Composed by Franz Schubert
Performed by Royal Philharmonic Orchestra Conducted by Sir Thomas Beecham
2. Symphony No. 5 in B flat major, D. 485
Composed by Franz Schubert
Performed by Royal Philharmonic Orchestra Conducted by Sir Thomas Beecham
3. Symphony No. 6 in C major ("Little C Major"), D. 589
Composed by Franz Schubert
Performed by Royal Philharmonic Orchestra Conducted by Sir Thomas Beecham
Product Description
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Sir Thomas Beecham was untouchable in this repertoire. He had a gift of making what usually gets classed as "second-rate" music sound first class. Of course, the seeds of greatness were there all along, but it takes an interpreter of Beecham's enthusiasm and finesse to bring out the charm and vitality so seemingly self-evident in this music whenever he conducted it. Anyone who cares about Schubert should grab this disc without delay. --David Hurwitz
I was instantly blown away by the quality of this music and so I gave it a try and now that I have listened to these CDs several times I really must say that although I'm still a Tomaso Albinoni fan of, I find MEHDl to be a great addition to this CD. I had them both in my multi-disc CD player during the wedding and love the way they compliment each other. I highly recommend that you give this artist a try or atleast just go listen to the samples, I have a feeling you'll be glad you did.
This CD is a must have if you love Jane Austen.
Buy this CD, you will not be disappointed!
Austen has a great taste for harmonic melodies.
I've listen to this CD over and over again.
I still enjoy the beautiful music!
Bohm has a superb command of each symphony's architecture, and DG's recorded sound in all one could ask for: much better than Karajan's 1980s Berlin recordings for DG.
I believe Bohm's Schubert recordings are better than the more recent DG's of Abbado/Chamber Orchestra of Europe, which strike me as rather light and chamber like by comparison. Since I like big orchestra Schubert, I prefer Bohm.
Karl Bohm lived 1894-1981, and began making recordings with the Dresden State Orchestra in 1934. I highly recommend Bohm's Schubert cycle, and also his Mozart Symphonies (DG, also with the Berlin Philharmonic) and Beethoven Symphonies (DG, 1970-72, in three different Doubles releases, with the Vienna Philharmonic), essential to any collection of great music.
Karajan recorded just about everything from the Baroque Masters to Richard Strauss. He also headed up numerous music festivals and operas. To see what I mean, do a search either here or at Ebay on Karajan and opera. He was one busy productive dude. And he delighted millions both in live performances and all those vinyl gems he left us now bing ported over to cd.
I have these recordings that were issued on vinyl by Angel records in association with the book of the month club from way back when.
Karajan's recordings span from the 1930s to the late 1980s. Kinda like the Duke and all them westerns. He led the best orchestras in Europe (Vienna, Berlin, the Philharmonia to name three) and made records with them year end and year out for over 50 years. He also pushed the technology envelope and took advantage of digital when it first came out and video. Often the arguements about Karajan have to do with which version of such and such is best! "They all sound good, but I like his mono version with the Philharmonia best."
All this activity in conducting and recording over so many years paid major dividends. Like Bohm, I have seldom heard one of Karajan's lps and thought that he laid an egg! The reason why he is soooo popular is that he consistenly put out top notch work. You may find better individual performances but chances are you will not get an ear infection from listening to his recordings.
This inexpensive set is a good way to test the non Beethoven Karajan waters if you have not done so already. Or, you may give his great Schumann or Tchaikovsky Symphony recordings a try.
I should say that the competing sets from Abbado with the Chamber Orchestra of Europe (DG) and Colin Davis with the Dresden Staatskapelle (RCA) sound timid and dull respectively. I would hold out for the new Harnoncourt--his single performances have been excellent so far--or seek the many great performances that exist out there of each symphony.
