Music in the Great Hall [Live]

1. Moirrey NY Cainle/Sir Watkins Jig

2. Fingal's March/The Halting March

3. Pretty Girl Milking the Cows

4. Songs from a Scottish Childhood (Drunk at Night and Dry I'da Morning/Hi

5. Captain O'Kane/The Clergy's Lamentation

6. Boys of the Lough/Drowsy Maggie

7. Planxty Drew/Mabel Kelly/John O'Connor

8. Gosteg Dafydd Athro/Caniad Marwn Ad Ifan AB y Go

9. Reaper of Glanree

10. Gin Ye Kiss My Wife, I'll Tell the Minister

11. Galician Waltz/Breton Dances

12. Miss Patterson/McDonald's March/McKinnon's Brook

13. Shooyl Inneenyn/Illiam y Thalhear/Flitter Dance

Music in the Great Hall,Various Artists,Maggie's Music,Celtic,Celtic Folk,Celtic/Irish,Int'l & World Music,Ireland,Irish Folk,Pop,Scottish Folk,Traditional Celtic,World Music

Grieg: Peer Gynt
Average customer rating:

The Whole Thing

Hauntingly Beautiful

Good-enough readings but outstanding sound

Passionate

Maybe this is THE (one disc-) Peer Gynt album to own ...

Grieg: Peer Gynt

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
Theatrical, Incidental & Program Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
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Pytor Illych Tchaikovsky: The Nutcracker - Complete Ballet

ASIN: B0007Z47JI
Release Date: 2005-06-07

Tracks:

No. 1 At The Wedding (Prelude To Act I)
No. 2 Halling
No. 4 The Abduction Of The Bride
No. 6 Peer Gynt And The Woman In Green
No. 7 Peer Gynt: 'You Can Tell Great Men By The Style Of Their Mounts!'
No. 3 Springar
No. 8 In The Hall Of The Mountain King
No. 9 Dance Of The Mountain King's Daughter
No. 12 The Death Of Ase (Prelude To Act III)
No. 13 Morning Mood (Prelude To Act IV)
No. 15 Arabian Dance
No. 16 Anitra's Dance
No.17 Peer Gynt's Serenade
No. 19 Solveig's Song
No. 20 Peer Gynt At The Statue Of Memnon
No. 21 Peer Gynt's Homecoming. Stormy Evening On The Sea (Prelude To Act V)
No. 22 The Shipwreck
No. 23 Solveig Sings In The Hut
No. 25 Whitsun Hymn: 'O Blessed Morning'
No. 26 Solveig's Cradle Song

Customer Reviews:

The Whole Thing.......2007-05-10

If there's an earlier 'Peer Gynt' recording that's complete (as opposed to just the 'suite') I've never heard of it. This is the entire incidental music to the play, not just the usual 'Dawn', 'The Hall of the Mountain King' 'Solveig's Song', etc.
Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is.

My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.

Hauntingly Beautiful.......2007-03-11

Conductor Paavo Jarvi does a masterful job of leading the Estonian National Symphony Orchestra. The orchestra plays with great emotion and precision creating an exciting and almost hypnotic effect. Although Beecham's version is very good, his Peer Gynt does not come close to matching the sheer beauty of Jarvi's.
The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive.
I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.

Good-enough readings but outstanding sound.......2007-02-21

I don't find that Paavo Jarvi and his Estonian forces have much to say in the familiar numbers from Peer Gynt. You must turn to Beecham for sheer delight in famous numbers like In The Hall of the Moutain King, Morning, Anitra's Dance, and so on. Where this recording scores is in the unfamiliar numbers; Peter Matteo's excellent rendition of the little-known Peer Gynt's Serenade is one highlight, as is the convincingly crude folk fiddling that begins half a dozen numbers.

Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is ordinary and his Estonian musician ae playing at far less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged.

Passionate.......2006-08-18

The story line gives the listener a guide to follow the music, but the score leaves out the connections for the listener to only imagine the performance. The music is passionate and descriptive and introduces the listener to the singing voices of parts of the presentation that are left out in the "Suite." I appreciate hearing it over and over.

Maybe this is THE (one disc-) Peer Gynt album to own ..........2006-02-15

... to keep closely beside the gorgeous, incisively intelligent and deeply concentrated performance (also on 1 CD) with Esa-Pekka Salonen conducting the Oslo Philharmonic Orchestra and Barbara Hendricks singing the role of Solveig (Sony Classical).
Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-)
Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ...

Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen.
Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling.
All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue).
The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!

Average customer rating:

Good job
Masterful!
Great CD of Classical music's power pieces!

Time Life Presents: Classical Thunder

Manufacturer: Time Life Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Thunderous Classics
Thunder & Lightning
25 Thunderous Classics
Classical Thunder II: Time Life Library of Classical Favorites
Simply the Best Classical Anthems

ASIN: B00081U6XC
Release Date: 2005-04-26

Tracks:

Introduction
Ride Of The Valkyries
Mars, The Bringer Of War
Montagues And Capulets
Sabre Dance
William Tell Overture (Conclusion)
In The Hall Of The Mountain King
The Hut On Fowl's Legs
The Great Gate At Kiev
Fanfare For The Common Man
Allegro Con Brio
Marche Au Supplice (March To The Scaffold)
Sacrificial Dance (The Chosen One)
Circus Maximus
Les Toreadors
Finlandia, Op.26
1812 Overture, Op.49 (Conclusion)

Tracks:

Procession Of The Nobles
Rakoczy March
Ritual Fire Dance
The Hero's Battlefield
Pines Of The Appian Way
Dies Irae
Allegro Con Brio
Allegretto
Air Et Danse Bacchanale
Farandole
Infernal Dance Of King Kastchei
O Fortuna
The Wedding Of Kije
Hurricane
Marche Slave, Op.31

Customer Reviews:

Good job.......2005-08-26

I remember when I was little, I had this cd, but i lost it. I bought a similiar type of one through TIme Life and decided to try the Classical Thunder one. I have like it so far.

