Complete Edition [Import]

1. Raspberry Dream

2. Cheap Hippies

3. When A Woman Loves A Man

4. [Japanese Title]

5. Cotton Time

6. Bottom Line

7. London Boy

8. 76th Star

9. Smile

10. Moon

11. Olive

12. One More Kiss

13. Virginity

14. Maybe Tomorrow

Album Description

Mozart Edition: The Complete Works will make a great gift this Holiday season for the music lover in your life or someone who is hard to buy for. This collection contains 170 discs of completed works by Mozart in one beautiful package. Also included is a cd-rom containing essays on his works, artist bio's, text and libretti's. At this super low price all music lovers will enjoy the Symphonies - Concertos - Serenades - Divertimenti - Dances - Chamber Music - Church Sonatas - String Ensembles - Violin Sonatas - Keyboard Works - Sacred Works - Concert Arias - Songs - Canons and Operas in this collection.

Customer Reviews:

Wonderful.......2007-07-30

The Complete Works of Amadeus Mozart, what else would you want more?
It's absolutely fantastic, great music in a excellent box!
I really loved it!

a surprising offer.......2007-07-05

Complete works of Mozart for such a price is a surprising offer. We are pleased of the good quality, and the availability of otherwise difficult to find works of Mozart

Welcome to Perfection.......2007-06-28

Dispite what anyone else says, if god ever tried to talk to humanity it was through Wolfgang because his music is absolute perfection.It is the most beautiful music i've ever heard in my life( and this is coming from a 21 year old metal-head ).If one has second thoughts about buying this collection dispell them right now because this is probably the first item i've bought in a long time that i have not regreted.

Buy this as an encyclopedia of Mozart, then add other recordings..........2007-06-22

Brilliant Classics Complete Mozart edition, released for the 250th anniversary year of Mozart's birth (he was born in 1756), has much to recommend it. It contains almost all the works of Mozart, and has many fine performances: the piano sonatas by Klara Wurtz, Piano Concertos by Derek Han, Paul Freeman/Philharmonia, The Magic Flute, conducted by Charles Mackerras (licensed from Telarc), String Quartets by the Franz Schubert Quartet (Licensed from Nimbus) each stand out. The Symphonies, by the Amsterdam Mozart Academy/ Jaap ter Linden, are "So-so": I don't like the small period ensemble, but Symphonies 20, 40 (both versions: one with clarinets and the other without), 23, 24, and 34 are pretty good. Symphonies 1:I, 25 and 41 are sub-par: scrappy playing and weak violins make for a pretty rough experience. I would supplement this with the complete Mozart Symphonies by Karl Bohm/Berlin Philharmonic (DG), among the best recordings of these works, and the best complete set of Mozart's Symphonies, completed in 1968.

The Requiem, conducted by Nicol Matt (2001 recording) has had better performances, and for this I would recommend Bohm/Vienna Philharmonic (DG) and Colin Davis/London Symphony (Philips), which use a larger choir and orchestra, and have more drama where it is needed. The other choral works conducted by Nicol Matt are better, especially "Exsultate Jubilate" motet, the short Masses, and "Ave Verum".

Also worthy of mention are the "Posthorn" and "Haffner" Serenades, by Colin Davis/Bavarian Radio Symphony Orchestra, licensed from Novalis for this release.

This is a great overview, and Brilliant Classics are to be commended for making it available at a low price, to get Mozart's music out to the mass public. It's a great buy, but I would get the Bohm Symphonies, and also Piano Concertos by either Ashkenazy/Philharmonia (Decca), Perahia/English Chamber Orchestra (Sony) or Anda/Mozarteum Orchestra of Salzburg (DG) for supplements. Also, Karl Bohm's recordings of the operas: The Magic Flute, the Marriage of Figaro, Idomeneo, and La Clemenza di Tito (all DG) are required listening, too. Recommended, but not as the only recording of Mozart's works.

Great value..Cant beat this deal at all!!!.......2007-06-13

As others have reviewed the product and highlighted that there are a few poor pieces... But who cares when there is 170 discs.. if you had have 10 cds that are poor quality and had a 160 disc set of good cd's and you paid $90 for the set.. would you be happy? I would think so... So don't get frustrated and just buy the set.. Enjoy the music for the price.. I am not going to go into details like others did but just buy the set!

Average customer rating:

Performances
errors on discs

Complete Edition (Box)
Beethoven
Manufacturer: Amado
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)
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Mendelssohn: The Masterworks [Box Set]
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ASIN: B000R5HE3O
Release Date: 2007-06-26

Album Description

784 works on 87 CDs. Recordings date from 1987-2007.

Customer Reviews:

Performances.......2007-08-02

I haven't listened to the set, but a random sampling shows two problems. One is the performances aren't anything to get excited about, they sound rather amateurish. Secondly the sound quality is generally poor. Just in the first disk, Symphony #1, the strings are audibly distorted. Further listening reveals more distortion and I believe clipping.

Not impressed so far ...

errors on discs .......2007-07-16

Hello
CD 1 The initial chord of symphony 1 is missing
CD 21 Piano Sonata opus 7 track 7 is missing the first few notes of the music.
CD 22 Piano Sonata opus 14 number 2, tracks 8, 9 and 10. Track 8 is actually the andante, track 9 is the scherzo, track 10 is the opening of sonata opus 26 in Ab.So the cd is missing the opening of this sonata.
CD 23 Piano sonata opus 26 track 6 is missing the beginning few seconds.
CD 23 Piano Sonata opus 22 movement 1 is missing several seconds of the opening. some other tracks have skips and bad editing.
Manufactureer replaced cd 23 and it still wasn't correct so asked for a refund.
B J Bunn
New Zealand

Casals Edition - Beethoven: Complete Cello Sonatas

Average customer rating:

Spectacular recording of spectacular music
Disappointing Sound Quality
Very touching performance.
Casals and Serkin play Beethoven for the Gods
Deeply-probing classic interpretations (but not *quite* complete)

Casals Edition - Beethoven: Complete Cello Sonatas

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Bach: Cello Suites
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J. S. Bach: Suites for Cello, 4, 5 & 6; Pablo Casals Volume 2

ASIN: B0000029L7
Release Date: 1994-02-22

Tracks:

I. Adagio Sostenuto - Allegro-Adagio-Presto
II. Rondo. Allegro Vivace
I. Adagio Sostenuto E Espressivo/Allegro Molto Piu Tosto Presto
II. Rondo. Allegro
I. Andante - Allegro Vivace
II. Adagio - Allegro Vivace

Tracks:

I. Allegro Ma Non Troppo
II. Scherzo. Allegro Molto
III. Adagio Cantabile - Allegro Vivace
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'affetto
III. Allegro - Allegro Fugato
7 Variations On/Uber/Sur 'Bei Mannern, Welche Liebe Fuhlen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.46
12 Variations On/Uber/Sur 'Ein Madchen Oder Weibchen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.66

Customer Reviews:

Spectacular recording of spectacular music.......2007-06-08

I didn't even know that Beethoven wrote sonatas for cello and piano until I came across this recording; both the music and the musicians are spectacularly good. Get it today!

Disappointing Sound Quality.......2007-01-09

I have heard of these sonatas for years, but had never heard them. I chose the Casals/Serkin set because of my familiarity with other performances by him. Although Casals and Serkin are unassailable as interpreters and performers, I found this set disappointing because of what I can only describe as ugly sounds - there is a harshness to the sound quality, at least in places, which I think is probably to be ascribed to the age of the recording rather than the performance. Still, I found it jarring, and it marred my enjoyment.

Very touching performance. .......2007-01-03

This album is one of the most beautiful music experiences I had in many years; I'm amateur listener but I can say that both interpreters are playing these compositions with such a passion and love that is probably not too common these days anymore. Originally I felt that the technical quality of this mono recording is bit distracting, but after a few weeks of listening this album over and over I don't mind the sound at all - the quality of music makes up for it, and I actually like the recording as it is presented to us, wouldn't want any change. I very much recommend this album. I'm planning to buy another copy as a gift for someone close.

Casals and Serkin play Beethoven for the Gods .......2006-03-29

This set is desert island gorgeous. Playing with passion, elegance, at times abandon, the performers are completely in tune with each other. This is elevated chamber music playing of an aristocratic order.

You can hear Casals grunting and moaning with pleasure through the performances - it sounds as though he's making love to his cello. Serkin's playing is simply beautiful - lucid and warm with some of the best trills I've heard - his playing in opus 60 is thrilling. Good clear sound allows you to listen unencumbered by distraction to this spectacular music-making.

