: O du sussestes Madchen, Act I
La Boheme: In einem Wagen? - Ach, Geliebte, nie kehrst du mir wieder, Act I
Madame Butterfly: Ja, es ward Abend - Madchen, in deinen Augen liegt ein Zauber, Act I
Madame Butterfly: Leb wohl, Mein Blutenreich, Act III

Tracks:

Eine Nacht In Venedig: Ach, wie so herrlich zu schau'n, Act III
Eine Nacht In Venedig: Willommen, meine Freunde - Annina! Caramello, Act I
Eine Nacht In Venedig: Komm' in die Gondel, Act I
Der Bettelstudent: Durch diesen Kuss sei unser Bund geweiht, Act II
Giuditta: Frueunde , das Leben ist Lebenswert, Act I
Der Zarewitsch: Hab' nur dich allien, Act II
Das Land des Lachelns: Von Apfelbluten einen Kranz, Act I
Der Zarewitsch: Madel, wonniges Madel- Willst du?- Kosende Wellen- Warum hat jeder Fruhling, ach, nur einen Mai, Act III
Grafin Mariza: Wenn es Abend wird- Gruss mir mein Wien, Act I
Grafin Mariza: Auch ich war einst ein feiner Csardaskavalier - Komm, Zigany, Act I
Der Fidele Bauer: Kleinen Kindern und auch sussen kleinen Frauen- O frag' mich nicht' mein susser Schatz, Act II
Die Rose Von Stambul: Man sagt uns nach - O Rose von Stambul, Act I
Die Rose Von Stambul: Willst du an die Welt vergessen - Ein Walzer muss es sein, Act II
Die Rose Von Stambul: Ihr stillen, sussen Frau'n, Act II
Die Rose Von Stambul: Zwei Augen, die wollen mir nicht aus dem sinn, Act III
Die Rose Von Stambul: Wenn sich ein Madchen stolz dir zeigt - O Rose von Stambul, Act III
Der Rattenfanger
Zwei dunkle Augen

Customer Reviews:

Too bad we don't have the option of 10 stars...........2006-05-24

I just finished again listening to this CD that I've had for maybe fifteen years. I most often prefer complete operas, but of course those are not always available. For me, Fritz Wunderlich can do not wrong, although a very knowledgeable friend of mind objects to his German. I think his German is top drawer, but it's not my native language.

Il mio tesoro... has never been high on my list of arias, but when Wunderlich sings it as Folget der Heiffgeliebten... it took me many hearings before I stopped crying at the first two notes. Tearing is one thing, crying is a bit silly, but there it is.

His exquisite singing is only once slightly under pitch (I really don't care; I only remember it). Moreover, he has friends on this CD -- Grummer, Lorengar, Prey, Frick...

I think I have everything he recorded that appears on CD and I also have a DVD of the Barber -- in German, of course. My only discomfort is with Koeth who is a good singer, but of course a lyric and not a mezzo or even close to one.

The greatest lyric tenor of the recorded era........2002-07-24

Fritz Wunderlich had it all -- an incredibly beautiful voice and the artistry to use it with drama or tenderness, as the music called for. He also had genuine emotional and musical integrity. He was almost certainly the greatest lyric tenor of the recorded era. Regretably, he died in an accident in his mid 30s. But, although his recorded career was short, he left a surprisingly large legacy of outstanding recordings, many of which are included in this 3-CD set. Some people may be put off because Wunderlich sang famous Italian, French, and Russian arias in German. PLEASE don't let that keep you from acquiring these recordings. When you hear Wunderlich sing, the language in which he is singing will seem inconsequential. Only the incredible beauty and artistry of his singing will matter. This man was special and so is this collection.

Thrilling lyricism.......2001-10-10

Fritz who? You may well ask, for the great Fritz Wunderlich died before he'd ever achieved true international stardom. But to my ears, at least, he possessed the most beautiful lyric tenor voice on record. He had it all - superb musicality, power, warmth, and a gorgeous and immediately recognisable timbre. He could also be exciting when he wanted to, as his tour de force performance of Granada (available elsewhere) thrillingly proves. Wunderlich's death in 1966 - a few days short of his 36th birthday - deprived music lovers of a fantastic talent.

This 3CD set reinforces that loss. Among the many highlights included here is an unforgettable Folget der Heissgeliebten (Il Mio Tesoro) from Don Giovanni. It matters not a jot that Wunderlich is singing in German rather than Italian. He knew how to overcome the relative harshness of the German language with his poetic phrasing and honeyed diction. Here his breath control is amazing, and his passion transforms the character of Don Ottavio from a one-dimensional fop into a red-blooded hero. Tremendous stuff.

But for me his greatest achievement is his rendition of the aria Komm, O Holde Dame from Boieldieu's La Dame Blanche, featured on Disc One. Play this first, and you'll be entranced by the beauty of Wunderlich's faultless legato, then thrilled by the intensity and energy of the conclusion. (Admirers of Mario Lanza will note how similar Wunderlich sounds here when he reaches for the high notes.)

Showcasing Wunderlich's achievements in both opera and operetta, this set is the perfect introduction to one of the greatest tenors of them all. If you enjoy this, I'd also recommend his Deutsche Gramophon 5-CD set (simply entitled "Fritz Wunderlich"), which includes a sublime Pearlfishers Duet with Herman Prey and the aforementioned Granada.

German bel canto indeed.......1999-06-13

This three CD set of Wunderlich is a gem. It features one of the most beautiful pure lyric tenor voices of the century at its absolute best. Though Wunderlich sings all the arias, including the Italian and French ones, in German, his innate musical understanding of the composers and the pieces conveys a musical and emotional authenticity rarely matched in other recordings. Listening to these arias, one can understand why Wunderlich's singing is described as "German bel canto": Wunderlich combines the German fine sense of musicianship, musical intelligence, and style with the Italian attributes of purity and evenness of timbre, open throated singing and excuisite legato phrasing. Just listen to the perfect rendition of "Komm holde dame" in the first CD, with its effortless, floating high notes and even bel canto style singing. Compare this with Wunderlich's interpretation of Pinkerton in the duet and aria from Butterfly, with its perfect diction and phrasing, singing that displays a complete understanding of Puccini's melodic line. And, for sheer joy and delight, to feel good about yourself and humanity, listen to the operetta arias of the third CD. This is the greatest recording of operetta arias in the world. Wunderlich loved to sing these songs and brought an enthusiam and flair to these arias that is simply infectious for the listener. If you've never heard Wunderlich, this is your golden opportunity to acquient yourself with one of the greatest voices of the century.