Masterful!.......2005-06-15

This two CD set is magnificent. I got the set in the early 1990's when it was advertised on television, along with other releases in Time Life's set. I was struck by the interpretations of the conductors. Whenever I hear these pieces now, I judge them against this recording. Amazing selection as well. There are staples of orchestra repetoire, like Beethoven symphonies, but also gems that are not heard very often, like the Rimsky-Korsakov "Procession of the Nobles." A very impressive recording.

Great CD of Classical music's power pieces!.......2005-06-07

I got this CD when I was around 16 because I loved a lot of the music on this double CD set. As a student pursuing a Music Education major, it has been a great asset for my musically, and just great for listening to. I will drive on short trips and take this with me and blast it louder than the guy in the next car blasting rap music. I also take it skiing as it sets a great tempo down the mountain. This is a great CD for anyone that loves music.

The Great Organ at Methuen - Bach: BWV 540, 542, 582, 643, & 737

Average customer rating:

Great All Around
hall sound, what hall sound?
short and has been reissued with 2 Franck pieces
Magnificent
Outstanding Passacaglia in C, and a real subwoofer tester

The Great Organ at Methuen - Bach: BWV 540, 542, 582, 643, & 737
Johann Sebastian Bach , Michael Murray , and Methuen Memorial Music Hall Organ
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Bach: Toccata & Fugue in D minor; Prelude & Fugue in B minor; Concerto No. 2 in A minor; Prelude & Fugue in D major
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ASIN: B000003CSJ
Release Date: 1990-10-25

Tracks:

Fantasia And Fugure
Toccata
Passacaglia And Fugue
Vater Unser Im Himmelreich
Alle Menschen Mussen Sterben

Customer Reviews:

Great All Around.......2007-02-03

I was a little careful with this CD, as the previous reviews are a little scetchy and I have other works from Michael Murray which are not anything exciting. However, I was enthralled by both the sound quality and the performance. Michael Murray really plays out the pieces! The organ sounded not too far off what I heard in person at a concert I attended at Methuen last year.
The only curiosity of the recording is the fact that it is so short and that the pieces are arranged with the three large pieces, then the two Chorales. Usually, recording engineers will stick the softer pieces in the middle to give contrast to the recording and to not make the listeners ears tired. They also did not include the beautiful Fugue to the Toccata, which was a little disappointing.
All in all, considering the price of a used copy ($2-3), it is well worth it. The music and sound are great, and they even included decent liner notes, which is more than I can say for many organ CD's.

hall sound, what hall sound?.......2005-07-31

Just a note for audiophiles - this early recording is one of those where the organ is in stereo, but the reverb/overhang is in mono. There might have been coincident mikes to explain this - there is left and right organ sound, but virtually no space. You either like this technique or you don't, but if you don't it is really annoying, especially compared to live organ.

Still, your mightiest subwoofer, a true one, not the so-called subs that are really just woofers, will have a lot of fun with it. A true sub has, for a change, a lot to work with.

JK

short and has been reissued with 2 Franck pieces.......2005-01-04

Telarc CD 80637 adds Cesar Franck pieces "Fantasie in A" and "Pastorale, Op 19" making the total time of the reissue 61:39. 2004

Magnificent.......2003-10-31

Let's state up front what some may regard as drawbacks of this CD: first, it's only 40 minutes long; second, it's an early digital recording (1979), and I believe is the earliest in the distinguished series of Michael Murray organ CDs on Telarc.

Now for its advantages, which to me are substantial enough to overcome any drawbacks. First, the organ: I'm an organ buff, and in my opinion this is one of the greatest organs in the USA. It has an unusual history. Built by the Bavarian firm of Walcker in 1857-63 for the Boston Music Hall, it was the first concert organ in the country. In 1884 it was dismantled to give stage space for the new Boston Symphony Orchestra. In 1897 it was purchased by a wealthy gent who commissioned a lavish new music hall in Methuen Mass. for it, where it was installed and rededicated in 1909. It must be one of the very few organs in the world that enjoys its own music hall built especially to house it. It was revised and rebuilt by the famous G. Donald Harrison of Aeolian-Skinner in 1947. Today it has four manuals, 84 stops, 115 ranks, and 6,027 pipes (including two 32-foot pedal pipes).

The description of the tonal qualities of this organ in the CD notes (uncredited, but I suspect by the highly literate Murray, who has often written his own notes, as well as books on his teacher Dupre, Schweitzer, and French masters of the organ) is so apt, so right-on-target, that I'd like to quote it: "Neither wholly romantic nor wholly classic, the Methuen organ partakes of both styles of instrument and is suited to both styles of music. Its beauties include a unique mellowness that comes only to well-built flue pipes and only after decades of seasoning, and a miraculous blending of eight-foot foundations, whose harmonics interweave like the colors of a tapestry. The tutti is overwhelming, not abrasive. The mixtures are bright, not shrill. The foundations are full-bodied but remain, in even the most complex polyphony, clear. Accordingly, the Methuen organ is renowned as one of the world's artistic treasures." Amen. It is indeed a rare beauty.