The Schnabel - Fournier set of these pieces is quite wonderful, too - spunky and sparkling with Schnabel's great paced and joyous playing. The Schnabel virile luminosity is all there, partnered by Fournier's richly expressive and dignified cello. While it sounds like the historic performance it is, I rarely mind or notice. Art is what counts and the beauty of these performances shines through with radiant surrender. Who cares about a little interference - it adds to the wonder of the experience, knowing that this was recorded almost 60 years ago and we are priviliged to hear it today....

The dvd with Rostropovich and Richter playing Beethoven's cello sonatas is also splendid - Rostropovich is a marvelous musician to watch - he's in an altered state and quite uninhibited about his relationship with his instrument. Yes there are some incorrect notes played, but who cares? Rostropovich is demonically possessed at times and it's fascinating to watch his transformations and responses as he literally attacks his cello, especially in the rondo of opus 5 no. 2. Richter is a large man nearly bursting out of his tails. With his enormous hands he looks more like he could be unloading freight down at the docks, yet he plays these sonatas with such refined manners and sensitivity that it's heart rending to see this big, uncomfortable man playing such magnificent music.

Deeply-probing classic interpretations (but not *quite* complete).......2005-10-25

I was recently listening to this set and the new Schiff-Perenyi recordings on ECM for the purpose of comparing them and writing a review about my impressions. "Compare and contrast the sets, class, and write a review for Monday. Minimum of five pages, single-spaced, typed. --And don't ask your parents for help, because I can always tell."

Well, I was weird as a school kid, because I always loved assignments like that and never was inclined to ask my parents or anyone else. Not that we ever got to write about Beethoven cello sonatas--usually it was on something boring like Beowulf. So I've been comparing Serkin and Casals to Schiff-Perenyi, and, in the interest of efficiency, was going to write a review dealing with both sets and paste two copies on Amazon, one under this recording and one under the Schiff-Perenyi disc, thereby scoring two reviews with one effort. Then I discovered that apparently the ECM isn't available in America--or at least not through Amazon's American website. (It is on their UK page.) So much for my attempt at efficiency. At any rate, you can consider this a review of both recordings, and maybe I'll even mosey on over to the UK side and post this review with them.

Anyway, after listening to the two sets, it's clear the Serkin-Casals stands head and shoulders above Schiff-Perenyi. What's frustrating is trying to explain why the latter, despite immacualte playing (or maybe because of it?) is devoid of meaning, while the former, despite finger-slips and lapses of intonation (as well as more cautious tempi and less free abandon) displays a deep understanding of the works' structures and nuances. Take, for just one small example, the second movement of Op.5, No. 2: in the hands of less skilled interpreters, the waltz seems to be repetitious and too long, distended from the rest of the work. I always thought it was that way, and figured Beethoven just hadn't really mastered proportion yet.

Well, perhaps he hadn't, but Casals and Serkin make us believe he has. They find infinite variety in the theme, so that it doesn't sound redundant as it keeps returning. And I don't just mean they vary the dynamics or insert a pause here or there; they find just the proper weight for the pieces as it morphs from section to section. No one else has convinced me so much in this music, not even Heidsieck-Tortelier (a set I am very enthusiastic about nonetheless).

Some other moments are just unforgettable. Listen to the opening of Op. 102, No. 1: does anyone play music this way anymore? Pay attention to the way Serkin answers Casals in the introduction's main phrase. Then listen to the low tremolos in Serkin's left hand, with Casals the background, just before the main theme begins. It's positively heartbreaking! After a plaintive introduction like that, it seems logical to me that the main theme should have to *fight* for its very existence when it appears, and this is just how Casals and Serkin take it. (Listen to the dynamic interplay!) By contrast, Schiff-Perenyi play it relatively straight-laced, without much dynamics, and don't convince me they have anything to say; their mission seems to be just to play prettily. ("For extra credit class, contrast their handling of the last murmuring bars of the introduction with Serkin-Casals. Which one makes your hair stand up on your back?") When the latter two get to the first movement's second theme, that struggle from the terse introduction is absent, and the whole dramatic "point" of the piece is lost, to my ears. These musicians are more convincing in the facile works, such as the Op. 66 Magic Flute Variations--they're pretty, sweet-sounding, and not as deep as the triple-digit opus works.

I think the best way to put it is to say that I feel that Schiff-Perenyi have thought about the notes, and play them perfectly. They can play rings around Casals and Serkin, and generally do. But Casals and Serkin spent their study time thinking about the music, what it meant, why Beethoven started this one with a brooding introduction but not that one; how the absense of such an introduction changes the qualities of the movement's secondary theme, when the works get "dark" and when they get "light," and so on. So many of today's musicians, unfortunately, see the little squiggles on paper as technical obstacles to be hurdled; Casals and Serkin saw them as clues to divine what was inside the composer's head. And if they didn't always clear the hurdle--and sometimes they don't--so what? You understood what they meant.

I guess in the interest of full disclosure, I should mention that while the Schiff-Perenyi are in immaculate sound, the Serkin-Casals recordings were made in the early 50s and are mono. This shouldn't stop anyone from buying them, but if you must have everything in your collection writ in large DDD letters, you should look elsewhere. And it will be your loss.

My only slight complaint is the titling of the Casals and Serkin set "The Complete Edition." Not quite. Missing is the little-known sonata in F Major, Op. 17, a transcription, as well as a theme and variations on Handel's Judas Maccabaus, WoO 45. These aren't major omissions that should dissuade you from buying the set, but it's not "complete," either. But even my beloved Heidsieck-Tortelier lacks the Op 17 sonata. Only the ECM has every last scraping of Beethoven's cello music.

Okay, that's my comparative essay. Hope you give me an A.

Complete Beethoven Edition, Vol. 13: Late String Quartets

Average customer rating:

Beethoven... Metafísico

Complete Beethoven Edition, Vol. 13: Late String Quartets
Ludwig van Beethoven , Jack Kirstein , and LaSalle Quartet
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Complete Beethoven Edition, Vol. 2: Concertos

ASIN: B000001GZG
Release Date: 1997-12-09

Tracks:

Quartet In E Flat Major Op. 127: Maestoso - Allegro
Quartet In E Flat Major Op. 127: Adagio, ma non troppo e molto cantabile - Andante con moto - Adagio molto espessivo - Tempo I
Quartet In E Flat Major Op. 127: Scherzando. Vivace
Quartet In E Flat Major Op. 127: Allegro - Allegro comodo
Quartet In C Sharp Minor Op. 131: Adagio, ma non troppo e molto espressivo - attacca:
Quartet In C Sharp Minor Op. 131: Allegro molto vivace - attacca:
Quartet In C Sharp Minor Op. 131: Allegro moderato - attacca:
Quartet In C Sharp Minor Op. 131: Andante, ma non troppo e molto cantabile - Piu mosso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto - attacca:
Quartet In C Sharp Minor Op. 131: Presto - Molto poco adagio - attacca:
Quartet In C Sharp Minor Op. 131: Adagio quasi un poco andante - attacca:
Quartet In C Sharp Minor Op. 131: Allegro

Tracks:

Quartet In B Flat Major Op. 130: Adagio ma non troppo - Allegro
Quartet In B Flat Major Op. 130: Presto
Quartet In B Flat Major Op. 130: Andante con moto, ma non troppo
Quartet In B Flat Major Op. 130: Alla danza tedesca. Allegro assai
Quartet In B Flat Major Op. 130: Cavatina. Adagio molto espressivo
Quartet In B Flat Major Op. 130: Grand Fuge (Op. 133) - Overtura. Allegro - Meno mosso e moderato - Allegro - Fuga. (Allegro) - Meno mosso e moderato - Allegro molto e con brio - Allegro
Quartet In B Flat Major Op. 130: Finale: Allegro

Tracks:

Quartet In A Minor Op. 132: Assai sostenuto - Allegro
Quartet In A Minor Op. 132: Allegro ma non tanto
Quartet In A Minor Op. 132: A Convalescent's Holy Song Of Thanksgiving To The Deity, In The Lydian Mode - Molto adagio (Feeling New Strength) - Andante - Molto adagio - Andante - Molto adagio. Mit innigster Empfindung
Quartet In A Minor Op. 132: Alla marcia, assai vivace - Piu allegro - attacca:
Quartet In A Minor Op. 132: Allegro appassionato - Presto
Quartet In F Major Op. 135: Allegretto
Quartet In F Major Op. 135: Vivace
Quartet In F Major Op. 135: Lento assai, cantante e tranquillo
Quartet In F Major Op. 135: Der schwer gefasste Entschluss (The Difficult Decision) - Grave, ma non troppo tanto (Must It Be?) - Allegro (It Must Be!) - Grave, ma non troppo tratto - Allegro

Customer Reviews:

Beethoven... Metafísico.......2000-03-23

El último periodo de la vida del gran maestro, su música como que está compuesta con una profundidad más allá de lo terrenal, es música no para los oídos sino para el alma trascendente. Esto sobre todo en los últimos cuartetos. Las interpretaciones de LaSalle, son de un nivel artístico, extraordinario (por algo los de la DGG incluyeron este set en la EDICION BEETHOVEN), el cuarteto Op. 130 viene de la forma que actualmente se está interpretando con la Gran fuga como parte integrante del cuarteto (La forma original). Es interesante oír el último movimiento de éste cuarteto, las últimas notas de nuestro querido Ludwig. Cómo es tan optimista y vencedor hasta el momento final de su vida terrenal, Qué lección para la humanidad!