Plácido Domingo & Deborah Voigt - Wagner Love Duets ~ Tristan und Isolde, Siegfried

Average customer rating:

Really a delightful album
Voices flowing on currents of sensuous emotion ...
Made me like Wagner
Less Heavy Wagner Pure Soul
Domingo

Plácido Domingo & Deborah Voigt - Wagner Love Duets ~ Tristan und Isolde, Siegfried
Richard Wagner , Antonio Pappano , Plácido Domingo , Deborah Voigt , and Orchestra of the Royal Opera House - Covent Garden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
Similar Items:

Obsessions (Wagner & Strauss: Arias and Scenes)
Placido Domingo: Scenes from Wagner's "Ring"
All My Heart: Deborah Voigt Sings American Songs
Wagner: Tristan und Isolde [Includes Bonus DVD]
Renée Fleming: Bel Canto

ASIN: B00004TVUO
Release Date: 2000-08-15

Tracks:

Siegfried Akt III, Szene 3: Sehr Langsam
Siegfried Akt III, Szene 3: Heil Dir, Sonne! Heil Dir, Licht!
Siegfried Akt III, Szene 3: O Wusstest Du, Lust Dir Welt
Siegfried Akt III, Szene 3: Dort Seh' Ich Grane, Mein Selig Ross
Siegfried Akt III, Szene 3: Heilig Schied Sie Aus Walhall
Siegfried Akt III, Szene 3: Ewig War Ich, Ewig Bin Ich
Siegfried Akt III, Szene 3: Dich Lieb' Ich: O Liebtest Mich Du!
Siegfried Akt III, Szene 3: Siehst Du Mich Nicht?
Tristan Und Isolde Akt II, Szene 2: O Sink Hernieder, Nacht Der Liebe
Tristan Und Isolde Akt II, Szene 2: Nie-wieder-Erwachtens Wahnlos...Einsam Wachend In Der Nacht
Tristan Und Isolde Akt II, Szene 2: Lausch', Geliebter!
Tristan Und Isolde Akt II, Szene 2: Doch Uns're Liebe
Tristan Und Isolde Akt II, Szene 2: So Starben Wir, Um Ungetrennt...Haber Acht!
Tristan Und Isolde Akt II, Szene 2: Soll Ich Lauschen?

Amazon.com

This stunning disc includes the two long love duets from Act III of Siegfried and Act II of Tristan und Isolde (including a new "resolution" that was written into the latter from the Act III "Liebestod"). In Plácido Domingo and Deborah Voigt, Richard Wagner's characters find powerful, vulnerable, almost transcendental exponents. Domingo's voice, of course, is no longer in the freshest bloom of youth. But, if he is not the impossibly ideal 25-year-old Heldentenor about whom one fantasizes singing Siegfried, he brings an authority and sensitivity to the role that sweeps one away. Voigt, too, gets to the heart of the female characters, and sings Brünnhilde with such subtle vulnerability that her moments of powerful exclamation sound as if she is trying to convince herself of their truth. There is no bombast for bombast's sake, and the result is psychologically all the more true. Antonio Pappano, a conductor alive to every nuance of the singers' phrasing, brings a Mediterranean sensuousness to the score, and draws some remarkably luxurious sounds from the Royal Opera House band. The acoustic also gives a wonderful depth to the texture, and the brass especially sounds gorgeous. --Warwick Thompson

Customer Reviews:

Really a delightful album.......2007-01-20

When I bought this CD, I had been looking, in vain, for a certain Chicago Symphony recording, when this item popped up as a "people screwy enough to buy what you're looking for also bought this:" selection. Domingo, the Orchestra, and the music were all a plus, but I'd never really warmed up to Debby Voight. I took a flyer and ordered the CD anyway.

This album, in short, contains performances so beautiful as to make a stone weep!

Domingo, Voight, the Covent Garden Orchestra and Wagner are a sublime combination.

The sole drawback to this CD is EMI's goofy copy protection scheme. It can be defeated with only moderate effort, but does leave a bad taste in one's mouth as regards EMI releases.

Now quit reading these boring reviews, and buy this CD. You won't be sorry.

Voices flowing on currents of sensuous emotion ..........2006-10-17

First of all it would be fair to tell you - putting any of my qualifications of the album under review here in clearer perspective - that I have a special fondness for the 'Barenboim Ring' in all of its aspects, but especially the music as conducted by Daniel Barenboim: the clear instrumental articulation and phrasing combined with the dramatic purposefulness and powerful, 'muscled' orchestral playing of the Orchester der Bayreuther Festspiele in top form under maestro Barenboim is IMHO unbeatable. (I also believe his Tristan und Isolde is quite legitimate, and I think it is just beautiful - the same clear and purposefully dramatical playing, which I like.)

Now here we have something quite different!
Where Daniel Barenboim is intent on purposefully underlining the drama that is happening on stage in robust but clearly delineated, freshly articulated musical lines in all of the orchestral 'registers' - a Parthenon or Pantheon in music -, Antonio Pappano is intent on creating more of what I feel as a flowing, sensuous (or even sensual) (under)current of emotions on which the singers float along in flowing musical lines, their voices truly 'voicing' the emotional currents the orchestra expresses in 'one great, heaving voice' of its own. This more sensuous approach is as legitimate as any other, and maybe comes closest to what Wagner meant when he said his singers should sing his lines in a more Italian(ate) manner, with a more flowing legato. Indeed, Pappano and Placido Domingo are an ideal match in this respect, of course, as they both hail from Europe's southerly regions steeped in Italian operatic tradition.
And Deborah Voight matches excellently with Placido Domingo, I believe, both of them singing their legato lines with heroic, but at the same time sensually seductive, tones and in burnished colors. Quite different from, for example, Anne Evans' Brunnhilde and Siegfried Jerusalem's Siegfried in the 'Barenboim Ring', but maybe balm to the ears for those who want to hear his Wagner 'differently'.
Anyway, the sheer opulent beauty of tone is especially convincing (and seductive) in the duets/pieces from Tristan und Isolde, I think. But at the same time something strange happens on this recording with this more flowingly 'Italianate' approach under this conductor and with these singers: the harsher, darker, brooding sentiments (these lovers are destined to die!) are downplayed somewhat, it seems - at least to the ears of this particular listener.

This album is for pure, sensuous listening pleasure, bringing Wagner in more refined shades of color and with finer orchestral nuances of light and shadow than we have come used to in Wagner, maybe. This is also result of the recording as such, which blends the orchestral colors nicely together in a warm and sonorous soundstage.
Together with the later album of Antonio Pappano and Placido Domingo, 'Scenes from the Ring', this is a magnificent way to sample a 'different Wagner', bathing in 'warmer lights from the South'. Wagner could only love it, couldn't he? Anyway, this album - together with its 'Scenes from the Ring' counterpart - is highly recommended, and certainly invaluable for those, like I myself, who love Domingo in Wagner.