Herbert von Karajan's Schubert Symphony Cycle, made between 1975-78 for EMI with the Berlin Philharmonic, has been available previously on CD in the "Karajan Edition." However, those discs, released as four single titles with two Symphonies each, were twice the price of these new reissues. These performances of Symphonies 5, 6, 8 & 9 plus the Rosamunde Overture are certainly solid, but Karajan was never celebrated as a conductor of Schubert. One wonders if that is why DG had a young Lorin Maazel record the Schubert Symphonies with the Berliners instead of Herbie at the dawn of the stereo age, and that ultimately EMI had him record this Cycle because it was something he hadn't yet done for DG. In any event, I would certainly recommend the Bohm boxed set on DG or the Kertesz on London/Decca (see my review of the latter) ahead of these performances. But considering how cheap these two double discs are, maybe picking up an extra Schubert Cycle is worth it after all.
I think it is very interesting to see the progression of Schubert's thought as we go from the 6th symphony (D, 589) to the D. 615 fragment, to the D. 708 bigger fragment, and then to the sketchy 7th symphony (D. 729). These are not polished works, but I like listening to them occasionally.
My biggest complaint is not with these sketches, but with Newbould's attempt to complete the "Unfinished Symphony," namely the 8th. The first movement is gorgeous and the second, also complete, is just fine. But what about the 3rd and 4th movements?
Schubert did indeed write the opening theme to the 3rd movement and scored the first few bars. But I do not like the way it comes out here. First, Newbould's variations (needed, to complete the movement) just aren't all that Schubertian, in my humble opinion. And they aren't that good. Second, I don't like the part Schubert wrote! I think Schubert may have realized that he was not getting what he wanted out of the movement, and that may be why he stopped where he did.
The 4th movement is simply the overture to Rosamunde, and it may indeed have been exactly what Schubert wanted to be the finale to that symphony. Or it may have been close to it. Or it may not have been! I think putting it in as the finale is a good (but definitely not great) idea.
My favorite of the reconstructions is the 10th symphony, especially the dreamy second movement.
I recommend this set of Schubert symphonies.
Here is a personal tip concerning the finished Unfinished (8th symphony), which includes the Scherzo that Schubert fully composed in piano score, but only began to orchestrate, and the B-minor Entracte from Rosamunde, often thought to be the intended finale to the 8th symphony.
I recommend making the Scherzo the second movement, and the slow movement the third. There is no precedent for this in the other Schubert symphonies, but there is ample precedent in other classical-period pieces. In this symphony, it has the result of making the Scherzo a vigorous palate cleansing between two dreamy movements. I find it works very well, and I much prefer it to the more obvious order. Just a suggestion (but a good one!).
I was fascinated by the 7th and the 10th. (They didn't quite seem like the others. This might have been, and probably was due to the fact that Mr. Newbould orchestrated these. Although he does an exquisite job, it's just not quite like Schubert.) Anyway, these two unnumbered symphonies provide further insight into Schubert's symphonic progression. We usually have a gap between the first 6 symphonies and the very different 8th. This has now been filled in. The 7th symphony seems much like a combination of various aspects of the early symphonies and of the 8th. The 10th symphony sounds a lot like the 9th. Schubert gets more in depth with counterpoint than in any of the other symphonies. Schubert died before writing any of the 4th movement, so this is, essentially, the "'new' unfinished symphony" of the Schubert cycle.
This set is just what you'd expect from Marriner and the ASMF. It is graceful, together, crisp, you might even say it's dainty. The tempos are sometimes fast, but it seems they are deathly slow other times. The first movement of the 8th sounds like a funeral dirge, as it does with many other conductors. You can tell Schubert wanted the tempos much faster in some places. It would make his symphonies seem so much more exciting. If you're looking for sheer power, look elsewhere.
I am no Schubert expert, nor have I heard many other recordings of his symphonies. I would definitely recommend a listening-to of these. That much is imperative. As for a purchase, you could probably find better recordings elsewhere.
For those that don't know the earlier Schubert symphonies--well, for the cost of one top-dollar CD you can hear them and you'll be amazed these aren't heard more often. Boy Schubert (many of these were written in his teens) may not have been the world's greatest symphonic crafts-person back then (he was merely very good with rough edges) but his full melodic genius was present when he was probably two years old. Here I am playing, and REALLY enjoying a symphony by a sixteen-year-old.
Beethoven allegedly saw a score of Schubert's before he died (Beethoven, not Schubert)and was quoted as saying, "HOLY MACKEREL! This kid's got the chops!" Beethoven talked like that sometimes.