Michael Murray is one of the pre-eminent organists of our day and a superb interpreter of Bach. He is a sound musician; his playing is never flashy or trendy or eccentric; and he never tries to show off: although he is an accomplished technician, his technique is there to serve the music, not the other way around (as one critic wrote, "He is definitely for us, we who listen to music first and organ fingerwork second"). I have long found him to be one of the most deeply satisfying Bach organists on record. This CD contains three major Bach works (in addition to two short pieces) in performances as compelling as any you will find. His tempos and his registrations are beyond reproach; they have just the right amount of gravitas, avoiding ponderousness on the one hand and lightness on the other. (He does tend to favor slower tempos, so those who like their Bach to move swiftly may be less satisfied than I am.) And the 1979 digital engineering turns out to be first class. In short, here we have it all: a master organist playing major Bach on a magnificent, tonally resplendent instrument recorded in exemplary sound: vivid, rich, and full, with excellent clarity and deep, natural bass. If you relish Bach, organ music, or organs, you are sure to enjoy this CD.

Outstanding Passacaglia in C, and a real subwoofer tester.......2000-11-03

The only real problem with this disc is that it is too short! This is a very early Telarc, and unfortunately, the CDs were not made very long in those days, only 39:59 on my player. Don't be misled by the June 1979 recording date, the Soundstream digital recorder and those Schoeps Colette Series microphones could do the job.

The recording is really magnificent, about as close to 'like there' as one is likely to find with stereo, with a wide stereo image with realistic depth. The organ at the Methuen Memorial Music Hall in Methuen, Massachusetts is quite an instrument, capable of classic and romantic colorations and textures, according to the liner notes. Not being an expert on organs, one thing I do notice is the 32 foot Principal in the Pedals, with the low 16 Hz fundamental tones.

The famous Fantasia and Fugue in G minor, BWV 542, which begins the CD, is outstanding. One can hear immediately the outstanding presence of the recording and the immense power of the performances. One simply forgets about analysis and listens.

Thank God there is not another Toccata and Fugue in d minor here! Sure, it's a magnificent piece, but Heaven knows that has been recorded enough. Does it have to be on virtually every CD single of Bach organ music? Murray plays the Toccata in F Major, BWV 540, with great conviction, and the sound is magnificent. One wishes they had included the fugue that generally goes with it, but I did warn you this is an early CD, and they didn't make them very long then. Telarc really should reissue these performances on a CD with more items.

I found this to be a great CD for auditioning subwoofers. Do you want to see if a subwoofer goes deep? Go to Band 3, 29 seconds in, and there is the first of a series of sustained 32 foot pedal tones (16 Hz fudamental), good and strong, of the Passacaglia in C, BWV 582. If you don't get that 'air shaking all around you' effect, the subwoofer isn't adequate for it! Most speakers and even subwoofers simply cannot play the bottom note at all.

Not to get caught up in the technical merits of the recordings, Michael Murray's performance of the great Passacaglia in C is awe inspiring. Bach's Passacaglia may be the greatest piece of music ever written, and it is hard not to believe it when listening to this magificent performance. The Passacaglia is a strong, driving work, working out the variations on the theme with an inexorable logic. There is absolutely nothing like it, and this is the ideal performance.

The other two bands on the disc are much shorter pieces, "Vater unser im Himmelreich," BWV 737 and "All Menschen muessen sterben," BWV 643, which are just under 2.minutes each. They are meditative pieces, much quieter, though there is some nice deep pedal work. Surely Telarc could put some other works with these, to get the time to over 70 minutes.

Tracks:

Moirrey Ny Cainel/Sir Watkins Jig
figal's Mach/Halting March
The Pretty Girl Milking The Cows
Songs From a Scottish Childhood
Captain O'Kane/The Lamentation
Boys Of The Lough/Drowsey maggie
Planxty Drew/Mabel Kelly/John O'Conner
Gosteg Dafydd Athro/Caniad Marwnad ifan Ab Y Go
The Reaper of Glanree
Gin Ye Kiss My Wife, I'll Tell The Minister
The Galician Waltz/Breton Dances
Miss Patterson/McDonald's March/Mckinnon's Brook
Shooyl Inneenyn/Illiam Y Thalhear/Flitter Dance

Customer Reviews:

Superior musicianship on a nice selection of material.......2004-06-29

Albums on the Maggie's Music label offer much to enthuse traditional music fans. This live project was recorded live in 1991 and 1992 at Annapolis, Md. by Ensemble Galilei, a group of six that gets its name and inspiration from Renaissance composer Vincenzo Galilei. They display some superior musicianship on a nice collection of favorites and less oft-heard pieces. Although the sound would've been a little more clean and crisp in a studio setting, it's not bad but still feels a little distant. I am particularly grateful that this album has only minimal applause that can be quite annoying on many live projects. Their arrangements are engaging and tastefully rendered, but "The Halting March" feels a tad bit rushed and overplayed by all the instruments. They clearly play with much relaxed showmanship, and it's certain that even these concerts in the Great Hall were very intimate musical experiences. (Joe Ross, Roseburg, OR.)

A long-term keeper.......2002-03-09

If you're even considering this selection, get it. It's better than I can express and some of the melodies, played on original instruments, are haunting and all are enjoyable. Enya comes from a long tradition.

Soothing.......2000-12-02

From the samples that I have heard, I love this music and I have never been a Celtic fan before.