Made me like Wagner.......2006-07-05

Before I bought this CD, I didn't care much for Wagner. But after listening to these two extraordinary artists sing these entrancing duets, I must say that I have a new found respect and fondness for Wagner's music. Placido Domingo isn't a singer that most people associate with Wagnerian roles, and alot of people scoff at the idea of him singing such roles. But on this CD, his voice is absolutely entrancing, especially in the duet from Tristan und Isolde. Even though he is getting up there in years, his voice is still utterly beautful. His high notes are still strong and powerful and lovely, his interpretations are superb. Deborah Voigt, the up and coming Wagnerian/Strauss Soprano, is very powerful and strong in her singing here, yet she's also very ladylike. Not having an overwhelming, imposing voice that alot of the dramatic sopranos have, but still having the strenght, stamina, and authority in her voice to sing these grand roles. I guess what I'm trying to say is that she's a well-balanced singer. Not to mention that her voice is very very lovely and pretty, having a golden timbre, and a fluttery vibrato, which I love in a singer. The orchestra, in my opinion, is probably one of the Top 5 best orchestras I've ever heard. Absolutely gorgeous playing. An added bonus is the Mezzo-Soprano Violetta Urmano in the role of Brangane. I had never heard of her before I bought this CD, but she has a delicious voice, with a very rich quality to it. Even though she is a Mezzo, I would like to hear her sing the role of Isolde sometime. She has the perfect voice for it. This would be a good CD to give someone to introduce them to Wagner. It is lovely in every way.

Less Heavy Wagner Pure Soul.......2005-05-07

Placido Domingo, now in his sixties, is not ready to call it quits. He has added Wagner into his repertoire, and in fact has sung (on stage and record) the Wagner heroes of Tannhauser, Lohengrin and Parsifal. In November this year, he will sing Parsifal at the LA Opera. Now, I personally think that he can sing Tristan, as he does here, in its entirety and it would be heavenly if he sang next to Deborah Voight's Isolde. However, all we have is this "concert version" for now. Domingo's voice has been criticized for not sounding "Wagnerian" in the traditional sense. So what ? He doesnt have that annoying "Bayreuth bark" and he is certainly no Jon Vickers, but he has integrity, discipline and soul. There is no doubt his mellow, flowing, gorgeous voice would make his heroes sound particularily spiritual, even if it lacks the intensity and vigor that other interpretors give to their Wagner characters. Perhaps Wagner didn't intend for his heroes to be too melodramatic. They are all introspective, spiritual seekers, all on quests to find something greater than themselves or searching for redemption. Tristan is without a doubt the most challenging and difficult role for a dramatic tenor, just as Isolde is the most difficult part for a dramatic soprano. This is because it seems that to Wagner, Tristan and Isolde represented the Uberman and the Uberwoman, the heighest and most powerful form of male and female.

But Voigt and Domingo pull it off, simply out of their artistry and the relaxed vocal spirit that resonates between them. They are both great artists with a lot of admiration for each other and their voices are glorious. Please don't be put off by the fact their voices are "lighter" in the Wagnerian style. This is terrific music. Conductor Pappano makes a wonderful interpretation of Wagner's music, which he suffuses with tone color and sumptuous lyric lines linked together by the mystic "Tristan chord" which dominates the work. The Liebestod, wow. What more can be said ? Is it simply a musical orgasm or is it the transfiguration of Isolde from life to death, a great transformation of soul ? The music is sublime.

Domingo .......2005-02-19

I am pretty sure Domingo's fans are over-excited with these reviews.Really, Domingo's voice is not suited for wagnerian drama, is an uneven, cold and boring voice. Indeed, these love duets are far from the "passionate" characters called Tristan and Siegfried.

Average customer rating:

Very good performances and recording!

Schumann: Music for Clarinet and Piano

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Brahms: Clarinet Sonatas & Trio [Hybrid SACD]
Mozart: Clarinet Concerto & Quintet [Hybrid SACD]
Penderecki: Musid For Clarinet & String Quartet
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ASIN: B00008S80P
Release Date: 2003-03-25

Customer Reviews:

Very good performances and recording!.......2003-11-06

I am a pianist and can't really judge Frost's performance, but I've loved his sound and can't really imagine how much better it could possibly be. Concerning the piano-part, Pontinen has earned a place among my favourite pianists with this cd and lots of others... Enjoy!

Average customer rating:

One of the great CD sets of all time
One of two "keepers"
Bach the organ works
Peter Hurford gives incisive readings
EMPHATICALLY 5 stars!

Bach: The Organ Works
Johann Sebastian Bach , and Peter Hurford
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
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 Hurwitz

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood L
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood L
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
Siegfried: Act I: Nothung! Nothung! - Berlin State Op Orch/Karl Muck
Siegfried: Act II: Dass Der Mein Vater Nicht Ist - Berlin State Op Orch/Karl Muck
Siegfried: Act II: Forest Murmurs - Berlin State Op Orch/Karl Muck
Siegfried: Act II: Heiss Ward Mir - Berlin State Op Orch/Karl Muck
Siegfried: Act III: Heil Dir, Sonne! - Berlin State Op Orch/Karl Muck
Siegfried: Act III: Ewig War Ich - Berlin State Op Orch/Karl Muck
Siegfried: Act III: O Siegfried! Dein War Ich Von Je - Berlin State Op Orch/Karl Muck
Gotterdammerung: Prologue: Siegfried's Rhine Journey - Berlin State Op Orch/Karl Muck
Gotterdammerung: Act III: Siegfried's Funeral Music - Berlin State Op Orch/Karl Muck

Tracks:

Das Rheingold: Prld - Berlin State Op Orch/Karl Muck
Das Rheingold: Spottet Nur Zu! - Louise Trenton/Elsie Suddaby/Nellie Walker/Aruthur Fear
Das Rheingold: Wotan, Gemahl - Nellie Walker/Walter Widdop/Kennedy MacKenna/Howard Fry/Arthur Fear
Das Rheingold: Zur Burg Fuhrt Die Brucke...Abendlich Strahlt - Friedrich Schorr/Waldemar Henke/Genia Guszalewicz
Die Walkure: Act I: Prld...Wes Herd Dies Auch Sei - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Ein Schwert Verhiess Mir Der Vater - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Schlafst Du, Gast? - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Der Manner Sippe - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Dich, Selige Frau - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Wintersturme Wichen Dem Wonnemond - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Du Bist Der Lenz - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Siegmund Heiss Ich - Walter Widdop/Gota Ljungberg
Die Walkure: Act II: Nun Zaume Dein Ross...Hojotoho! - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: Der Alte Sturm, Die Alte Muh! - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: So Ist Denn Aus Mit Den Ewigen - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: Was Verlangst Du? - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: O Heilige Schmach! - Frida Leider/Emmi Leisner/Friedrich Schorr