Please give me back Furtwangler, Klemperer and Bruno Walter!!!
Measuring Celi by the metronome isn't fair. The real question is what he offers musically, and there's no doubt that he is closely attuned to Bruckner. Long passages of sound are carved like marble; the atomosphere is full of mystery and poetry; sonorities are built on a massive scale and then alternate with intervals of lovely serenity. This is music made alive on the page. Compared to Karajan, another great Brucknerian, Celibidache is more organic and relaxed. One can quibble with things here and there, but then an entire stretch of music, such as the opening of Sym. #3, will emerge as a magnificent whole.
I'm not sure I can erect an altar to Celibidache's entire career, but these Bruckner recordings seem great to me.
The next time I encountered him was while sitting around one night with some Bruckner (and Furtwangler) fans watching "music videos"...but not exactly the MTV or VH1 kind. I saw two videos of Celibidache. The first clip was of a dashing young matinee-idol looking Celibidache, with a wild swath of hair hanging down on his forehead, conducting the BPO in a fiery reading of Beethoven's Egmont Overture. In the second video, shot about two generations after the first, a kindly, grandfatherly looking, Celibidache, in a cozy sweater, conducted a superbly controlled Munich Philharmonic from a stool, in an impossibly expansive and majestic reading of the first movement of the Bruckner Eighth (this was from the Sony release of the entire Eighth). The latter performance was so slow, when compared with any other recording you've ever heard, that it had no business sounding so good, but somehow it did.
The Celibidache phenomenon, and his superbly drilled Munich Philharmonic, must've created a bit of a stir, for, on the heels of Sony's video releases of Celibidache's performances of Bruckner's Symphonies #6-8, EMI embarked on a project of releasing recordings of Bruckner's Symphonies #3-9, as well as recordings of works by other composers. These recordings were released in 1999, three years after the conductor's death. At that time I was what you could call a "Bruckner Ninth completist," and I already owned one of his recordings of the Bruckner Ninth: one of those "quirky Italian" labels that speicalizes in poorly packaged--and often premium-priced--pressings of "historical recordings" had released a few Celibidache live recordings of Bruckner symphonies from the '70's and '80's (it's pretty common knowledge that the enigmatic conductor, like Furtwangler whom he had succeeded as director of the BPO in 1945, hated making studio recordings).
This two-disc set turned out to be a good indicator of the enigma that was Celibidache. The second disc was a recording of the Ninth Symphony with the MPO from 1981. It was a very good performance, and I felt fortunate to have it in my collection, because it was also a good quality live recording; and it was with Munich (most of his live recordings from that period were with the RSO Stuttgart, a good orchestra but not as good as the MPO). The Ninth was a bit on the slow side, and there were moments when I was a bit too aware of the conductor caressing a phrase, but overall it was a worthy addition to the collection.
The accompanying recording of the Fourth with the RSO Stuttgart from 1973 was another story. Everything was fine through the first three (and three-quarters) movements. It was a spacious account of the fourth, but no slower than, say, Bohm's 1973 VPO recording. But, then, toward the end of the finale something happened: a very self-conscious slowing down of the coda--which is plenty majestic enough w/o an unnatural slowing down. This slowing progressed until the beat was subdivided, the violins sounded like they were literally "sawing away" on their ostinatos, and the orchestra almost ground to a screeching halt before the final chord mercifully stopped sounding. At that point, I almost made a frisbee out of the disc, but I decided it still made a good conversation piece (or at least a coaster). It was the most bizarre thing I had ever heard in a recording of "classical" music. In retrospect, the interesting thing is that such extremely protracted tempos are more often associated with the performances of his last fifteen years, but this recording was made 23 years before his death: it somewhat staggers the Brucknerian imagination to think that 20 years later he made a recording of the Fourth with Munich in which the Finale was actually more than five minutes longer, actually breaking the half-hour mark, presumably for the first and last time in the annals of this work.
[I've been trying to write shorter reviews, but apparently that's not going to happen here.]