Tracks:

I. Kyrie - Richard Hickox
II. Gloria: 'Gloria In Excelsis Deo' - - Richard Hickox
'Gratias Agimus Tibi' - Richard Hickox
'Quoniam Tu Solus Sanctus' - Richard Hickox
III. Credo: 'Credo In Unum Deum' - Richard Hickox
'Et Incarnatus Est' - Richard Hickox
'Et Resurrexit' - Richard Hickox
IV. Sanctus - Richard Hickox
V. Benedictus - Richard Hickox
VI. Agnus Dei: 'Agnus Dei' - - Richard Hickox
'Dona Nobis Pacem' - Richard Hickox
I. Kyrie - Richard Hickox
II. Gloria - Richard Hickox
III. Credo - Richard Hickox
IV. Sanctus - Richard Hickox
V. Benedictus - Richard Hickox
VI. Agnus Dei - Richard Hickox

Tracks:

I. Kyrie - Richard Hickox
II. Gloria: 'Gloria In Excelsis Deo' - - Richard Hickox
'Quoniam Tu Solus Sanctus' - Richard Hickox
III. Credo: 'Credo In Unum Deum' - - Richard Hickox
'Et Incarnatus Est' - - Richard Hickox
'Et Resurrexit' - - Richard Hickox
'Et Vitam Venturi Saeculi' - Richard Hickox
VI. Sanctus - Richard Hickox
V Benedictus - Richard Hickox
VI Agnus Dei: 'Agnus Dei' - - Richard Hickox
'Dona Nobis Pacem' - Richard Hickox
I. Kyrie - - Richard Hickox
II. Gloria - - Richard Hickox
III. Credo - - Richard Hickox
IV. Sanctus - - Richard Hickox
V. Benedictus - - Richard Hickox
VI. Agnus Dei - Richard Hickox
II. Gloria: 'Gloria In Excelsis Deo - - Richard Hickox
'Quoniam Tu Solus Sanctus' - Richard Hickox

Tracks:

I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo' -
'Gratias Agimus'
'Quoniam Tu Solus Sanctus'
III. Credo: In Unum Deum'
'Et Incarnatus Est -
'Et Resurrexit'
IV. Sanctus
V. Benedictus
VI. Agnus Dei: 'Agnus Dei' -
'Dona Nobis Pacem'
I. 'Salve Regina'
II. 'Ad Te Clamamus'
III. 'Eia Ergo Advocata Nostra'
IV. 'Et Jesum' -
V. 'O Clemens, O Pia'

Tracks:

Te Deum
I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo' -
'Qui Tollis Peccata Mundi' -
'Quoniam Tu Solus Sanctus'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est' -
'Et Resurrexit'
VI. Sanctus
V. Benedictus
VI. Agnus Dei: 'Agnus Dei' -
'Dona Nobis Pacem'
Aria Des Schutzgeistes (Hob. XXX:5a) (The Guardian Spirit's Aria)
Chor Der Danen (Hob. XXX:5b) (Chorus Of The Danes)
Te Deum

Tracks:

I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo' -
'Qui Tollis Peccata Mundi' -
'Quoniam Tu Solus Sanctus'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est' -
'Et Resurrexit'
IV. Sanctus
V. Benedictus
VI. Agnus Dei: 'Agnus Dei' -
'Dona Nobis Pacem'
'Ave Regina Coelorum' -
'Gaude Virgo Gloriosa' -
'Valde, O Valde'
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Benedictus
VI. Agnus Dei

Tracks:

I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo' -
'Gratias Agimus Tibi' -
'Quoniam Tu Solus Sanctus'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est' -
'Et Resurrexit'
'Et Vitam Venturi Saeculi'
IV. Sanctus
V. Benedictus
VI. Agnus Dei: 'Agnus Dei' -
'Dona Nobis Pacem'
I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo -
'Quoniam Tu Solus Sanctus'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est'
'Et Resurrexit' -
IV. Sanctus: 'Sanctus, Sanctus, Sanctus' -
'Pleni Sunt Coeli'
V. Benedictus
VI. Agnus Dei: 'Agnus Dei' -
'Dona Nobis Pacem'

Tracks:

I. Kyrie: 'Kyrie Eleison' -
'Christe Eleison' -
'Kyrie Eleison'
II. Gloria: 'Gloria In Excelsis Deo' -
'Laudamus Te' -
'Gratias Agimus Tibi' -
'Domine Deus' Rex Coelestis' -
'Qui Tollis Peccata Mundi' -
'Quoniam Tu Solus Sanctus' -
'Cum Sancto Spiritu' -
'In Gloria Dei Patris'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est' -
'Et Resurrexit'
IV. Sanctus
V. Benedictus
VI. Agnus Dei: 'Agnus Dei' -
'Dona Nobis Pacem'
I. Kyrie
II. Gloria

Tracks:

I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo' -
'Gratias Agimus Tibi' -
'Quoniam Tu Solus Sanctus'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est' -
'Et Resurrexit'
IV. Sanctus
V. Benedictus
VI Agnus Dei
I. Kyrie
II. Gloria: 'Gloria In Excelsis Deo' -
'Gratias Agimus Tibi' -
'Quoniam Tu Solus Sanctus'
III. Credo: 'Credo In Unum Deum' -
'Et Incarnatus Est' -
'Et Resurrexit'
IV. Sanctus
V. Benedictus
VI. Agnus Dei

Complete Beethoven Edition, Vol. 5: The 32 Piano Sonatas

Average customer rating:

Wilhelm Kempff Plays the Beethoven Piano Sonatas
Dollar for Dollar, the Best Beethoven Sonatas on CD
A great set, but...
The Definitive Beethoven Sonatas

Complete Beethoven Edition, Vol. 5: The 32 Piano Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Complete Beethoven Edition, Vol. 7: Violin Sonatas
Complete Beethoven Edition, Vol. 13: Late String Quartets
Complete Beethoven Edition, Vol. 11: Early String Quartets
Complete Beethoven Edition, Vol. 2: Concertos
Complete Beethoven Edition, Vol. 9: Piano Trios

ASIN: B000001GZ8
Release Date: 1997-10-14

Tracks:

No.1 f-moll op. 2 No. 1: 1: Allegro
No.1 f-moll op. 2 No. 1: 2 : Adagio
No.1 f-moll op. 2 No. 1: 3 : Menuetto. Allegretto
No.1 f-moll op. 2 No. 1: 4 : Prestissimo
No.2 A-dur op. 2 No. 2: 1 : Allegro vivace
No.2 A-dur op. 2 No. 2: 2 : Largo appassionato
No.2 A-dur op. 2 No. 2: 3 : Scherzo. Allegretto
No.2 A-dur op. 2 No. 2: 4 : Rondo. Grazioso
No.4 Es-dur op.7: 1 : Allegro molto e con brio
No.4 Es-dur op.7: 2 : Largo, con gran espressione
No.4 Es-dur op.7: 3 : Allegro
No.4 Es-dur op.7: 4 : Rondo. Poco allegretto e grazioso

Tracks:

No. 3 C-dur op. 2 No. 3: I. Allegro con brio
No. 3 C-dur op. 2 No. 3: II. Adagio
No. 3 C-dur op. 2 No. 3: III. Scherzo, Allegro
No. 3 C-dur op. 2 No. 3: IV. Allegro assai
No. 5 c-moll op. 10 No. 1: I. Allegro molto e con brio
No. 5 c-moll op. 10 No. 1: II. Adagio molto
No. 5 c-moll op. 10 No. 1: III. Finale. Prestissimo
No. 6 F-dur op. 10 No. 2: I. Allegro
No. 6 F-dur op. 10 No. 2: II. Allegretto
No. 6 F-dur op. 10 No. 2: III. Presto
No. 7 D-dur op. 10 No. 3: I. Presto
No. 7 D-dur op. 10 No. 3: II. Largo e mesto
No. 7 D-dur op. 10 No. 3: III. Menuetto. Allegro
No. 7 D-dur op. 10 No. 3: IV. Rondo. Allegro