Tracks:

Die Walkure: Act II: So Nimm Meinen Segen - Frida Leider/Friedrich Schorr
Die Walkure: Act II: Raste Nur Hier - LSO/Albert Coates
Die Walkure: Act II: Hinweg! Hinweg! - LSO/Albert Coates
Die Walkure: Act II: Siegmund, SIch Auf Mich! - LSO/Albert Coates
Die Walkure: Act II: Fand'ich In Walhall - LSO/Albert Coates
Die Walkure: Act II: So Jung Und Schon - LSO/Albert Coates
Die Walkure: Act II: Zauberfest Bezahmt Ein Schlaf - LSO/Albert Coates
Die Walkure: Act II: Wehwalt! Wehwalt! - LSO/Albert Coates
Die Walkure: Act II: Geh Hin, Knecht! - LSO/Albert Coates
Die Walkure: Act III: Ride Of The Valkyries - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Rette Mich, Kuhne! - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Wo Ist Brunnhild - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: War Es So Schmahlich - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Du Zeugtest Ein Edies Geschlecht - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Leb Wohl, Du Kuhnes, herrliches Kind! - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Der Augen Leuchtendes Paar - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Loge, Hor! - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann

Tracks:

Siegfried: Act I: Prld - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Zwangvolle Plage! - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Hoiho! Hoiho! Hau Ein! Hau Ein! - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Als Zullendes Kind Zog Ich Dich Auf - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Soll Ich Der Kunde Glauben - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Aus Dem Wald Fort - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Heil Dir, Weiser Schmied - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Dein Haupt Pfand Ich - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Fuhltest Du Nie Im Finstren Wald - Lauritz Melchior/Albert Reiss
Siegfried: Act I: Nothung! Nothung! Neidliches Schwert! - Lauritz Melchior/Albert Reiss
Siegfried: Act I: Hoho! Hoho! Hahei!... - Lauritz Melchior/Albert Reiss
Siegfried: Act II: In Wald Und Nacht - Lauritz Melchior
Siegfried: Act II: Zur Neidhohle Fuhr Bei Nacht - Lauritz Melchior
Siegfried: Act II: Deine Hand Hieltest Du Vom Hort? - Lauritz Melchior
Siegfried: Act II: Dass Der Mein Vater Nicht Ist - Lauritz Melchior
Siegfried: Act II: Du Holdes Voglein - Lauritz Melchior
Siegfried: Act II: Haha! Da Hatte Mein Lied - Lauritz Melchior/Heinrich Tessmer/Eduard Habich
Siegfried: Act II: Wohin Schleichst Du Eilig Und Schlau - Lauritz Melchior/Heinrich Tessmer/Eduard Habich

Tracks:

Siegfried: Act II: Da Lieg Auch Du, Dunkler Wurm! - Lauritz Melchior/Nora Gruhn
Siegfried: Act II: Gonntest Du Mir Wohl Ein Gut Gesell? - Lauritz Melchior/Nora Gruhn
Siegfried: Act II: Hei! Siegfried Erschlung Nun Den Schlimmen Zwerg! - Lauritz Melchior/Nora Gruhn
Siegfried: Act III: Prld - Emil Schipper/Maria Olszewska
Siegfried: Act III: Wache, Wala - Emil Schipper/Maria Olszewska
Siegfried: Act III: Stark Ruft Das Lied - Emil Schipper/Maria Olszewska
Siegfried: Act III: Dir Unweisen Ruf Ich Ins Ohr - Emil Schipper/Maria Olszewska
Siegfried: Act III: Kenntest Du Mich, Kuhner Spross - Florence Easton/Lauritz Melchior
Siegfried: Act III: Zich Hin! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Siegfried Mounts The Rocky Height - Florence Easton/Lauritz Melchior
Siegfried: Act III: Selige Ode Auf Sonniger Hoh'! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Das Ist Kein Mann! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Heil Dir, Sonne! - Florence Easton/Lauritz Melchior
Siegfried: Act III: O Siegfried! Siegfried! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Ewig War Ich - Florence Easton/Lauritz Melchior
Siegfried: Act III: Dich Lieb Ich - Florence Easton/Lauritz Melchior
Siegfried: Act III: Ob Jetzt Ich Dein? - Florence Easton/Lauritz Melchior

Tracks:

Gotterdammerung: Prologue: Welch Licht Leuchtet Dort? - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Prologue: Dawn - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Prologue: Zu Neuen Taten - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Prologue: Sigfried's Rhine Journey - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Act I: Begrusse Froh, O Held - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Act I: Hier Sitz Ich Zur Wacht - Maartie Offers/Florence Austral
Gotterdammerung: Act I: Seit Er Von Geschieden - Maartie Offers/Florence Austral
Gotterdammerung: Act II (Beginning): Hoiho! Hoihohoho! - Ivar Andresen/Berlin State Chor:/Leo Blech

Tracks:

Gotterdammerung: Act II (Conclusion): Helle Wehr! - Florence Austral/Frederic Collier/Arthur Fear
Gotterdammerung: Act II (Conclusion): Welches Unholds List - Florence Austral/Frederic Collier/Arthur Fear
Gotterdammerung: Act III: Frau Sonne Sendet Lichte Strahlen - Rudolf Laubenthal/Tilly De Garmo/Lydia Kindermann/Elfriede Marherr
Gotterdammerung: Act III: Mime Hiess Ein Murrischer Zwerg - Rudolf Laubenthal/Desider Zador/Emmanuel List/Berlin State Chor/Leo Blech
Gotterdammerung: Act III: Brunnhilde, Heilige Braut! - Rudolf Laubenthal/Desider Zador/Emmanuel List/Berlin State Chor/Leo Blech
Gotterdammerung: Act III: Siegfried's Funeral Music - Florence Austral
Gotterdammerung: Act III: Schweigt Eures Jammers - Florence Austral
Gotterdammerung: Act III: Starke Scheit Schichtet Mir Dort - Florence Austral
Gotterdammerung: Act III: Sein Ross Fuhret Daher - Florence Austral
Gotterdammerung: Act III: Finale - Florence Austral

Customer Reviews:

Coates, Austral, Widdop, Melchior, Schorr, Easton.......2007-06-15

These "bleeding chunks" of Wagner's "Ring," recorded in London and Berlin between 1926 and 1932, are generally exciting and well-sung performances, but a lot of the British and German singers used were really just repiteurs of their time. The really golden voices belong to Florence Austral, young Melchior, Friedrich Schorr and Florence Easton, though Walter Widdop was much better Heldentenor than one usually finds today and certainly deserves honorable mention.