When the EMI recordings came out, I was much too curious about the Eighth and Ninth to allow the bizarre timings to scare me away: when I first picked up the Eighth, I thought that the timings of the last two movements--35:04 and 32:08, respectively--must've been misprints...the finale was actually more than 12 minutes--or 60%--longer than Jochum's terse 1964 BPO recording! But I still found things to admire in these recordings, none the least of which was the superbly controlled and patient playing of the orchestra, all of whom I thought must've been practically "Zen masters" (and endurance athletes), to play a Bruckner Eighth that was longer than many recordings of the six-movement Mahler Third!
[Really, my intent is NOT to write a review that is the verbal equivalent of a late Celibidache Bruckner recording!]
So, when DG came out with their Celibidache recordings of Bruckner's Symphonies #3-5&7-9, at first released in two absurdly expensive boxed sets--and the people who purchased those have every right to be perturbed at DG eventually releasing them in a much more reasonably-priced single box--I looked at the set with a certain suspicious curiousity. Could these be anything more than shabby old radio recordings, released to "coat-tail" the EMI and Sony releases, and the conductor's death?
Well, the answer is a defininte, yes, they are much more than that. Any set of Celibidache Bruckner recordings is bound to be a bit of a "mixed bag," and, as the other reviewer pointed out, this set is...but there is much more to admire and enjoy here than I expected. I smiled at the other reviewer's apt comment about the "Karaoke Third;" and while the Fourth is not as annoying as the Third, in this respect, their is still more "Sing along with Serge" than I can take, esp. in the finale. It is one of my pet peeves when conductors hum and stomp their way through a performance (you can probably imagine that I don't much care for Glenn Gould's recordings): one of the Bruckner Ninths that I dumped from my "completist days" was by a conductor named Vladimir Delman, who didn't shut up for more than five seconds during the entire recording (and it wasn't even a very good Ninth even w/o the vocal accompaniment)!
In the case of this Celibidache Fourth, it's too bad about the vocalizing, because the tempo of the finale's coda is much more tolerable than the '73 Stuttgart one I described above.
But, fear not, for the Fifth, Seventh, Eighth, and Ninth, are all very good, and the recording quality exceeded my expectations, including strong, clear horns, so important in Bruckner; and a full, warm, bass resonance. Also, Celibidache is definitely a conductor who understands the importance of good strong timpani in Bruckner, and the timpani are very well recorded throughout this set, nearly as thunderous as Karajan's, in the finale of the Fifth (HvK used an extra set of timpani in the Fifth). Yes, the tempos are on the slow side, but during this period--which I'm now thinking was a vintage period for Celibidache's Bruckner--they had not become too extreme yet. He manages to pull off the most spacious Fifth Symphony slow movement I've ever heard, with surprising success (even if this almost climax-less movement begins to get a bit monotonous, by the end; but then again, brisker readings of this movement can get a bit tedious, too).
This was the first Celibidache Bruckner Seventh I've ever heard, and it was a very pleasant surprise, with a beautiful, but not excessively slow, adagio; and a nice, flowing, first movement. It was a pleasant surprise to hear him use a nice flowing tempo for the lovely "enchanted forest" theme (as I call it) that flows out of the majestic intro, and launches the movement proper.
The Eighth was also very satisfying, and certainly no slower than Gunter Wand's final--and excellent--recording of the work; or Karajan's 1957 recording, for that matter.
I still prefer Celibidache's aforementioned 1981 MPO recording of the Ninth, which is noticeably more expanisve in the outer movements than the recording included in the DG set; but both performances are evidence that Celibidache was very much in touch with the rarefied spiritual world of this (my favorite) symphony.
If you are a Bruckner fanatic (or a "Brucknerd," as I have sometimes called us), esp. one who likes Celibidache, who has been putting off buying this set, you need hesitate no more. Was Celibidache one of the Great Bruckner Conductors, or just an enigmatic pheonom with a cult following? I feel that this set reveals him as a great Bruckner conductor, even if like many of us, he went on to get a bit "eccentric" in his later years.