Ensemble Galilei & Celtic musicians- divine!.......2000-10-25

Instrumental music from the ancient Celtic lands performed in a wonderful historic hall on authentic folk and celtic instruments and elegant early music insruments- a perfect blending of the now popular chamber folk sound. Special Guests Bonnie Rideout on Scottish Fiddle adds a dynamic edge and with Maggie Sansone on hammered dulcimer and Sue Richards on Celtic harp you have a some of the finest Celtic musicians performing together on one CD with top notch early music ensemble headed up by director Carolyn Anderson Surrick who also plays viola da gamba on the album.

a haunting dream of misty moors and elfin prance.......1999-01-05

Lifts the mind to a lingering dream trance that balances the mourning melodies of the shaken soul with the prancing light-heartedness of only those that have been wounded.

Great Recordings Of The Century - Elgar: Violin Concerto, 'Enigma' Variations / Elgar, Menuhin

Average customer rating:

Historical Document
Stunning
Simply Menuhin
5 stars, but not for the casual listener.
Exceptional historical document

Great Recordings Of The Century - Elgar: Violin Concerto, 'Enigma' Variations / Elgar, Menuhin
Yehudi Menuhin
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Elgar: Cello Concerto; Sea Pictures; Cockaigne Overture
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Elgar: Pomp and Circumstance Marches Op. 39; Enigma Variations Op. 36

ASIN: B00000IOBP
Release Date: 1999-05-04

Tracks:

Violin Concerto In B minor, Op.61: I: Allegro
Violin Concerto In B minor, Op.61: II: Andante
Violin Concerto In B minor, Op.61: III: Allegro molto
Violin Concerto In B minor, Op.61: Cadenza (accompagnata: Lento) - Allegro molto
Variations On An Origianal Theme ('Enigma'), Op. 36: Theme (Andante)
Variations On An Origianal Theme ('Enigma'), Op. 36: I: L'istesso tempo
Variations On An Origianal Theme ('Enigma'), Op. 36: II: Allegro
Variations On An Origianal Theme ('Enigma'), Op. 36: III: Allegretto
Variations On An Origianal Theme ('Enigma'), Op. 36: IV: Allegro di molto
Variations On An Origianal Theme ('Enigma'), Op. 36: V: Moderato
Variations On An Origianal Theme ('Enigma'), Op. 36: VI: Andantino
Variations On An Origianal Theme ('Enigma'), Op. 36: VII: Presto
Variations On An Origianal Theme ('Enigma'), Op. 36: VIII: Allegretto
Variations On An Origianal Theme ('Enigma'), Op. 36: IX: Adagio
Variations On An Origianal Theme ('Enigma'), Op. 36: X: Allegretto
Variations On An Origianal Theme ('Enigma'), Op. 36: XI: Allegro di molto
Variations On An Origianal Theme ('Enigma'), Op. 36: XII: Andante
Variations On An Origianal Theme ('Enigma'), Op. 36: XIII: Moderato
Variations On An Origianal Theme ('Enigma'), Op. 36: XIV: Finale: Allegro

Amazon.com

In 1932, Menuhin was just 16 and at the very beginning of his international career when Elgar--then a grand old man in his 70s--asked the young virtuoso to record his Violin Concerto. Elgar himself conducted, and the rehearsals went so well that the composer reportedly canceled the last of them and took the young violinist out for a day at the races. The recording that resulted from this remarkable collaboration has remained a classic from the day it was issued. Elgar's conducting is typically direct and unfussy, while Menuhin really does play the pants off of what is without a doubt the longest and most tiring concerto in the romantic repertoire. Of course, the recorded sound is rather limited and no amount of audio restoration can change that, but fans of great violin playing will still find plenty to enthuse about. --David Hurwitz

Customer Reviews:

Historical Document.......2007-01-12

Before you buy this, be sure that you realize that this recording is absolutely ancient. When I say ancient I mean late 20s and early 30s. There are many advantages to having this recording, the most notable of which is that Sir Elgar himself directs the orchestra. There's something magical about hearing a piece conducted by the composer. The only drawback is that the recording is from the 20s and 30s. Therefore, the recording is not very high quality and some of the nuances of the music can get lost. If you're looking for historical documentation, this recording is elsewhere. Otherwise, it will behoove you to find a more modern recording if you simply want to enjoy the music.

Stunning.......2002-07-12

The solo playing has so much depth to it, I really can't believe it's a sixteen year old playing. If there's a romantic concerto in the repertoire that could really be mishandled by a young player, it would be this one - but somehow Menuhin, even at that age, has managed to express the poignancy and nostalgia of the music better than anyone ever has. Of course, the disc is not without flaws. As has been noted, you can hear the squeaking and junk from the transfer, and there are some absolutely horrendous errors in ensemble between soloist and orchestra. I've heard one of Kennedy's recordings and also Perlman's. For the most part, Perlman generally doesn't get a character that I really like, and the slow tempo in Kennedy's last movement kind of bothers me. I've also heard Shaham do this concerto live on radio with Cleveland Orchestra I believe, and it was really great. Someone should convince him to commit it to CD.

Simply Menuhin.......2002-06-29

I heard twice in my life this concert, I liked so much, specially because has serenity and peace. This Menuhin version conducted by Edward Elgar, is simply pure. I heard the last records of Menuhin, but I never heard him in his first years, simply I don't cry because ...you know, but in some cirscustance of my life if I would heard the Munuhin Solo, simply I could not resist,his natural sound, his phrasing, the solo in the third movement has a sense of nostalgy, with a beautiful vibrato, sorry for the others big masters, but this "carisma" only Sir Yehudi Menuhi. He really was a natural prodigy with a big carisma, if you don't believe me heard him. If not buy the DVD about him, and pay attention to the solo, while he stay with his "Mamina". Buy it you really enjoy. And my respects to Yehudi Menihin, a wonderful violinist of the 20th century.