The most frustrating thing about this set, aside from its episodic nature, was the schizophrenic use of five different conductors, each of whom had an entirely different way of shaping and pacing the work. Of the two used most frequently, Albert Coates and Leo Blech, Coates was decidedly the greater conductor. Every single note of every single phrase he conducts on these records has life, drive, clarity of texture, proper weighty tone and an almost palpable excitement. Indeed, in my view Coates is the most underrated conductor who recorded in history, and deserves to be better known for ALL of his work.

The price is a little steep, but if you get the set, do yourself a favor, JUST listen to the Coates-conducted excerpts first, then go back and listen to the whole thing. You'll quickly see what I mean. My biggest frustration was that Coates was not chosen to conduct the final scene from "Siegfried" with Melchior and the greatly-underappreciated Florence Easton, who though she was not as good as Austral was certainly an outstanding singer. Mark Obert-Thorn has done a good job of transferring these old records. The original 78s had a LOT of hiss and "sandpaper" sound in them, since they were issued at a time when Victor and HMV were putting EMERY powder in the grooves to minimize needle wear. (Emery powder is the same kind of thing you file your nails with, so you can imagine how abrasive the sound is even on mint-condition discs!) In doing so, he has of necessity scraped a little of the overtones off as well, leaving a slightly "grainy" sound in soft wind and vocal passages, but that is a small price to pay for eliminating what used to be called "bacon frying" on the old records.

Recommended with the above reservations.

The greatest Wagner singing - bar none.......2005-08-16

This is the Ring that John Culshaw had so much fun with in his book, Ring Resounding, about the making of the Solti Ring. And he had a point. Yes, there is barely a third of the tetralogy recorded here (more than `bleeding chunks' but far less than the whole). Yes, we dart between London and Berlin and occasionally Vienna seemingly at will. Yes conductors (who didn't seem to be thought of as very important in those days) can change within scenes. So, on occasion, can singers - Act 2 of Walkure, for instance, has 2 Wotans, 2 Brunnhildes, 2 Sieglindes and Wotan No.2 doubles as Hunding! BUT...

But here is some of the most glorious singing you will hear on any Ring recording. Ever.

These days it seems to be the 50's that are lauded as the Golden Age of Wagner Singing - Hotter, Varnay, Nilsson, Flagstad (still), Windgassen, Vickers et al. But Hotter, magisterial and charismatic god that he could be, was prone to being hooty and woolly and even a bit wobbly, especially on an asthmatic day. Nilsson's awe-inspiring steely brilliance could leave her sounding a little cold and impersonal. At the other extreme, Flagstad's richer tones could make her sound a little maternal for my taste (Brunnhilde may be Siegfried's aunt, but she's not his mother!). Varnay was blisteringly committed in everything she did, but the voice as a voice? No cigar. Windgassen's Siegfried lacked the last ounce or two of vocal heft and he was apt to husband his resources a bit too much, especially in his eponymous opera. And so on.

But go back a generation further and wow! It's in a different class.

Let's start with Friedrich Schorr since he's the first of these greats to appear on these discs. In Wotan's `Abendlich strahlt' from Rheingold he is simply magnificent. This is a baritone bass-baritone as opposed to Hotter's bass bass-baritone (think Norman Bailey vs. John Tomlinson for modern local equivalents - on second thoughts, don't: it's not fair on two excellent Wotans!). Schorr's voice in 1927 was in prime nick (it got a bit strained at the top a decade or so later); focused, controlled, ample and with what I can only describe as a beat to it rather than any suggestion of wobble that gave it colour and character. Then there is the intelligence he brought to the character and the text. This is fully illustrated by taking practically any part of his role from Walkure - from the father issuing orders to his daughter through the crushed husband, the blind frustration of `heilige Schmach', the towering anger of Act 3 right through to what must be the definitive performance of the Farewell - certainly the one I always hear in my mind's ear. The Wanderer in Siegfried is no less wonderfully sung and the character has grown in maturity and resignation as well as gaining a sense of humour in his scenes with Mime and Alberich.

Frida Leider's Brunnhilde strikes a perfect balance between the steeliness of a Nilsson and the mumsiness of a Flagstad. John Steane described her voice as "existing at that rarely achieved point where the heroic has not become inhuman and where the human does not undermine tragic dignity". Precisely. This is amply demonstrated in bar after bar of Walkure from the teenage whoops of her war cry through the inwardness and growing confidence of her plea to her father to the crowning heroic glory of her grand idea for a fire-girt rock and a hero to brave it, singing with reckless abandon and thrilling security at the same time. Sadly she is not with us for Siegfried or Gotterdammerung, though we get her earlier set of the last (butchered) scene of Siegfried with Rudolf Laubenthal as a consolation. I wish there had been room for her nonpareil of an Immolation, even though it wasn't part of the original set.

The last of this triumvirate of unmatchable Wagner singers was, of course, Lauritz Melchior as Siegfried. His voice is simply a phenomenon - tireless, with a distinctive ring throughout its range, towering when loud (forging the sword), capable of real beauty and poetry when soft (the Forest Murmurs) and not as prone to rhythmical sloppiness as he's often made out to be. We have not heard his like before or since and probably never will.

The rest of the cast are no slouches either. Walter Widdop as Siegmund can hold his head high in this esteemed company; Gota Ljunberg is a wonderful Sieglinde, young, sexy, alive to the rising passion of Act 1, the hysteria of Act 2 and the glorious outburst of maternalism in Act 3 alike. I have to say, I've never quite got it with most people's favourite Sieglinde, Lotte Lehmann (the Fidelio Leonora, yes, that's a different matter), so for me Ljungberg is probably the best of them all. Florence Austral is the Brunnhilde of Gotterdammerung - at her best in a Dawn Duet with Widdop as Siegfried, egged on by urgent conducting from Albert Coates (far and away the most exciting conductor on these discs). Her Immolation is excellent, if not enough to erase memories of Leider. Ivar Andresen is the blackest of Hagens (enough to make Frick sound cuddly!), Emmi Leisner an implacable Fricka and Maartje Offers a Waltraute who really draws you in to her narrative.

It was122 sides on its original issue and in sound that is really staggeringly good (as it comes up on these Pearl discs produced by the ever reliable Mark Obert-Thorn), considering it was recorded just a few years after the introduction of electric recording.

If you love Wagner singing of the absolutely highest standards and already have your favourite modern-sound version sorted, don't hesitate: treat yourself to the many, many unmatched performances on these discs, all for less than the price of a pretty dodgy seat at the opera house.