Celi was a great Bruckner conductor, no doubt about that, although he earned this reputation late in his career. But it is indeed painful to hear his karaoke behavior: Celi yells often loudly while conducting, frequently just before a climax, sometimes even with more lungpower than the brass, it seems. Worse than having a coughing audience, I think! This is especially the case in the third symphony, but his characteristic shouts are audible elsewhere too. But don't get me wrong: the interpretations are very fine. And the third, fourth and seventh are among the best available.
Thus these recordings are welcome additions to the Bruckner catalogue. Comparing this bargain DG collector's edition set with the very expensive EMI set, where Celi is conducting Munich Philharmonic, the speeds are swifter. This is especially the case with the eight symphony, which Celi takes extremely slow in Munich. Here are the differences for each movement:
EMI: 20'56 ; 16'05 ; 35'04 ; 32'08
DG : 16'16 ; 13'52 ; 27'08 ; 26'04
I think the earlier DG account in the present set is preferable. The Munich take is too slow, even if the attention to detail is remarkable. Similar judgements are applicable for the rest of the set as well, though the time differences are less dramatic. For example, the account of the fourth is ten minutes faster here. Comparing with Jochum, however, all Celi's speeds are very slow throughout the whole set.
SWR Stuttgart Radio Symphony Orchestra and Swedish Radio Symphony Orchestra are not famous for their Bruckner playing. In this respect, they do not outshine, say, Bavarian Radio Symphony Orchestra, Staatskapelle Dresden, and Concertgebouw. But minor orchestras can surprise with a good conductor, as they do here.
Sound is good but not in upper demonstration class.
Sir Thomas Beecham was untouchable in this repertoire. He had a gift of making what usually gets classed as "second-rate" music sound first class. Of course, the seeds of greatness were there all along, but it takes an interpreter of Beecham's enthusiasm and finesse to bring out the charm and vitality so seemingly self-evident in this music whenever he conducted it. Anyone who cares about Schubert should grab this disc without delay. --David Hurwitz
Schubert: Symphonies No. 3, 5 & 6,Franz Schubert,Sir Thomas Beecham,Royal Philharmonic Orchestra,EMI,Classical,Classical Music,Romantic Symphony,Symphonic
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The Complete Wedding Album
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ASIN: B000006ONZ Release Date: 1998-04-28 |
Tracks:
- Rigaudon - Empire Brass
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- Rondeau - Michael Murray
- Sheep May Safely Graze - Michael Murray
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Customer Reviews:
GORGEOUS!.......2007-06-13
Wonderful intro To MEHDl ..........2006-06-08
I was instantly blown away by the quality of this music and so I gave it a try and now that I have listened to these CDs several times I really must say that although I'm still a Tomaso Albinoni fan of, I find MEHDl to be a great addition to this CD. I had them both in my multi-disc CD player during the wedding and love the way they compliment each other. I highly recommend that you give this artist a try or atleast just go listen to the samples, I have a feeling you'll be glad you did.
great.......2006-02-19
The Complete Wedding Album.......2005-08-05
Almost the compete wedding album.......2004-05-07
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Jane Austen Companion
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ASIN: B0000037IK Release Date: 1996-06-18 |
Tracks:
- String Symphony No. 4: Andante
- Symphony In F Major: Andante
- Concerto In E Major For Trumpet, Oboe d'amore, Violin, Strings And Continuo: Affettuoso
- Overture No. 5 In E Major: Andante
- Violin Concerto In C Major: Adagio
- Symphony No. 6 In F Major: Larghetto
- Cello Concerto In C Major: Adagio
- Symphony No. 1 In B Flat Major: I Allegro
- Symphony No. 1 In B Flat Major: II Moderato e dolce
- Symphony No. 3 In C Major: Andante
- Symphony No. 94 in G Major: Menuet & Trio
- Symphony No. 5 In B Flat Major: Andante con moto
- Symphony No. 2 In A Major: Vivace
- Trumpet Concerto In E Flat Major: Andante
- Symphony No.1 in D Major: Andante
Amazon.com
If the people at Nimbus are smart, they'll do a whole collection of discs on this theme. The literary-musical connection is, when done tastefully, as it is here, irresistible. As the intelligent and interesting notes maintain, "London at the time of Jane Austen was one of the most exciting centers in all of Europe for music," and this was an era of great fertility of composers in general. Lucky Jane! Imagine publishing your second novel the same year that Beethoven's Seventh Symphony receives its premiere. Or offering your fourth novel to the public near the time of the first performance of Schubert's Fifth Symphony. The program highlights popular music from Austen's time by Mendelssohn, Haydn, Fasch, J.C. Bach, Boyce, Schubert and others. I find the exclusion of chamber music a little odd here, though, since chamber music was the rage among the sort of gentlemen and women of the country about whom Austen wrote so well. --Gwendolyn FreedCustomer Reviews:
A perfect blend of music ! .......2006-11-23
Beautiful.......2006-11-20
Beautiful Music.......2006-10-02
This CD is a must have if you love Jane Austen.