5 stars, but not for the casual listener........2000-11-28

If you do not have the Elgar concerto already, do not make this your one and only choice. This is not for the casual listener who wants to sit back and enjoy a great violin concerto. If you want to do that, choose Kennedy/Rattle/CBSO on EMI which is simply fantastic. If you do decide to choose this historical document for your second or third recording of this piece for novelty and comparison, choose the Naxos label. They have the same recording for half the price so you won't be as upset just in case you can't stand the sound. Part of the notes for my Naxos copy states. " The present transfers were made from pre-war U.S. Victor sets, (the Elgar from a "Z" shellac pressing). The squeaking noises which can be heard on some portions of the Elgar are on the original masters." They are not kidding, you hear alot of junk in this recording and it is not for the sensitive listener. While Naxos does not sell direct, you may visit naxos.com for more information. From naxos.com - "How can Naxos Historical release recordings made by other record companies? Is this piracy? Internationally, sound recordings are protected for 50 years from the date of publication (worldwide, except in the USA). That means, any recording published or released to the public before 1950 is now out of copyright, i.e. in the public domain. Broadcasts are considered published the day they are re-broadcast. In the United States, the situation is more complicated. There, sound recordings were not protected by copyright until 1972, but by a variety of state laws, including the rights of the artist's personality, unfair competition, and the like. There is nothing illegitimate in releasing out-of-copyright sound recordings the same way it is not illegitimate to release Bach, Mozart, Beethoven and Mahler without paying mechanical copyright (a fee to the composer or his publisher for the use of the printed music) to their descendants or manufacturing a drug whose patent has expired.

Exceptional historical document.......1999-06-14

The Violin Concerto, with the Elgar/Mehuhin partnership in 1932, must be heard to be believed. The interpretation is without peer, and the playing by Menuhin is outstanding. The sound quality of the concerto rivals many digital recordings. A must have for all Elgar fans!!!!

The 'Enigma' Variations will suprise you with their tempo. The sound quality (from 1926) is less impressive than the concerto, but still good. A great pairing for an exceptional CD.

Buy it today!!!

A Winter's Night; Christmas in the Great Hall
Average customer rating:

excellent

Early Music-Celtic fusion at its best

A Winter's Night; Christmas in the Great Hall
Ensemble Galilei
Manufacturer: Maggie's Music
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
General Christmas | Holiday | Miscellaneous | Styles | Music
General | Celtic | International | Styles | Music
General Christmas | Holiday Music | Special Features | Music
Similar Items:

Ancient Noels

A Feast of Songs: Holiday Music from the Middle Ages

A Scottish Christmas

Music In The Great Hall: Instrumental Music From The Ancient Celtic Lands

A Christmas Celtic Sojourn

ASIN: B00006I4W6
Release Date: 2002-08-01

Tracks:

Salterello/ Bring A Torch, Jeanette Isabella
New Prince, New Pomp/Galician Carol
Christmas Day I'Da Moornin'
Bressay Lullabye-Balloo Lammy/Don Oiche
Of Darkness and Light by Carolyn Anderson Surrick)
Rorate
The Donkey Carol/The Friendly Beasts
O Come, O Come, Emmanuel/What Child Is This
Bells and Bows (by Liz Knowles)/New Year's Dawn
Bottom of the Punch Bowl/The Man Who Died and Rose Again/Ward's Jig/Apples in Winter
Easter Snow
Puer Natus est in Bethlehem (by H.Praetorius), In Dulci Jubilo (by M. Praetorious)I Saw Three Ships
Danse Arabe (Pyotr Ilich Tchaikovsky fr.The Nutcracker)
Congaudeat
The Bellman's Carol/The Moon Shines Bright
The First Nowell/Joy to the World/ Joy to the World Jig (Var.by Sue Richards)

Album Description

Celebrate the holidays, the winter solstice, traditional music, and all the best things about Christmas. From conservatory rehearsal rooms to all night sessions at Irish pubs, a montage of Early Music, Celtic, and traditional tunes blend and a glorious new sound is born. With crackling energy and brilliant performances Ensemble Galilei delivers a virtuosic display of lush sounds and joyous music-making for the Holiday season in a wondrous mix of timeless Christmas classics, Celtic carols from Galicia, Spain, and the Isles of Scotland and Ireland, Medieval and Renaissance dance tunes, and original compositions to celebrate the winter solstice. Recorded in the historic Great Hall of St. John's College in Annapolis, Maryland, Ensemble Galilei captures the intimacy, warmth and joyous energy of Christmas in a small town.More Ensemble Galilei's recordings on the Maggie's Music label are: Music in the Great Hall: instrumental music from the Ancient Celtic Lands. It! was also recorded in the Great Hall and was a bestseller with numerous features on public radio.The CD includes Scottish fiddle Champion, Bonnie Rideout. Ancient Noels with Maggie Sansone, an INDIE finalist for "Best Seasonal Album of the Year". In 1994 Ensemble Galilei won a Wammie for "Best Chamber Ensemble" awarded by the Washington Area Music Association. They tour extensively throughout the USA.