An abolute must.......2005-03-08

This magnificent compilation of the greatest Wagner singers and conductors of the 20s and early 30s is an absolute MUST for everyone who is remotely interrested in how Wagner was done in the past.
The greatest attractions are the magnificent interpretations of Friedrich Schorr, Frida Leider and the young Lauritz Melchior. Schorr sings Wotan in the excerpts from Die Walkure and Leider sings Brunnhilde. Melchior sings the young Siegfried. There is so much to treasure in this set. The English tenor Walter Widdop sings Siegmund and Swedish soprano Gota Ljungberg sings Sieglinde. The Walkure and Siegfried excerpts are quite consistant in the casting. Mime is sung by different tenors in Siegfried and although Wanderer is sung by Schorr in acts 1 and 2, the role is sung by two others Emil Schippers and Rudolf Bockelmann in act 3. None of them are as noble or as magnifient sounding as Schorr. Florence Easton sings Brunnhilde with Melchior in the duet at the end of the opera.
Gotterdammerung, though, is much less consistantly cast, the only consistant casting being Florence Austral as Brunnhilde. The excerpts are much more spread and more brief than on Siegfried, which had almost all of Siegfried's scenes intact. Siegfried is sung by Walter Widdop in the prologue and acts 1 and 2 and Horst Laubenthal in act 3. These two are not as great as Melchior (who is?), but is still quite excellent. Hagen is done by Arthur Fear, Ivar Andresen, Emanuel List. Andresen sings Hagen's watch (Hier sitz ich zur Wacht) and the calling of the Vassals (Hoiho! Hoihohoho!). He is the most chilling and exciting Hagen I have ever heard. His rendition, especially the calling of the vassals, is really dominating and every time I hear it gives me shivers. No other Hagen is quite as compelling is evil sounding without overdoing it. He is, for me, the main attraction of the Gotterdammerung part of the set.
The set also includes small excerpts of Rheingold with Schorr's rendition of the entry of the Gods to Vallhalla as the main attraction. And in addition to this there is an extra recording of parts of the Siegfried with Laubenthal and Leider. This scene is a little differently done than with Melchior and Easton, but both are great.
I have not said anything about the magnificent conductors here. Main parts of act 1 of Walkure is done by the great Albert Coates and somewhat less successfully by Lawrence Collingwood. Coates and Leo Blech dominates the rest of the Ring excerpts with scenes done by John Barbirolli, Robert Heger and Carl Alwin. But the most exciting conducting of all is done by the magnificent Karl Muck in Siegfried's Rhine Journey and Funeral March. The Rhine Journey is done with so much youngfullness and describes the young hero's journey magnificently. The Funeral March is done very solemnly and very much as a tribute to the great fallen hero.

So I would highly recommend this to all who is remotely interested in historical recordings or would want to know how Wagner was done is the past. The sound is really exceptional for its time and it is as good as any release from Pearl who is highly regarded as one of the best labels who releases historical recordings.

The Best Second "Ring".......2003-02-27

After coming to know, love and perhaps becoming obsessed with the Ring through one of the modern stereo versions (e.g., Solti), you may want to hear another version. In my view, this classic version is the single best second Ring to get. It represents the fruit of a tremendous pre-War undertaking featuring many of the finest Wagnerian singers and musicians of the era giving performances that are astounding. Seventy-plus years later, the voice of Lauritz Melchior (for example) does not cease to amaze.

Tracks:

The Greatest Show On Earth
Limelight
Zarah Leander-Medley: Tiefe Sehnsucht - Der Wind hat mir ein Lied erzahlt - Ich steh' im Regen
Zarah Leander-Medley: Nur nicht aus Liebe weinen...Eine Frou wird erst schon durch die Liebe
Ein Schiff wird kommen
Franz-Grothe Medley: Komm und gib mir deine Hand - So schon wie heut' so musst es bleiben... - Jede Frau hat ein susses Geheimnis - Mitternachts-Blues - In der Nacht ist der Mensch nicht gern alleine
Chattanooga Choo Choo
'Gigi' Selection
West Side Story: Tonight
West Side Story: Maria
'Annie Get Your Gun' Selection
Blue Hawaii
Ufaton-Bomben Medley: Du bist das susseste Madel der Welt - Liebling, mein Herz lasst dich grussen - Seliges Schweigen - Das ist die Liebe der Matrosen - Ich bin von Kopf bis Fuss auf Liebe eingestellt - Du hast mir heimlich die Liebe ins Haus gebracht...

The Hugo Wolf Society - The Complete Edition 1931-1938

Average customer rating:

The Hugo Wolf Society Recordings
"Even little things can delight us."
"Even little things can delight us."
Wolf sung by various Lieder singers

The Hugo Wolf Society - The Complete Edition 1931-1938

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Wolf: Italienisches Liederbuch
Poulenc - Melodies / Ameling · Gedda · W. Parker · Sénéchal · Souzay · Baldwin
Wolf: Lieder (Elisabeth Schwarzkopf, Gerald Moore)
Joseph Haydn Operas 1
Hans Hotter Wolf Lieder Recital

ASIN: B000009OQC
Release Date: 2002-11-05

Tracks:

Moerike-Lieder: 8. Begegnung
Moerike-Lieder: 38. Lied vom Winde
Moerike-Lieder: 15. Auf einer Wanderung
Moerike-Lieder: 41. Rat einer Alten
Spanisches Liederbuch: 12. In dem Schatten meiner Locken
Moerike-Lieder: 37. Heimweh (Anders wird die Welt)
Spanisches Liederbuch: 4. Die ihr schwebet um diese Palmen
Spanisches Liederbuch: 6. Ach, des Knaben Augen
Spanisches Liederbuch: Nun wandre, Maria
Moerike-Lieder: 46. Gesang Weylas
Spanisches Liederbuch: 9. Herr, was traegt der Boden hier
Italiensches Liederbuch: 1. Auch kleine Dinge
Moerike-Lieder: 7. Das verlassene Maegdlein
Eichendorff-Lieder: 4. Das Staendchen
Spanisches Liederbuch: Wenn du zu den Blumen gehst
Italiensches Liederbuch: 34. Und steht Ihr frueh am Morgen auf
Italiensches Liederbuch: 16. Ihr jungen Leute
Italiensches Liederbuch: 10. Du denkst mit einem Faedchen
Italiensches Liederbuch: 12. Nein, junger Herr
Goethe-Lieder: 1-3 Drei Harfenspieler: 1: Wer sich der Einsamkeit ergibt
Goethe-Lieder: 1-3 Drei Harfenspieler: 2: An die Tueren will ich schleichen
Goethe-Lieder: 1-3 Drei Harfenspieler: 3: Wer nie sein Brot
Goethe-Lieder: 1-3 Drei Harfenspieler: 29. Anakreons Grab
Goethe-Lieder: 1-3 Drei Harfenspieler: 15. Cophtisches Lied 2 (Geh! Gehorche)
Goethe-Lieder: 1-3 Drei Harfenspieler: 21. Genialisch Treiben
Goethe-Lieder: 1-3 Drei Harfenspieler: 11. Der Rattenfenger
Goethe-Lieder: 1-3 Drei Harfenspieler: 19. Epiphanias
Goethe-Lieder: 1-3 Drei Harfenspieler: 26. Die Sproede
Goethe-Lieder: 1-3 Drei Harfenspieler: 27. Die Bekehrte
Goethe-Lieder: 1-3 Drei Harfenspieler: 24. Blumengruss
Goethe-Lieder: 1-3 Drei Harfenspieler: 25. Gleich und gleich
Goethe-Lieder: 1-3 Drei Harfenspieler: 28. Fruehling uebers Jahr