Buy this CD, you will not be disappointed!
Very Pleased!.......2005-09-28
Austen has a great taste for harmonic melodies.
I've listen to this CD over and over again.
I still enjoy the beautiful music!
VERY VERY GOOD.......2004-03-07
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Schubert: 8 Symphonies
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Schubert
| Schubert, Franz
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ASIN: B00005KK4P Release Date: 2001-10-09 |
Tracks:
- Sym No.1 in D, D.82: 1. Adagio - Allegro Vivace
- Sym No.1 in D, D.82: 2. Andante
- Sym No.1 in D, D.82: 3. Menuetto. Allegretto
- Sym No.1 in D, D.82: 4. Allegro Vivace
- Sym No.2 in B flat, D.125: 1. Largo - Allegro Vivace
- Sym No.2 in B flat, D.125: 2. Andante - Vars I-V
- Sym No.2 in B flat, D.125: 3. Menuetto. Allegro Vivace - Trio
- Sym No.2 in B flat, D.125: 4. Presto Vivace
Tracks:
- Sym No.3 in D, D.200: 1. Adagio Maestoso - Allegro Con Brio
- Sym No.3 in D, D.200: 2. Allegretto
- Sym No.3 in D, D.200: 3. Menuetto. Vivace
- Sym No.3 in D, D.200: 4. Presto Vivace
- Sym No.4 in c, D.417: 1. Adagio Molto - Allegro Vivace
- Sym No.4 in c, D.417: 2. Andante
- Sym No.4 in c, D.417: 3. Menuetto. Allegro Vivace - Trio
- Sym No.4 in c, D.417: 4. Allegro
Tracks:
- Sym No.5 in B flat, D.485: 1. Allegro
- Sym No.5 in B flat, D.485: 2. Andante Con Moto
- Sym No.5 in B flat, D.485: 3. Menuetto. Allegro Molto - Trio
- Sym No.5 in B flat, D.485: 4. Allegro Vivace
- Sym No.6 in C, D.589 'Little C Major Sym': 1. Adagio - Allegro
- Sym No.6 in C, D.589 'Little C Major Sym': 2. Andante
- Sym No.6 in C, D.589 'Little C Major Sym': 3. Scherzo. Presto - Piu Lento
- Sym No.6 in C, D.589 'Little C Major Sym': 4. Allegro Moderato
Tracks:
- Sym No.8 in b, D.759 'Unfinished': 1. Allegro Moderato
- Sym No.8 in b, D.759 'Unfinished': 2. Andante Con Moto
- Sym No.9 in C, D.944: 1. Andante - Allegro Ma Non Troppo
- Sym No.9 in C, D.944: 2. Andante Con Moto
- Sym No.9 in C, D.944: 3. Scherzo. Allegro Vivace
- Sym No.9 in C, D.944: 4. Allegro Vivace
Customer Reviews:
Overall- A very good value.......2007-04-07
Excellent Schubert from Bohm and the Berlin Philharmonic.......2007-03-23
Bohm has a superb command of each symphony's architecture, and DG's recorded sound in all one could ask for: much better than Karajan's 1980s Berlin recordings for DG.
I believe Bohm's Schubert recordings are better than the more recent DG's of Abbado/Chamber Orchestra of Europe, which strike me as rather light and chamber like by comparison. Since I like big orchestra Schubert, I prefer Bohm.