Customer Reviews:

excellent.......2007-05-06

Absolutely brilliant. This is not at all the same old Christmas music. Only a few of the songs are well known, but their takes on them are so fresh that you won't mind. All the songs are quite good, but What Child is This/O Come O Come Emmanuel is possibly the best.

Early Music-Celtic fusion at its best.......2002-09-30

I've been to several of the ensemble's Christmas performances and can agree that their music is a wonderful fusion of the best of early music- unique and beautiful early music instruments and Cetlic instruments- the Celtic harp, the scottish small-pipes which are mellow sounding; and then even a classical instrument and a "new -age" touch with the addition of the oboe and its haunting plaintive sounds that create a beautiful reed sound. There's an amazing variety to the sounds and great use of arrangements that brings out a wonderful blend. And, best of all, its ancient carols and not so familiar christmas music that's good any time of the year.This CD does indeed captures their performances.

Average customer rating:

The furious fusion of Garaj Mahal
A perfect enthno-jazz CD

Live, Vol. 1
Garaj Mahal
Manufacturer: Harmonized
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

General | Rock | Styles | Music

Rock Jam Bands | Jam Bands | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Jazz Funk | Funk | R&B | Styles | Music
Similar Items:

Live, Vol. 2
Mondo Garaj
Blueberry Cave
Cosmic Hug
Live, Vol. 3

ASIN: B00015HV9M
Release Date: 2003-03-18

Tracks:

Gulam Sabri
Semos
Intro Jam
Celtic Indian
Ivory Tower
Of a Simple Mind

Customer Reviews:

The furious fusion of Garaj Mahal.......2005-10-19

Garaj has been blessing my brain for some time now. What makes them so great? The parts; Fareed Haque on guitar is blazingly fast but always has swing, Kai Eckhardt on the bottom with the fattest tone, Alan Hertz with his supple and elastic drums that can snap a song into pure greatness, Eric Levy on keys, soulful.
But the whole is more than the sum; Garaj Mahal has a furiousness to their playing that brings to mind an express train. Their sound can dominate the synapses like no other band.

A perfect enthno-jazz CD.......2003-12-10

The talents of Garaj mahal are enough to entertain anyone who enjoys the funkier variations of jazz, but this CD features a very special guest: Zakir Hussain on tablas! He adds such a mystical, trancendental quality to the complex rhythms of the band. The best things about electric jazz and global percussion are found on this disc!!!

Average customer rating:

One Bizarre Recital - or Compilation!

Christine Brewer: Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Strauss: Four Last Songs; Death and Transfiguration; Wagner: Prelude and Liebestod from Tristan und Isolde
Strauss: The Complete Songs, Vol. 1
Beethoven: Fidelio
Strauss: Four Last Songs; Death and Transfiguration; Wagner: Prelude & Liebestod from Tristan & Isolde [Hybrid SACD
Wagner: Tristan und Isolde

ASIN: B000AA4JAW
Release Date: 2005-09-20

Tracks:

Great Hall Of Song
He Threatened My Honour
Almighty Gods Of Death!
Ocean! Thou Mighty Monster
The Night Is Calm And Cloudless
Fading Is The Star That Guides Me - Janice Watson
Where Is Love's Kingdom
You'll Never Walk Alone
On My Lips Ev'ry Kiss Is Like Wine
Blessed Virgin, May The Flame Of Love
Concert Aria: 'Ah! Perfido'
Mira - Can You Imagine That?

Customer Reviews:

One Bizarre Recital - or Compilation!.......2006-10-03

The Christine Brewer is one of our more important heroic soprano voices of the time is an understatement. For those fortunate enough to have been in the presence of her performances as Isolde there can be no doubt that this is a voice of huge range, flexibility, intelligence and burnished warmth. She is most assuredly a star on the ascent.

The selection on this strange CD is puzzling: 'Great Operatic Arias' these are not. Though there are some of the big ones included ('Don Giovanni', 'Tannhäuser', 'Alceste', 'Oberon', and 'Euryanthe'), the program is fleshed out with operettas from Lehar, Kalman, and Rodgers and even some concert arias such as Beethoven's 'Ah, perfido'! Brewer is accompanied by other singers where indicated and by the London Philharmonia Orchestra conducted by David Parry. But oddly enough the works are all sung in English translations - and some of these translations are poor ones at that.

It does seem a waste of time to include 'You'll Never Walk Alone' from 'Carousel', but that particular song allows Brewer to demonstrate amply that the mezzo range is a strong comfort zone for her. Despite the odd choices of works here, what makes the album work is Brewer's extraordinarily beautiful voice. She sails over the orchestra, tossing off difficult passages with utter ease, and always reminding us that her instrument is never less than one of beautiful sound. If you can get past the English versions and the mixed bag of works she has chosen to sing, you are in for an hour of beautiful vocalizing! Just don't let this album be your introduction to this very fine artist. Grady Harp, October 06

Average customer rating:

The Ultimate Lotte Lenya Collection

Manufacturer: Bear Family
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Vocal Jazz | Jazz | Indie Music | Stores | Music
ASIN: B0000251AF
Release Date: 1999-03-22

Tracks:

'Happy End': Surabaya-Johnny (1929)
'Happy End': Bilbao-Song (1929)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930) - Lotte Lenya/The Three Admirals
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930) - Lotte Lenya/The Three Admirals
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930)
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930)
'Die Dreigoschenoper': Ouverture/Moritat/Ballade Vom Angenehmen Leben (1931) - Kurt Gerron/Willy Trenk-Trebitsch
'Die Dreigoschenoper': Liebeslied/Kanonensong (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
'Die Dreigoschenoper': Die Seerauberjenny (1931) - Kurt Gerron/Lotte Lenya
'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke/Erich Ponto
'Die Dreigoschenoper': Barbarasong/Eifersuchtsduett (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke
'Die Dreigoschenoper': Abschied/Zweites Dreigroschen-Finale (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
'Die Dreigoschenoper': Zuhalter-Ballade/Lied Von Der Unzulanglichkeit Menschlichen Strebens (1931) - Kurt Gerron/Willy Trenk-Trebitsch/Lotte Lenya/Erich Ponto
'Die Dreigoschenoper': Moritat/Schlusschoral (1931) - Kurt Gerron/Lotte Lenya/Chorus
Querschnitt, 1. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
Querschnitt, 2. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
'Happy End': Surabaya-Johnny (1943) - Lotte Lenya/Kurt Weill
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1943) - Lotte Lenya/Kurt Weill
Complainte De La Seine (1943) - Lotte Lenya/Kurt Weill
J'Attends Un Navire (1943) - Lotte Lenya/Kurt Weill
'Lost In The Stars': Lover Man (1943) - Lotte Lenya/Kurt Weill
'Lost In The Stars': Lost In The Stars (1943) - Lotte Lenya/Kurt Weill
'I've Got The Tune': And So The Last Thing, Too (1937 Interview) - Lotte Lenya/Marc Blitzstein/Shirley Booth

Tracks:

'Die Dreigoschenoper': Moritat (1955)
'Die Dreigoschenoper': Barbara-Song (1955)
'Die Dreigoschenoper': Seerauberjenny (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Lied (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1955)
'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1955)
'Happy End': Bilbao-Song (1955)
'Happy End': Surabaya-Johnny (1955)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1955)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1955)
'Der Silbersee': Ich Bin Eine Arme Verwandte (1955)
'Der Silbersee': Casar-Ballade (1955)
'Die Sieben Todsunden': Prolog/Introduktion (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Faulheit (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Stolz (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Zorn (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Vollerei (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Unzucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Habsucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Neid (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
'Die Sieben Todsunden': Epilog (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen

Tracks:

'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 1 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 2 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 3 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 4 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 5 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 6 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 7 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 8 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 9 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 10 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 11 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 12 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 13 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

Tracks:

'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 14 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15a (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15b (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 16 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 17 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 18 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 19 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Finale (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

Tracks:

'Knickerbocker Holiday': September Song (1957)
'Knickerbocker Holiday': It Never Was You (1957)
'Lady In The Dark': Saga Of Jenny (1957)
'One Touch Of Venus': Foolish Heart (1957)
'One Touch Of Venus': Speak Low (1957)
'The Firebrand Of Florence': Sing Me Not A Ballad (1957)
'The Eternal Road': Song Of Ruth (July Version) (1957)
'Street Scene': Lonely House (1957)
'Street Scene': A Boy Like You (1957) - Lotte Lenya/Darryl Richard
'Love Life': Green-Up Time (1957)
'Lost In The Stars': Trouble Man (1957)
'Lost In The Stars': Stay Well (1957)
'Lost In The Stars': Lost In The Stars (1957)
'The Eternal Road': Song Of Ruth (August Version) (1957)
'The Threepenny Opera': Pirate Jenny (1954)
'The Threepenny Opera': Solomon-Song (1954)
'The Threepenny Opera': Tango-Ballad (1954) - Lotte Lenya/Scott Merrill
'The Threepenny Opera': Lenya & Blitzstein TV Interview (1954) - Lotte Lenya/Marc Blitzstein
'Johnny Johnson': Mon Ami, My Friend (1956)
Young Blood (1969)
Welcome Home (1969)

Tracks:

'Die Dreigoschenoper': Ouverture (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Morgenchoral Des Peachum (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Anstatt-Dass-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Hochzeitslied Fur Armere Leute (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Kanonensong (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Liebeslied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Barbara-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Der Pferdestall (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Abschiedslied Der Polly (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zwischenlied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade Von Der Sexuellen Horigkeit (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Die Seerauberjenny (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zuhalter-Ballade (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade Vom Angenehmen Leben (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Eifersuchtsduett (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Arie Der Lucy (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Zweites Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Lied Von Der Unzulanglichkeit Menschlichen Strebens (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Solomon-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ruf Aus Der Gruft (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Ballade In Der MacHeath Jedermann Abbitte Leistet (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Der Reitende Bote (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Drittes Driegroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
'Die Dreigoschenoper': Schlusstrophen Der Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...

Tracks:

'Happy End': Introduktion (Hosiannah) (1960)
'Happy End': Bilbao-Song (1960)
'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
'Happy End': Geht Hinein In Die Schlacht (Heilsarmee-Lied 1) (1960)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
'Happy End': Bruder, Gib Dir Einen Stoss (Heilsarmee-Lied 2) (1960)
'Happy End': Das Lied Vom Branntweinhandler (1960)
'Happy End': Der Song Von Mandelay (1960)
'Happy End': Furchte Dich Nicht (Heilsarmee-Lied 3) (1960)
'Happy End': Surabaya-Johnny (1960)
'Happy End': Das Lied Von Der Harten Nuss (1960)
'Happy End': In Der Jugend Gold'Nem Schimmer (Heilsarmee-Lied 4) (1960)
'Happy End': Die Ballade Von Der Hollen-Lili (1960)
'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
'Cabaret': So What? (1966)
'Cabaret': It Couldn't Please Me More (1966) - Lotte Lenya/Jack Gilford
'Cabaret': Married (1966) - Lotte Lenya/Jack Gilford
'Cabaret': What Would You Do (1966)
'Cabaret': Finale (1966) - Lotte Lenya/Bert Convy/Jill Haworth/Jack Gilford/Joel Grey