Tracks:

Goethe-Lieder: 49. Prometheus
Goethe-Lieder: 50. Ganymed
Goethe-Lieder: 18. Beherzigung
1-3 Drei Gedichte von Michelangelo: 1: Wohl denk' ich oft
1-3 Drei Gedichte von Michelangelo: 2: Alles endet, was entstehet
1-3 Drei Gedichte von Michelangelo: 3: Fuehlt meine Seele
Moerike-Lieder: 19. Um Mitternacht
Moerike-Lieder: 42. Erstes Liebeslied eines Maedchens
Moerike-Lieder: 45. Nixe Binsefuss
Spanisches Liederbuch: Moegen alle boesen Zungen
Spanisches Liederbuch: 24. Koepfchen, Koepfchen, nicht gewimmert
Spanisches Liederbuch: 11. Klinge, klinge, mein Pandero
Spanisches Liederbuch: 26. Bitt ihn, o Mutter
Italiensches Liederbuch: 6. Wer rief dich denn?
Italiensches Liederbuch: 25. Mein Liebster hat zu Tische mich geladen
Italiensches Liederbuch: 43. Schweig einmal still
Italiensches Liederbuch: 35. Benedeit die sel'ge Mutter
Italiensches Liederbuch: 7. Der Mond hat eine schwere Klag' erhoben
Italiensches Liederbuch: 27. Schon streckt' ich aus im Bett die mueden Glieder
Goethe-Lieder: 51. Grenzen der Menschheit
Italiensches Liederbuch: 32. Was soll der Zorn, mein Schatz
Italiensches Liederbuch: 24. Ich esse nun mein Brot nicht trocken mehr
Italiensches Liederbuch: 31. Wie soll ich froehlich sein
Italiensches Liederbuch: 11. Wie lange schon war immer mein Verlangen
Italiensches Liederbuch: 28. Du sagst mir, dass ich keine Fuerstin sei
Italiensches Liederbuch: 26. Ich liess mir sagen
Italiensches Liederbuch: 29. Wohl kenn' ich Euren Stand
Italiensches Liederbuch: 21. Man sagt mir, deine Mutter woll' es nicht
Italiensches Liederbuch: 36. Wenn du, mein Liebster, steigst zum Himmel auf

Tracks:

Italiensches Liederbuch: 20. Mein Liebster singt am Haus im Mondenscheine
Italiensches Liederbuch: 40. O waer' dein Haus durchsichtig wie ein Glas
Italiensches Liederbuch: 39. Gesegnet sei das Gruen
Italiensches Liederbuch: 2. Mir ward gesagt, du reisest in die Ferne
Italiensches Liederbuch: 15. Mein Liebster ist so klein
Italiensches Liederbuch: 46. Ich hab' in Penna einen Liebster wohnen
Italiensches Liederbuch: 4. Gesegnet sei, durch den die Welt entstund
Italiensches Liederbuch: 3. Ihr seid die Allerschoenste
Italiensches Liederbuch: 13. Hoffaertig seid Ihr, schoenes Kind
Italiensches Liederbuch: 9. Dass doch gemalt all deine Reize waeren
Italiensches Liederbuch: 17. Und willst du deinen Liebsten sterben sehen
Italiensches Liederbuch: 38. Wenn du mich mit den Augen streifst
Italiensches Liederbuch: 41. Heut Nacht erhob ich mich, um Mitternacht
Italiensches Liederbuch: 22. Ein Staendchen Euch zu bringen
Italiensches Liederbuch: 8. Nun lass uns Frieden schliessen
Italiensches Liederbuch: 19. Wir haben beide lange Zeit geschwiegen
Italiensches Liederbuch: 14. Geselle, woll'n wir uns in Kutten huellen
Italiensches Liederbuch: 18. Heb auf dein blondes Haupt
Italiensches Liederbuch: 33. Sterb' ich, so huellt in Blumen meine Glieder
Italiensches Liederbuch: 37. Wie viele Zeit verlor ich
Italiensches Liederbuch: 23. Was fuer ein Lied soll dir gesungen werden
Spanisches Liederbuch: 7. Muehvoll komm' ich und beladen
Spanisches Liederbuch: 15. Auf dem gruenen Balkon
Spanisches Liederbuch: 14. Treibe nur mit Lieben Spott
Spanisches Liederbuch: 29. Trau nicht der Liebe
Spanisches Liederbuch: 38. Sie blasen zum Abmarsch
Sechs Gedichte: 3. Biterolf (Im Lager von Akkon 1190)
Moerike-Lieder: 22. Seufzer
Moerike-Lieder: 28. Gebet
Moerike-Lieder: 23. Auf ein altes Bild
Moerike-Lieder: 32. An die Geliebte
Moerike-Lieder: 12. Verborgenheit
Moerike-Lieder: 39. Denk es, o Seele!
Moerike-Lieder: 51. Bei einer Trauung
3. Ein Stuendlein wohl vor Tag
Moerike-Lieder: 16. Elfenlied

Tracks:

Sechs Alte Weisen: 6. Wie glaenzt der helle Mond
Goethe-Lieder: 14. Cophtisches Lied 1
Eichendorff-Lieder: 2. Der Musikant
Eichendorff-Lieder: 5. Der Soldat
Eichendorff-Lieder: 9. Der Schreckenberger
Moerike-Lieder: 44. Der Feuerreiter
Drei Gedichte von Robert Reinick: 1. Gesellenlied (Kein Meister faellt)
Goethe-Lieder: 5. Mignon 1 (Heiss mich nicht reden)
Goethe-Lieder: 7. Mignon 3 (So lasst mich scheinen)
Moerike-Lieder: 29. An den Schlaf
Moerike-Lieder: 36. Liebe wohl
Spanisches Liederbuch: 30. Ach, im Maien war's
Spanisches Liederbuch: 21. Herz, verzage nicht geschwind
Moerike-Lieder: 30. Neue Liebe
Moerike-Lieder: 48. Storchenbotschaft
Spanisches Liederbuch: 32. Dereinst, dereinst, Gedanke mein
Spanisches Liederbuch: 31. Alle gingen, Herz, zur Ruh
Spanisches Liederbuch: 33. Tief im Herzen trag' ich Pein
Sechs Gedichte: 6. Zur Ruh, zur Ruh
Spanisches Liederbuch: 34. Komm, o Tod, von Nacht umgeben
Sechs Lieder fuer eine Frauenstimme: 4. Wiegenlied (Im Sommer)
Sechs Lieder fuer eine Frauenstimme: 5. Wiegenlied (Im Winter)
Moerike-Lieder: 20. Auf eine Christblume I (Tochter des Walds)
Moerike-Lieder: 24. In der Fruehe
Moerike-Lieder: 25. Schlafendes Jesuskind

Tracks:

Goethe-Lieder: 20. Sankt Nepomuks Vorabend
Goethe-Lieder: 12. Ritter Kurts Brautfahrt
Moerike-Lieder: 47. Die Geister am Mummelsee
Moerike-Lieder: 10. Fussreise
Moerike-Lieder: 43. Lied eines Verliebten
Moerike-Lieder: 25. Schlafendes Jesuskind
Moerike-Lieder: 4. Jaegerlied
Moerike-Lieder: 17. Der Gaertner
Moerike-Lieder: 50. Auftrag
Moerike-Lieder: 9. Nimmersatte Liebe
Spanisches Liederbuch: 44. Geh, Geliebter, geh jetzt!
Goethe-Lieder: 10. Der Saenger
Eichendorff-Lieder: 13. Der Scholar
Eichendorff-Lieder: 14. Der verzweifelte Liebhaber
Eichendorff-Lieder: 15. Unfall
Vier Gedichte: 1. Wo wird einst (Heine)
Vier Gedichte: 3. Sonne der Schlummerlosen
Vier Gedichte: 4. Keine gleicht von allen Schoenen
Eichendorff-Lieder: 1. Der Freund
Eichendorff-Lieder: 2. Der Musikant
Sechs Gedichte: 1. Waechterlied auf der Wartburg
Moerike-Lieder: 40. Der Jaeger
Goethe-Lieder: 32. Phaenomen
Eichendorff-Lieder: 3. Verschwiegene Liebe
Vier Gedichte: 1. Wo wird einst (Heine)
Ueber Nacht (Sturm)

Amazon.com

EMI's "society" subscription editions in the 1930s yielded a wealth of recordings long considered gramophone classics, such as the present collection of roughly half of Hugo Wolf's lieder output. Each song occupies its own specific world, due to Wolf's resourceful word setting and his avoidance of anything generic. In turn, the performers illuminate each song's felicities with effortless authority, and they avoid overpointing or enacting. Full texts and translations are included. Ernest Newman's penetrating annotations for the original 78 albums, reprinted in EMI's 1981 LP reissue, are absent. --Jed Distler

Customer Reviews:

The Hugo Wolf Society Recordings.......2005-12-28

The songs of Hugo Wolf (1860 -- 1903)combine great attention to textual detail with closely intertwined writing for the voice and the piano. In this small form, Wolf was a master and took song in a different direction from that of Schubert, Schumann and Brahms. He wrote most of his songs in bursts of activity in five large collections, devoted to the poetry of Morike, Eichendorff, Goethe, and to collections of Spanish and Italian texts. He also composed a number of songs in shorter sets.

In the early 1930s, a young Walter Legge began a project of recording Wolf songs on a subscribtion basis to be limited to 500 sets. The recording industry was relatively new, and Wolf, then as now, too little appreciated. The result was an extensive series of recordings of issued between 1931 and 1938 consisting of 145 songs, about one-half Wolf's output, performed by fourteen singers. The Hugo Wolf Society recordings remain a high moment in the recording of song. They were remastered on LPs and, in 1998, in this 5 CD collection which includes previously unreleased selections.

The Wolf Society collection offers an unparalleled opportunity to get to know Wolf's songs performed by artists of the past that might otherwise be unfamiliar to many listeners. The performers include mezzo-soprano Elena Gerhardt, who recorded the initial volume for the society, baritones Herbert Janssen, Gerhard Husch, tenors John McCormack, Karl Erb, and Helge Roswaenge, the basses Alexander Kipnis, Frederich Schorr, and Ludwig Weber, and sopranos Alexandra Trianti, Elizabeth Rethberg, Ria Ginster, Marta Fuchs, and Tiana Lemnitz. The pianists include Conrad Bos, Gerald Moore, Michael Raucheisen, Hans Udo Muller, and Ernest Victor Wolff.

The singers perform in a variety of styles from the highly operatic to the quietly lyrical. There is a Wagnerian performance of Goethe's "Prometheus" by Friedrich Schorr with the London Symphony Orchestra -- the only track using an orchestral accompaniment. The Irish tenor John McCormack shows a more lyrical approach in his renowned performance of Goethe's poem "Ganymed". The sopranos, Alexandra Trianti, Ria Ginster, and Tiana Lemitz have light, clear, bell-like voices. I find the singers on this compilation take a much more individualized, idiosyncratic, and romantic approach to song than do their modern counterparts, who sometimes seem restrained and chaste by comparison.

Each of Wolf's great collections of songs is well-represented. Elena Gerhardt performs songs from each of Wolf's five books, with the exception of the Goethe songs. The young Alexander Kipnis gives a powerful reading of Wolf's three songs from Michaelangelo. The third CD in this collection features many songs from the Italian songbook performed by soprano Ginster, baritone Husch, and bass Kipnis together with recordings from the Spanish songbook by sopranos Rethberg and Ginster and baritone Husch. There are lovely performances by soprano Tiana Lemnitz in the previously uncollected supplementary material, which also includes several Eichendorff songs and a performance of the Goethe-song "Phanomen" by Alexander Kipnis.

There is a great amount of material in this collection, with each of the 5 CDs including in excess of 70 minutes of music. Most of Wolf's songs are highly concentrated and intense. They may prove difficult to the listener coming to them knowing only the lyricism of Schubert. I would not recommend trying to rush through this set at one or two hearings. It is best to take this music in small sections and to listen with text in hand. The compilation includes texts and translations for each of the songs together with good notes about the Wolf Society recording project. There is little discussion about Wolf or about the songs themselves.

This is an essential collection for those who love song, historical recordings, and the music of Hugo Wolf.

Robin Friedman

"Even little things can delight us.".......2003-06