Tracks:

No. 8 C-moll op. 13 - Pathetique: I. Grave - Allegro di molto e con brio
No. 8 C-moll op. 13 - Pathetique: II. Adagio cantabile
No. 8 C-moll op. 13 - Pathetique: III. Rondo. Allegro
No. 9 E-dur op. 14 No. 1: I. Allegro
No. 9 E-dur op. 14 No. 1: II. Allegretto
No. 9 E-dur op. 14 No. 1: III. Rondo. Allegro comodo
No. 10 G-dur op. 14 No. 2: I. Allegro
No. 10 G-dur op. 14 No. 2: II. Andante
No. 10 G-dur op. 14 No. 2: III. Scherzo. Allegro assai
No. 11 B-dur op. 22: I. Allegro con brio
No. 11 B-dur op. 22: II. Adagio con molta espressione
No. 11 B-dur op. 22: III. Menuetto
No. 11 B-dur op. 22: IV. Rondo. Allegretto

Tracks:

No. 12 As-dur op. 26: I. Andante con Variations - Beethoven
No. 12 As-dur op. 26: II. Scherzo. Allegro molto - Beethoven
No. 12 As-dur op. 26: III. Marcia funebre sulla morte d'un Eroe - Beethoven
No. 12 As-dur op. 26: IV. Allegro - Beethoven
No. 13 Es-dur op. 27 No. 1: I. Andante - Beethoven
No. 13 Es-dur op. 27 No. 1: II. Allegro molto e vivace - Beethoven
No. 13 Es-dur op. 27 No. 1: III. Adagio con expressione - Beethoven
No. 13 Es-dur op. 27 No. 1: IV. Allegro vivace - Beethoven
No. 14 cis-moll op. 27 No. 2 Mondschein-Sonate in C sharp minor 'Moonlight': I. Adagio sostenuto - Beethoven
No. 14 cis-moll op. 27 No. 2 Mondschein-Sonate in C sharp minor 'Moonlight': II. Allegretto - Beethoven
No. 14 cis-moll op. 27 No. 2 Mondschein-Sonate in C sharp minor 'Moonlight': III. Presto agitato - Beethoven
No. 15 D-dur op. 28 Pastorale: I. Allegro - Beethoven
No. 15 D-dur op. 28 Pastorale: II. Andante - Beethoven
No. 15 D-dur op. 28 Pastorale: III. Scherzo. Allegro vivace - Beethoven
No. 15 D-dur op. 28 Pastorale: IV. Rondo. Allegro, ma non troppo - Beethoven

Tracks:

No. 16 G-dur op. 31 No. 1: I. Allegro vivace
No. 16 G-dur op. 31 No. 1: II. Adagio grazioso
No. 16 G-dur op. 31 No. 1: III. Rondo. Allegretto
No. 17 d-moll op. 31 No. 1 - Sturm - Sonate: I. Largo - Allegro
No. 17 d-moll op. 31 No. 1 - Sturm - Sonate: II. Adagio
No. 17 d-moll op. 31 No. 1 - Sturm - Sonate: III. Allegretto
No. 18 Es-dur op. 31 No. 3: I. Allegro
No. 18 Es-dur op. 31 No. 3: II. Scherzo. Allegretto vivace
No. 18 Es-dur op. 31 No. 3: III. Menuetto. Moderato e grazioso
No. 18 Es-dur op. 31 No. 3: IV. Presto con fuoco
No. 19 g-moll op. 49 No. 2: I. Andante
No. 19 g-moll op. 49 No. 2: II. Rondo. Allegro

Tracks:

No. 20 G-dur op. 49 No.2: I. Allegro , ma non troppo
No. 20 G-dur op. 49 No.2: II. Tempo di Menuetto linkerkant
No. 21 C-dur op. 53: I. Allegro con Brio
No. 21 C-dur op. 53: II. Introduzione. Adagio molto - attacca:
No. 21 C-dur op. 53: III. Rondo. Allegretto moderato
No. 22 F-dur op. 54: I. In tempo d'un Menuetto
No. 22 F-dur op. 54: II. Allegretto
No. 23 f-moll op. 57 - Appassionata: I. Allegro assai
No. 23 f-moll op. 57 - Appassionata: II. Andate con moto - attacca:
No. 23 f-moll op. 57 - Appassionata: III. Allegro, ma non troppo - Presto
No. 24 Fis-dur op. 78: I. Adagio cantabile - Allegro, ma non troppo
No. 24 Fis-dur op. 78: I. Allegro vivace

Tracks:

No. 25 G-dur op. 78: I. Presto alla tedesca
No. 25 G-dur op. 78: II. Andante
No. 25 G-dur op. 78: III. Vivace
No. 26 Es-dur op. 81a - Les Adieux: I. Das Lebewohl (Les Adieux). Adagio - Allegro
No. 26 Es-dur op. 81a - Les Adieux: II. Abwesenheit (L'Absence). Andante espressivo
No. 26 Es-dur op. 81a - Les Adieux: III. Das Wiedersehn (Le Retour). Vivacissimamente
No. 27 e-moll op.90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
No. 27 e-moll op.90: II. Nicht zu geschwind und sehr singbar vorzutragen
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: I. Allegro
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: II. Scherzo. Assai vivace
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: III. Adagio sostenuto. Appassionato e con molto sentimento
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: IV. Largo - Allegro risoluto

Tracks:

No. 28 A-dur op. 101: I. Etwas lebhaft und mit der innigsten Empfindung. Allegretto ma non troppo afdruk
No. 28 A-dur op. 101: II.Lebhaft, marschmig. Vivace alla marcia
No. 28 A-dur op. 101: III. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto - attacca:
No. 28 A-dur op. 101: IV. Geschwinde, doch nicht zu sehr und mit Entschlossenheit. Allegro
No. 30 E-dur op. 109: I. Vivace, ma non troppo
No. 30 E-dur op. 109: II. Prestissimo
No. 30 E-dur op. 109: III. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) gevlekt
No. 31 As-dur op. 110: I. Moderato cantabile molto espressivo
No. 31 As-dur op. 110: II. Allegro molto
No. 31 As-dur op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo
No. 32 c-moll op. 111: I. Maestoso - Allegro con brio ed appassionato
No. 32 c-moll op. 111: II. Arietta. Adagio molto semplice e cantabile

Amazon.com

Wilhelm Kempff was the premier German pianist of the postwar period, so it's no surprise that he was considered one of the supreme interpreters of Beethoven. He recorded complete sets of the sonatas and concertos twice, and just about all the rest of the chamber music with piano as well. A classicist by nature, his approach to Beethoven was clear and poised rather than impulsive, but never lacking in sheer power or virtuosity when necessary. His last cycle of Beethoven sonatas is rightly regarded as his musical testament. Even if the mono recordings offered a few more exciting moments in a couple of works, you can't go wrong here--there isn't dud in the lot. --David Hurwitz

Customer Reviews:

Wilhelm Kempff Plays the Beethoven Piano Sonatas.......2005-08-16

Beethoven's "Daybook" includes the following famous entry: "The starry heavens above; the moral law within -- Kant!" Beethoven was alluding to Kant's statement in the "Critique of Practical Reason" of the two things that filled him with awe. But, in a simple way, Beethoven's statement could be read to show two related ways of understanding his music: the first as heroic, heaven-storming and outward directed and the second as inward, reflective, and meditative. Some of Beethoven's music can be seen as occupying one or the other end of the polarity while much of the music somehow occupies both ends.

The same holds true as a rough approach to the interpretation of Beethoven's music -- including the 32 piano sonatas. Some performers emphasize the dramatic, rugged and virtuosic characteristics of the music. Other performers emphasize the music's inward, introspective qualities. The great German pianist Wilhelm Kempff's classic recording of the complete piano sonatas is clearly within the latter approach. Kempff (1895 -- 1991) recorded the complete Beethoven sonata-cycle twice, the first in the 1950's and the second in the 1960's. The latter version was reissued on eight CDs by Deutsche Gramophonne as part of its 87-CD Complete Beethoven Edition. I had the original version on LP and purchased the CD set when LPs became obsolete. I recently had the opportunity to relisten to Kempff's performances in their entirety.