Tracks:

Unter Der Linde (1958)
Menschlich Elende (1958)
Das Rosenband (1958)
Der Tod Und Das Madchen (1958)
Abendlied (1958)
Der Bauer (1958)
Lebenspflichten (1958)
Gesang Der Geister Uber Den Wassern (1958)
Aus 'Romische Elegein' (1958)
Gefunden (1958)
Wo Bist Du Itzt (1958)
Der Handschuh (1958)
Hyperions Schicksalied/Aus 'Hymnen Der Nacht' (1958)
Mondnacht (1958)
Das Schloss Boncourt (1958)
Kommen Und Scheiden (1958)
Auf Geheimem Waldespfade (1958)
Der Weiher (1958)
Das Verlassene Magdlein (1958)
Der Wirtin Tochterlein (1958)
Mit Dummen Madchen (1958)
Im Wunderschonen Monat Mai (1958)
Ich Wollte Meine Lieder (1958)
Nachtlich Am Busento (1958)
Kehr Ein Bei Mir! (1958)
Altassyrisch (1958)
Die Musik Kommt (1958)
Wer Weiss Wo (1958)
Der Romische Brunnen (1958)
Vereinsamt (1958)
Der Werwolf (1958)
Der Arbeitsmann (1958)
Die Bieden (1958)
Du Schlank Und Rein Wie Eine Flamme (1958)
Spanische Tanzerin (1958)
Ich Liebe Frauen (1958)
An Den Leser (1958)
Die Entwicklung Der Menschheit (1958)
Der Vater (1958)
Erinnerung An Die Marie A (1958)
Von Der Freundlichkeit Der Welt (1958)
Kinderkreuzzug (1958)

Tracks:

A Hunger Artist (1959)
An Imperial Message (1959)
A Fratricide (1959)
The Care Of A Family Man (1959)
Up In The Gallery (1959)
A Dream (1959)
The Bucket Rider (1959)
Vergnugungen: What I Enjoy (Last Song) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Inscription On A China Lion (The Lion) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Die Dreigroscheneroper': The Solomon Song (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Buckower Elegien': Changing Wheels (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Burning Books (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Written On The Wall (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Lied Der Courage (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Song Of A German Mother (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
'Buckower Elegien': The Dog (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
To The Next Generation (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Bad Times For Poetry (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
Und Was Bekam Des Soldaten Weib (1943) - Lotte Lenya/Kurt Weill
Wie Lange Noch (1943) - Lotte Lenya/Kurt Weill
Lied Einer Deutschen Mutter (1943) - Lotte Lenya/Kurt Weill

Tracks:

'Die Dreigroscheneroper': Moritat Von Mackie Messer (1960)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Leid (1960)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1960)
'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1960)
'Die Dreigroscheneroper': Die Seerauberjenny (1960)
'Happy End': Bilbao-Song (1960)
Carnegie Hall Introduction (1965)
'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1965)
'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Song (1965)
'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1965)
'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1965)
'One Touch Of Venus': Speak Low (1965)
'One Touch Of Venus': Foolish Heart (1965)
'One Touch Of Venus': Bilbao-Song (1965)
'One Touch Of Venus': Surabaya-Johnny (1965)
'Love Life': Love-Song (1965)
'Love Life': Susan's Dream (1965)
'Happy End': Was Die Matrosen Sagen (Matrosen-Tango) (1965)
'Happy End': Der Song Von Mandelay (1965)
'Happy End': Das Lied Von Der Harten Nuss (1965)
'Happy End': Lilli Of Hell (1965)
'Knickerbocker Holiday': September Song (1965)
'Die Dreigroscheneroper': Barbara Song (1965)

Tracks:

Moritat (1965)
Moritat (German Version) (1965) - Lotte Lenya/Turk Murphy
Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
Lied Der Courage I (1965) - Lotte Lenya/Harry Buckwitz
Das Lied Vom Weib Und Soldaten (1965)
Lied Von Der Grossen Kapitulation (1965)
Lied Der Courage II (1965)
Lied Der Courage III (1965)
Eia Popeia, Was Ras Im Stroh (1965)
Lied Der Courage IV (1965)
The Dick Cavett Show (1975) - Lotte Lenya/Dick Cavett
Start (1975) - Lotte Lenya/Dick Cavett
American Films (1975) - Lotte Lenya/Dick Cavett
The Opening Night Ot The Rise And Fall Of The City Of Mahagonny (1975) - Lotte Lenya/Dick Cavett
'One Touch Of Venus': I'm A Stranger Here Myself (1975) - Lotte Lenya/Dick Cavett
Anita Berber (1975) - Lotte Lenya/Dick Cavett
The Great Inflation (1975) - Lotte Lenya/Dick Cavett
Thoughts On 'Oh, Calcutta' (1975) - Lotte Lenya/Dick Cavett
Berlin Visit 1955 (1975) - Lotte Lenya/Dick Cavett
Introduction To 'Bilbao-Song' (1975) - Lotte Lenya/Dick Cavett
Bilbao-Song (1975) - Lotte Lenya/Dick Cavett
Introduction (1966)
'Knickerbocker Holiday': How Can You Tell An American (1966)
'Knickerbocker Holiday': September Song (1966)