Kempff's readings of the sonatas are highly personal and introspective. His tempos tend to be slow and fluid, the pedal is used a great deal, phrasing is highly legato, and the volume is subdued and restrained. This is a metaphysical thoughtful reading of Beethoven which probes within. It is a moving and convincing way of rendering the sonatas; and I came away from my experience with a renewed devotion to this music. I have attempted about half of the sonatas myself over the years on the piano.

Beethoven's sonatas date from his youthful days in Bonn before his 1792 move to Vienna (the two sonatas of opus 49) to about 1822 (opus 111). Thus they occupied him for almost the entirety of his creative life. In listening to this complete set, the listener can follow Beethoven's development essentially chronologically and learn more first-hand about the sonatas than can be gained from reading many studies.

Separate from a chronological approach, listeners interested in a complete set of the sonatas will probably have some familiarity with some of the better-known named sonatas, such as the "Pathetique", opus 13, the "Moonlight", opus 27 no. 2, the "Waldstein" opus 53 or the "Appassionata" opus 57. After falling in love with some of these works, many listeners will want to explore the entire set of 32 sonatas.

Kempff brings his own personal, introspective readings to each of these familiar works. He does best, I think, with the rondo finale of the "Waldstein", with the "Moonlight" and with the two final movements of the "Tempest" sonata, opus 31 no. 2. His readings of these works on the whole will offer fresh insight into these great sonatas.

I think the greatest attraction of this set is the opportunity it affords to explore some of Beethoven's less frequently performed works. Again, Kempff is at his best in works of an introspective character. Thus, those coming to the sonata cycle for the first time will enjoy his performances of the opus 26 sonata, of opus 78, 79, and 81a ("Les Adieux) of opus 90, and of opus 101, 109, and 110. Opus 90, 101, and 109 are among my favorites of the cycle, and Kempff plays them soulfully and beautifully.

There is yet another group of sonatas that are still less well-known but receive excellent readings on this set. This group includes two early sonatas, opus 2 no 3 and opus 7, the opus 22 sonata, opus 27 no. 1 (the companion to the more famous "Moonlight"),opus 31 no. 3, the enigmatic opus 54, and, of course, the "Hammerklavier" sonata and the final sonata, opus 111. Each listeners choices and favorites among the 32 will vary and change with time and repeated hearings. This collection is an excellent introduction to all of them.

There are many recordings of the set of 32 sonatas and many approaches to the interpretation of Beethoven. I have lived with my set of Kempff for a long time and still am moved and inspired by his playing of this inexhaustible music. Listeners wanting to get to know this great body of work will find much to cherish in these performances by Wilhelm Kempff.

Robin Friedman

Dollar for Dollar, the Best Beethoven Sonatas on CD.......2001-03-16

Beethoven's piano sonatas were one of humanity's great achievements. They have been recorded by many pianists including Artur Schnabel, Alfred Brendel, Richard Goode, and John O'Connor--and nearly every pianist of note has recorded at least a few of the most popular sonatas.

What makes the Kempff set work best for me is the lack of a dogmatic, cookie cutter approach to the music. Kempff approaches each piece as a masterwork in its own right. The tempos are more sensible than those adopted by most other pianists, particularly in the slower movements. For example, in the Hammerklavier Sonata, most pianists cannot resist the urge to play the Adagio almost as a Largo--ignoring the fact that such a tempo would have made the movement incomprehensible on a piano of Beethoven's time--which had a quick tonal decay. Speaking of tone, Kempff has an especially beautiful sound--a product of his 19th century training. The phrasing is more flexible than today's "red light, green light" stop and go approach, and Kempff, unlike so many of today's pianists, never lets musical point making get in the way of the big picture, structually.

Although Kempff was getting along in years when these recordings were made--the 1960s--he is fully up to the technical hurdles these sonatas contain. The only disappointment on this set is in the "Appassionata" Sonata, where Kempff's clear headed approach does not suit this rage filled piece. For that particular piece, it's best to go with Richter's RCA recording. On the whole, this is the best set of Beethoven Sonatas currently available on CD--and it's at bargain price!

A great set, but..........2000-05-19

the mono set is clearly preferable, both as to performance and sound. All the attributes ascribed to the stereo set are present in even greater abundance in the mono set from the early 50s and the sound is more natural and warm than here. Problem is, it is difficult to find now. But do seek it out. This stereo set is probably still a "5" on an absolute scale, but the earlier set is just that much better.

The Definitive Beethoven Sonatas.......2000-05-12

Kempff recorded the complete cycle of Beethoven sonatas no fewer than three times. This, his last, is quite possibly the most refined set of Beethoven sonatas as far as overall consistency and polish. Many other sets show great promise in either the most popular sonatas or else in one particular period. (Richard Goode's late sonatas, for instance, are stellar, but some of the earlier works come across as dry and pedantic). From the Haydn-esque op. 2, to the Sonate Pathétique, the thunderous Hammerklavier and intense opp. 109, 110 and 111, all of the sonatas are executed with extreme clarity, authority and thoughtfulness. (Actually, the clarity is one of my few complaints in this set as occasionally passages feel a little detached, but rarely). Even the two "easy" sonatas of op. 49 are excellent; intermediate student pieces no longer. Some of the slow movements are taken a little faster than I would prefer, although there is hardly ever a sense of urgency. Kempff's dynamic range and large capacity for every imaginable articulation is also exploited to its very finest. There is no clearer Waldstein available, period. Even the so-called "warhorses" like the Moonlight are not tiresome in this set; some other recordings sound like the pianist has played them too many times and is sick to death of it, but you will never feel that here. For freshness and detail in all of these monuments of the piano sonata, this is the set to have.

Mozart: String Quartets (Complete Mozart Edition, Vol. 12)

Average customer rating:

Outstanding and a Remarkable Bargain
Nobilissima visione!
a remarkable set

Mozart: String Quartets (Complete Mozart Edition, Vol. 12)

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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ASIN: B00000410T
Release Date: 1991-04-05

Tracks:

String Quartets Nos.1-15: Quartet No.1In G - Adagio
String Quartets Nos.1-15: Quartet No.1In G - Allegro
String Quartets Nos.1-15: Quartet No.1In G - Menuetto
String Quartets Nos.1-15: Quartet No.1In G - Rondeau
String Quartets Nos.1-15: Quartet No.2 In D - Allegro
String Quartets Nos.1-15: Quartet No.2 In D - Andante
String Quartets Nos.1-15: Quartet No.2 In D - Molto allegro
String Quartets Nos.1-15: Quartet No.3 In G - Presto
String Quartets Nos.1-15: Quartet No.3 In G - Adagio
String Quartets Nos.1-15: Quartet No.3 In G - Tempo Di Menuetto
String Quartets Nos.1-15: Quartet No.3 In G - Adagio
String Quartets Nos.1-15: Quartet No.4 In C - Allegro
String Quartets Nos.1-15: Quartet No.4 In C - Andante
String Quartets Nos.1-15: Quartet No.4 In C - Presto
String Quartets Nos.1-15: Quartet No.5 In F - Allegro
String Quartets Nos.1-15: Quartet No.5 In F - Andante Un Poco Allegretto
String Quartets Nos.1-15: Quartet No.5 In F - Tempo Di Menuetto

Tracks:

String Quartets Nos.1-15: Quartet No.6 In B Flat - Andante
String Quartets Nos.1-15: Quartet No.6 In B Flat - Allegro
String Quartets Nos.1-15: Quartet No.6 In B Flat - Rondo, Allegro Grazioso
String Quartets Nos.1-15: Quartet No.7 In E Flat - Allegro
String Quartets Nos.1-15: Quartet No.7 In E Flat - Un Poco Adagio
String Quartets Nos.1-15: Quartet No.7 In E Flat - Presto
String Quartets Nos.1-15: Quartet No.8 In F - Allegro
String Quartets Nos.1-15: Quartet No.8 In F - Andante
String Quartets Nos.1-15: Quartet No.8 In F - Menuetto
String Quartets Nos.1-15: Quartet No.8 In F - Allegro
String Quartets Nos.1-15: Quartet No.9 In A - Molto Allegro
String Quartets Nos.1-15: Quartet No.9 In A - Andante
String Quartets Nos.1-15: Quartet No.9 In A - Menuetto
String Quartets Nos.1-15: Quartet No.9 In A - Rondeaux, Allegro

Tracks:

String Quartets Nos.1-15: Quartet No.10 In C - Andante
String Quartets Nos.1-15: Quartet No.10 In C - Menuetto
String Quartets Nos.1-15: Quartet No.10 In C - Un Poco Adagio
String Quartets Nos.1-15: Quartet No.10 In C - Rondeaux, Allegro
String Quartets Nos.1-15: Quartet No.11 In E Flat - Adagio - Allegro Assai - Adagio
String Quartets Nos.1-15: Quartet No.11 In E Flat - Menuetto
String Quartets Nos.1-15: Quartet No.11 In E Flat - Andante
String Quartets Nos.1-15: Quartet No.11 In E Flat - Allegro Assai
String Quartets Nos.1-15: Quartet No.12 In B Flat - Allegro Spiritoso
String Quartets Nos.1-15: Quartet No.12 In B Flat - Adagio
String Quartets Nos.1-15: Quartet No.12 In B Flat - Menuetto
String Quartets Nos.1-15: Quartet No.12 In B Flat - Allegro Assai
String Quartets Nos.1-15: Quartet No.13 In D Minor - Allegro Ma Molto Moderato
String Quartets Nos.1-15: Quartet No.13 In D Minor - Andantino Grazioso
String Quartets Nos.1-15: Quartet No.13 In D Minor - Menuetto
String Quartets Nos.1-15: Quartet No.13 In D Minor - Allegro

Tracks:

String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.14 In G - Allegro Vivace Assai
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.14 In G - Allegretto
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.14 In G - Andante Cantabile
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.14 In G - Molto Allegro
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.15 In D Minor - Allegro Moderato
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.15 In D Minor - Andante
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.15 In D Minor - Menuetto, Allegretto
String Quartets Nos.1-15: The Six Haydn Quartets - Quartet No.15 In D Minor - Allegretto Ma Non Troppo - Piu Allegro

Tracks:

String Quartets Nos.1-15: Quartet No.16 In E Flat - Adagio
String Quartets Nos.1-15: Quartet No.16 In E Flat - Allegro
String Quartets Nos.1-15: Quartet No.16 In E Flat - Minuetto
String Quartets Nos.1-15: Quartet No.16 In E Flat - Rondeau
String Quartets Nos.1-15: Quartet No.17 In B Flat - Allegro
String Quartets Nos.1-15: Quartet No.17 In B Flat - Andante
String Quartets Nos.1-15: Quartet No.17 In B Flat - Molto Allegro
String Quartets Nos.1-15: Quartet No.17 In B Flat - Presto

Tracks:

Quartet No.18 In A - Allegro
Quartet No.18 In A - Menuetto
Quartet No.18 In A - Andante
Quartet No.18 In A - Allegro Non Troppo
Quartet No.19 In C - Adagio - Allegro
2: Andante cantabile
Quartet No.19 In C - Allegretto
Quartet No.19 In C - Allegro Molto

Tracks:

String Quartets Nos. 16-23: Quartet No.20 In D - Allegretto
String Quartets Nos. 16-23: Quartet No.20 In D - Menuetto, Allegretto
String Quartets Nos. 16-23: Quartet No.20 In D - Adagio
String Quartets Nos. 16-23: Quartet No.20 In D - Allegro
String Quartets Nos. 16-23: The Three Prussian Quartets - Quartet No.21 In D - Allegretto
String Quartets Nos. 16-23: The Three Prussian Quartets - Quartet No.21 In D - Andante
String Quartets Nos. 16-23: The Three Prussian Quartets - Quartet No.21 In D - Menuetto, Allegro
String Quartets Nos. 16-23: The Three Prussian Quartets - Quartet No.21 In D - Allegretto

Tracks:

String Quartets Nos.16-23: Quartet No.22 In B Flat - Allegro
String Quartets Nos.16-23: Quartet No.22 In B Flat - Larghetto
String Quartets Nos.16-23: Quartet No.22 In B Flat - Menuetto, Moderato
String Quartets Nos.16-23: Quartet No.22 In B Flat - Allegro Assai
String Quartets Nos.16-23: Quartet No.23 In F - Allegro Moderato
String Quartets Nos.16-23: Quartet No.23 In F - Allegretto
String Quartets Nos.16-23: Quartet No.23 In F - Menuetto (Allegretto)
String Quartets Nos.16-23: Quartet No.23 In F - Allegro

Customer Reviews:

Outstanding and a Remarkable Bargain.......2005-08-11

Mozart's string quartets need no introduction. This collection is a compilation of recordings made by the famous Quartetto Italiano over a period of several years. The playing is excellent and it is very interesting to hear this range of quartets played by a single ensemble. At less than $14 per disk (Amazon list price plus shipping costs), this is an incredible bargain for so much rewarding music.

Nobilissima visione!.......2005-04-01

Since you listen the first bars of any of these memorable works, you feel the difference that makes the great difference. The approach given by these excellent musicians is unique in what sublime perfection, astonishing musicality and enrapturing commitment concerns. Paolo Borciani, the unforgettable leader of this ensemble sealed his name in the Holly Pantheon of the greatest with these unvaluable, prodigious and lavish recordings.
All the possible adjectives are not enough to describe the status of these performances.
Don't miss these golden recordings under no pretext!

a remarkable set.......2002-11-08

This box set is a fantastic addition to anyone's Mozart collection. Performances are passionate and simply beautiful.
It is fascinating to listen to the quartets chronologically and hear Mozart's development as a composer (even the earliest quartets have many fine moments). While the sound quality of the quartets recorded in 1966 are not as crisp as those recorded in the 70s, every disc has acceptable sound and is a treasure in itself.
Highest of recommendations!

Average customer rating:

At least 16 / 19 well spent hours
Enlightening but slighly blemished
Chopin - Luisada, Jean-Marc
Chopin - Luisada, Jean-Marc
Learn, learn, learn!

Chopin: Complete Edition
Krystian Zimerman , Claudio Arrau , Stefan Askenase , Anatol Ugorski , Maurizio Pollini , Jean-Marc Luisada , and Zilberstein, Lilya
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00001X58Z
Release Date: 1999-10-12

Amazon.com

On the 150th anniversary of his death, Deutsche Grammophon released this impressive box set featuring the complete works of Frédéric Chopin. Spread out over 17 CDs, it contains some truly big-name artists--Argerich, Pollini, Barenboim, and Ashkenazy--and a few you've probably never heard of. The majority of the set's nine volumes contain some music newly produced for this undertaking, and a few items (Chopin's songs, for instance) were recorded specifically for this collection. A well-illustrated book is included--it contains an essay, dateline, and illustrations--and each volume in the set gets its own liner notes. The music? It varies from great to less than great, but most of it is worth hearing. Those accustomed to Rubinstein's readings of the Mazurkas will find those played by Jean-Marc Luisada less fluid and lacking Rubinstein's power. Chopin's songs, seldom heard and filled with elements of Polish folk dances and the less-than-stellar lyrics of the composer's friend Stefan Witwicki, get a college try here by soprano Elzbieta Szmytka. They sound as good as you'll hear anywhere (if you can find them). It probably goes without saying that Martha Argerich's rousing 26 Préludes are some of the set's more exciting moments. But, really, the entire collection is solid. It should be noted that budget label Naxos has released its own Chopin edition at less than half the price of this set. With Idil Biret as the only performer on that set, you miss out on some of the diverse performances and personalities found here. Also, to please those of us who already own favorite performances of these works, each two-CD volume in the Complete Chopin Edition can be purchased individually. Bravo. --Jason Verlinde

Customer Reviews:

At least 16 / 19 well spent hours.......2004-10-11

In my opinion there is no more effective way to ruin a great musical performance than to record it in front of an audience who cannot control their coughs. The first disc starts out with a 1979 live recording of Chopin's first piano/orchestra concerto featuring pianist Krystian Zimerman and the Royal Concertgebouw Orchestra of Amsterdam. The performance is good, but doesn't allow the listener full concentration,--and therefore not full enjoyment--as a distracting and annoying audience can be heard coughing, sneezing, and clearing their throats even above the orchestra's playing in mezzo forte - it gets worse, of course, at dynamically quieter musical parts. Other distractions, like chairs creaking, cracking and squeaking, pages being turned probably inches away from a microphone (perhaps to give the page-turner a chance to say "Did you hear that? That was me,") and people stomping/dropping things (?) add to the incapability of the listener's full enjoyment. I've heard much worse, however, but considering that the recording technique is no older than 25 years, this is on the verge of being unacceptable. Sure - there can be a certain charm in hearing such "humanity" on a recording, especially when it's older, but I don't think many would disagree that this is a bit too much. Hearing the opening of piano/orchestra concerto no.2, and knowing that the 18+ hours of music to come aren't going to be interrupted by coughs, is a big relief. My favorite Chopin interpreter is--and might always be--Rubinstein; his playing is straight forward, he cuts to the chase quickly, yet somehow manages to leave room for sensitivity and emotion. His performances, of course--since he never recorded a note for Deutsche Grammophon,--are not included in this "complete edition," so aside from suggestions that certain waltzes are missing, that is something that makes this boxed set incomplete for me. Pollini's general interpretation of Chopin is in my opinion, as in many others', quite weak in comparison to Argerich's, Zimerman's, or the passionate playing of Daniel Barenboim. Here Pollini performs Etudes, Scherzos, Sonatas and Polonaises. At times, during the Etudes of op. 10, I feel like I'm getting more Maurizio than I am getting Fryderyk, even though the performance (especially on no.3) may invite feelings of thriving despite the performer's occasional roaring in the left channel. The Scherzos feature some troublesome factors; first and foremost the sound (of this 1990 recording) isn't at all as good as one would expect. It's far worse than several older recordings of this set - at only six seconds into the first Scherzo (op.20) one can't avoid acknowledging obvious distortion - the recording has clearly been done with too much input level. Clips noises continue throughout the grainy and dull sound picture of these pieces. Second of all, the noises Pollini makes while playing can be quite off putting. At times he sounds like a boy with a voice just breaking experiencing climax of coition, and as we all know, Chopin had a prudish aversion to overt sexuality. One reason why Pollini's performance of the Scherzos being called "troublesome" might be harsh, is that musically he handles them ok, and I'd think that's what's essential, but Deutsche Grammophon has made the odd decision of including Pollini's recording of Sonata no. 2, op.35 (a.k.a. "Funeral March") from 1984 in this set, instead of Argerich's recording from 1975. First of all, Argerich's version has clearer sound (at least on the newly refurbished "The Originals" edition...but then again, that was released in 2002,) but second of all, and more importantly, her playing is far more straight forward during the first part of the Sonata (Grave,) whereas Pollini shows too much mercy both for strong dynamics and tempo throughout. Furthermore he's on the verge of playing parts of the March suggesting "lento," as if it read "rubato" (it's a MARCH!) His performance of Piano Sonata no.3 is also a bit lifeless, but the hour long disc of Polonaises recorded 1975 he handles surprisingly well (the occasional phlegmatic karaoke-roars may need a little time getting used to, though.) Several of these interpreters make some less musical noises while playing - Zimerman, for instance, breathes heavily through the nose after each and every completed phrase throughout all off his performances (although it can't be heard with orchestra.) When listening to his solo performances in head phones, the constant snuffling can distract and annoy quite a bit, but I know that I do the exact same thing when I play, myself, so perhaps I shouldn't complain until I've managed to rid the inconvenient problem myself. Besides Pollini's Polonaise interpretations, there's another (76 minute long) disc of Polonaises featuring mainly Ugorski, but also Argerich. Something that seems odd to me is that the sound quality of Argerich's 1974 recording once again is superior to a newer recording - in this case to the 1999 recording of Ugorski, which doesn't feature much middle in the sound picture, but uneven soughing and clip noises! Both their performances (but especially Argerich's,) are about as enjoyable as Chopin interpretations can be, I'd think, as is the technically and musically perfect, touching and mesmerizing Nocturne interpretations of Daniel Barenboim, recorded in 1981 - his playing here equals close to two hours of pure magic. While being a Rubinstein fan, I'm going to have to say that Barenboim's way of playing the Nocturnes is just how I think they should be played; they call for this somewhat gentle touch mixed in with their brutal sincerity, but I suggest for those who (especially) enjoy the Etudes, Sonatas and Scherzos to listen to Rubinstein's recordings of the works (available on RCA's Rubinstein Collection, vol. 26, vol. 45 and vol. 46.) Pollini is, of course, a fine performer, but I'd suggest listening to his interpretations of Prokofiev's and Stravinsky's work instead.
Rubinstein recorded the preludes (op.28) in their entirety only once, in 1946, which means that they aren't available in RCA's collection with preferable sound quality, but on this set Martha Argerich delivers a great performance of the 26 preludes (no.1-24, op.28, plus 25, op.45, and 26, op. 35,) recorded in 1975. One prelude that in my opinion should always be played as slow and gentle as possible is no.15 (a.k.a. "The Raindrop Prelude.") What I'd like to describe as a prefect version of the piece is performed by--despite my having done a lot of research--a, to me unknown performer, but runs at 6:08 minutes. Argerich rushes the whole piece a bit (the drops fall too closely -) the fact that her version runs at 4:51 should say a lot. Of the approximately 20 different performances I've heard of this particular prelude (obviously one of my favorites,) Argerich's is the shortest, and lays somewhere in the swamp among other "medium integral" versions. She delivers exciting performances of the other preludes, though - the first time I heard them, I hit repeat on my CD player, and listened to nothing else for three days.
The Mazurkas, here performed by Jean-Marc Luisada and Lilya Zilberstein, are performed--while beautifully--quite carefully and loosely. For those who'd like a more restrained performance of the pieces, RCA's Rubinstein Collection, vol. 50, is recommended.
Besides all the music for only piano(s,) Chopin also composed 80 minutes worth of chamber music, which here is performed by Beaux Arts Trio, et al. He also wrote 45+ minutes worth of songs, which here is performed by soprano Elzbieta Szmytka and pianist Malcolm Martineau on a 1999 performance. I don't feel qualified to comment on solo singing in Polish, but while I don't care for the occasional close-to-full effect vibrato, I like Martineau's piano playing and the almost folksy melodies and arrangements. This music distinguishes itself by far from the rest of the music in the set. Translations to several languages of the lyrics to the 19 songs are included.
The stereophony on all recordings is great, the overall sound quality on all discs (when considering the years of the recordings) I'd give a 4/5, but still rate the whole package 9/10 - I'd think that some (both older and newer) recordings could have been transferred better, while some sound superior to what you'd dare dream of. This is definitely the best complete edition of Chopin's music available, and perhaps the best collection of works available on disc by any classical composer. A lot of work has been put into the set's design, the sound, and certainly the amount and accuracy of interesting info given in the enclosed illustrated 140 page hard-cover book (of which a fifth is written in English) and in the 40-60 page booklets (also illustrated) included in each volume; practically everything you'll ever need to know about the composer (and these recordings) is included here along with all the music he wrote. Well worthy of your time and money.

Enlightening but slighly blemished.......2004-07-05

I commend DG on producing this comprehensive and thoughtfully packaged/annotated collection of Chopin's output. In it one can appreciate the wondrous manner in which Chopin at once appeased the conservative appetites of the Paris salon set while revolutionizing the genre of piano music in both traditional and more intimate forms.

The greatest virtue of this collection is the opportunity to hear more obscure elements of Chopin's collected ouevre. He wrote some lovely chamber music and wrote highly effective variations with and without orchestra. Among his 17 songs are a few gems.

As for the strength of the performances, some of them are rightly considered definitive. I love Zimerman in the piano concerti, Argerich owns the Op. 28 preludes, and I find in Pollini's scherzos the unbridled energy and interpretive depth required by these challenging pieces. Even if Daniel Barenboim's nocturnes do not set any records, they are well-done and completely satisfying.

I was less enthusiastic about Pollini's readings of the latter 2 piano sonatas, which I find prosaic on the whole. I was equally underwhelmed by Bunin's impromptus, which again betray interpretive rather than technical deficiencies. My greatest disappointment is Jean-Marc Luisada's controversial readings of the mazurkas. An unwieldy rubato rules the day here, and distorts the harmonic language to the point that it sounds like Debussy or Ravel's frequent (and unshakeably French-sounding) evocations of Spain. I much prefer any of the Rubinstein mazurka sets, which are colorful but rhythmically mindful of their namesakes.

Properly supplemented in the more familiar repertory (mazurkas, impromptus, sonatas, in particular), I believe this set is indispensable to anyone who appreciates or seeks a broader understanding of Chopin the composer. I recommend it highly.

Chopin - Luisada, Jean-Marc.......2002-04-14

I am a professional Pianist and Piano-pedagoge trained at the University of Graz and Vienna (Austria).
It seems as often reviewers/critics/listeners have the same opinions: I wonder if it isn't in some cases the old story of the Emperors new clothes - nobody dares to have a different opinion, as they do not want to appear stupid.
Some of the reviewers here, didn't like Luisadas performances of the Mazurkas. I hold the heretical opinion that Jean-Marc Luisadas performances are much better than Rubinsteins (I possess the three different complete Mazurka recordings of Rubinstein). There are few pianists that like Luisada know how to treat the piano as a truly polyphonic instrument, with absolute control of every line, and at the same time being able to emphasise every harmonic detail - giving every chord its differing and appropriate degree of tension. Furthermore he understands how to display the different moods and characters of the music. All these factors make Luisadas performances extremely colourful. Every Mazurka with Luisada is a unique experience.

Ps. Other recordings do occasionally wet the critical appetite: For instance the everywhere highly acclaimed Chopin recordings with Pollini are often musically awful, the Etudes opus 10 nr. 1 and opus 25 nr. 1 are examples. For the complete Etudes, buy Boris Berezovsky's recording for Teldec, it surpasses Pollini by far. Ds.

Chopin - Luisada, Jean-Marc.......2002-04-14

Learn, learn, learn!.......2000-10-16

This box set is a must for any lover of piano music.

DG deserves praise for coming with an excellent set of records as well as presentation of the booklets. It is breathtaking to have the opportunity to really know Chopin so well.

Performers are first rate and speak for themselves, and for the price of 8 CD's you get the whole collection. Yes, you can get in some cases better performances, but overall you can find a better compilation. Naxos has its own, and I am going to exchange it with a friend, problem will be to get mine back!

Buy it without hesitation.

Complete Crumb Edition 9; Ancient Voices of Children, Madrigals Books I-IV, Eine Kleine Mitternachtmusik
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Complete Crumb Edition 9; Ancient Voices of Children, Madrigals Books I-IV, Eine Kleine Mitternachtmusik
George Crumb , Tony Arnold , Justin Murray , David Colson , and Emanuele Arciuli
Manufacturer: Bridge Records, Inc.
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AA4L50
Release Date: 2005-07-20

Tracks:

Ancient Voices of Children - El nino busca su voz
Ancient Voices of Children - "Dances of the Ancient Earth"
Ancient Voices of Children - Me he perdido muchas veces por el mar
Ancient Voices of Children - De donde vienes, amor, mi nino?
Ancient Voices of Children - Todas las tardes en Granada, todas las tardes se muere un nino
Ancient Voices of Children - "Ghost Dance"
Ancient Voices of Children - Se ha llenado de luces mi corazon de seda
Eine Kline Mitternachtmusik - Nocturnal Theme
Eine Kline Mitternachtmusik - Charade
Eine Kline Mitternachtmusik - Premonition
Eine Kline Mitternachtmusik - Cobweb and Peaseblossom
Eine Kline Mitternachtmusik - Incantation
Eine Kline Mitternachtmusik - Golliwog Revisited
Eine Kline Mitternachtmusik - Blues in the Night
Eine Kline Mitternachtmusik - Cadenza with Tolling Bells
Eine Kline Mitternachtmusik - Midnight Transformation
Madrigals - Verte desnuda es recordar la tierra
Madrigals - No piensan en la lluvia, y se han dormido
Madrigals - Los muertos llevan alas de musgo
Madrigals - Bebe el agua tranquila de la cancion aneja
Madrigals - La muerte entra y sale de la taberna
Madrigals - Caballito negro Donde llevas tu jinete muerto
Madrigals - La noche canta desnuda sobre los puentes de marzo
Madrigals - Quiero dormir el sueno de las manzanas
Madrigals - Nana, nino, nana del caballo grande que no quiso el agua
Madrigals - Por que naci entres espejos
Madrigals - Tu cuerpo, con la sombra violeta de mis manos, era un arcangel de frio
Madrigals - La muerto me esta mirando desde las torres de Cordoba!

Product Description

Volume Nine of Bridge's Grammy Award-winning George Crumb Edition features new recordings of two of Crumb's Lorca-inspired classics, as well as the premiere recording of the composer's latest piano piece. Ancient Voices of Children is the composition that brought George Crumb his greatest fame in the 1970s. Scored for soprano, boy soprano and a wild assortment of instruments including mandolin, musical saw, and toy piano, Ancient Voices is a dramatic masterpiece that influenced an entire generation of composers with its use of quotation, extremes of color and dynamics, and one of the most stunningly virtuosic vocal parts in the twentieth century repertoire. As sung in this composer-supervised recording, the young soprano, Tony Arnold, breathes new life and beauty into this cycle which has been virtually owned by the work's dedicatee, the legendary Jan DeGaetani. Eine Kleine Mitternachtmusik is George Crumb's latest work for solo piano- a twenty minute take on Thelonious Monk's famous tune Â‘Round Midnight. Though the work opens and closes with literal statements of Monk's tune, from the outset, we know that the music is the inimitable work of George Crumb, with its strummed strings, percussive rumblings inside the piano, and typically Crumbian harmony. Eine Kleine Mitternachtmusik includes a touching Â‘blues' movement, and a theatrical Â‘counting off' (in Italian) of the hours until Midnight. The work's dedicatee, the Italian piano virtuoso Emanuele Arciuli, is the performer in this premiere recording. George Crumb's four books of Madrigals comprise the longest work in his famed Lorca cycle. This new recording again features Tony Arnold in a spectacular realization of these seminal works by Crumb. From a field of nearly one hundred singers and instrumentalists at Holland's 2002 Gaudeamus International Interpreters Competition, the American soprano Tony Arnold triumphed, becoming the first singer ever to win the competition's First Prize. Ms. Arnold has recently completed a 10 city tour with George Crumb and the George Crumb Ensemble. The soprano's sensational performances of Mr. Crumb's works has inspired Crumb to compose a new work for Ms. Arnold, which will be featured on an upcoming volume in this series. The previous volumes in Bridge's Crumb edition are: BRIDGE 9028 - Songs, Drones, and Refrains of Death; Apparition, A Little Suite for Christmas, AD 1979 BRIDGE 9069 - Quest, Federico's Little Songs for Children, Night Music I BRIDGE 9095 - Star-Child, Three Early Songs, Mundus Canis BRIDGE 9105 - Music for a Summer Evening (Makrokosmos III), Zeitgeist BRIDGE 9113 - Easter Dawning, Celestial Mechanics, A Haunted Landscape, Processional, Easter Dawning BRIDGE 9127 - Lux Aeterna, Pastoral Drone, Four Nocturnes, Gnomic Variations, Echoes of Time and the River BRIDGE 9139 - Unto the Hills, Black Angels BRIDGE 9155 - Makrokosmos Vol. I-II, Otherworldly Resonances

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Outstanding music and great value!!
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Very Highly Recommended

Guitarra española

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000B09Z5
Release Date: 2004-03-09

Customer Reviews:

Outstanding music and great value!!.......2006-04-02

Narciso Yepes is my favorite classical guitarist. I was delighted to hear a couple guitar concertos I had never heard before. Ohana, Bacarisse, and Ruiz-Pipo were great discoveries. Again, Yepes is the BEST. Strongly recommended.

Excellent.......2005-08-22

The late Narciso Yepes is perhaps my favorite guitarist- Spanish or otherwse. With each of his recordings there is the sense of a madman, master, and poet at one with his instrument. I recently purchased "Guitarra espagnola" and have found endless enjoyment listening critically and as background while I work. This is the perfect "not background music" background music to play when you have guests. You and your guests will find yourself withdrawing from lively conversations to enjoy a poignant, sweet, or sinister moment with the music. This is a compilation of recordings from the past 20 to 30 years. The compositions span from the 17th to 20th century. The quality of the recordings is very good but at times varied. The availability of the compilation is very limited. Get it while you can! I also recommend Alirio Diaz and John Williams.

Very Highly Recommended.......2004-05-08

I cannot recommend this retrospective of just a small amount of Yepes's work highly enough.

No matter what popular and lay opinions may be about Williams, Bream, Segovia, and others, the greatest classical guitarist of the 20th century was Narciso Yepes. It is a pity and a shame that the fear of the older generation of guitarists and their associates made Yepes a marginal figure.

He was a consummate technician and a knowledgeable interpreter of all musical idioms from the Middle Ages through to the height of the 20th Century avant-garde. His playing was characterized by intelligence, sensibility, clarity, power, majesty, poetry, and a devilish ability to separate and sustain contrapuntal lines.

In this box of 5 CDs you will find the definitive performance of Rodrigo's now famous "Aranjuez" concerto, which, incidentally, was first recorded and made famous by Yepes. There are also 2 CDs with rare concertos by Salvador Bacarisse, Antonio Ruiz-Pipo, and Maurice Ohana.

The other 3 CD's contain generally the best performances of the canon of solo guitar works that you are likely to find. The composers include Sanz, Mudarra, Narvaez, Soler, Sor, Albeniz, Granados, Tarrega, De Falla, Turina, Bacarisse, Rodrigo, Llobet, Pujol, Moreno Torroba, Montsalvatge, Ohana, and Ruiz-Pipo.

Every guitarist and every lover of the instrument should own this set. If it is not available, also refer to a similar box set with the ASIN number B00006L6RN or another B000026ZRL.

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