Karl Bohm lived 1894-1981, and began making recordings with the Dresden State Orchestra in 1934. I highly recommend Bohm's Schubert cycle, and also his Mozart Symphonies (DG, also with the Berlin Philharmonic) and Beethoven Symphonies (DG, 1970-72, in three different Doubles releases, with the Vienna Philharmonic), essential to any collection of great music.
Average Sound Quality but Great Packaging and Great Value for Money!!.......2006-06-18
Great performances.......2005-03-28
Beautiful, but a bit heavy at times.......2004-07-04
Average customer rating:
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Schubert: Symphonies 5, 6, 8 & 9; Rosamunde Overture
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Schubert
| Schubert, Franz
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ASIN: B0002XV2YS Release Date: 2005-02-15 |
Tracks:
- Rosamunde Overture, D644
- I. Allegro
- II. Andante Con Moto
- III. Menuetto E Trio: Allegro Molto
- IV. Allegro Vivace
- I. Adagio - Allegretto
- II. Andante
- III. Scherzo: Presto - Trio: Piu Lento
- IV. Allegro Moderato
Tracks:
- I. Allegro Moderato
- II. Andante Con Moto
- I. Andante - Allegro Ma Non Troppo
- II. Andante Con Moto
- III. Scherzo E Trio: Allegro Vivace
- IV. Finale: Allegro Vivace
Customer Reviews:
Is it real?.......2007-03-20
Karajan marches on.......2007-02-01
Karajan recorded just about everything from the Baroque Masters to Richard Strauss. He also headed up numerous music festivals and operas. To see what I mean, do a search either here or at Ebay on Karajan and opera. He was one busy productive dude. And he delighted millions both in live performances and all those vinyl gems he left us now bing ported over to cd.
I have these recordings that were issued on vinyl by Angel records in association with the book of the month club from way back when.
Karajan's recordings span from the 1930s to the late 1980s. Kinda like the Duke and all them westerns. He led the best orchestras in Europe (Vienna, Berlin, the Philharmonia to name three) and made records with them year end and year out for over 50 years. He also pushed the technology envelope and took advantage of digital when it first came out and video. Often the arguements about Karajan have to do with which version of such and such is best! "They all sound good, but I like his mono version with the Philharmonia best."
All this activity in conducting and recording over so many years paid major dividends. Like Bohm, I have seldom heard one of Karajan's lps and thought that he laid an egg! The reason why he is soooo popular is that he consistenly put out top notch work. You may find better individual performances but chances are you will not get an ear infection from listening to his recordings.
This inexpensive set is a good way to test the non Beethoven Karajan waters if you have not done so already. Or, you may give his great Schumann or Tchaikovsky Symphony recordings a try.
Sterling 9th.......2006-06-15
Unconvincing big-band performances without charm.......2005-10-07
I should say that the competing sets from Abbado with the Chamber Orchestra of Europe (DG) and Colin Davis with the Dresden Staatskapelle (RCA) sound timid and dull respectively. I would hold out for the new Harnoncourt--his single performances have been excellent so far--or seek the many great performances that exist out there of each symphony.
Karajan's Schubert Cycle Reissued for Cheap!.......2005-03-14
Herbert von Karajan's Schubert Symphony Cycle, made between 1975-78 for EMI with the Berlin Philharmonic, has been available previously on CD in the "Karajan Edition." However, those discs, released as four single titles with two Symphonies each, were twice the price of these new reissues. These performances of Symphonies 5, 6, 8 & 9 plus the Rosamunde Overture are certainly solid, but Karajan was never celebrated as a conductor of Schubert. One wonders if that is why DG had a young Lorin Maazel record the Schubert Symphonies with the Berliners instead of Herbie at the dawn of the stereo age, and that ultimately EMI had him record this Cycle because it was something he hadn't yet done for DG. In any event, I would certainly recommend the Bohm boxed set on DG or the Kertesz on London/Decca (see my review of the latter) ahead of these performances. But considering how cheap these two double discs are, maybe picking up an extra Schubert Cycle is worth it after all.
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10 Symphonies
Schubert , Amf , and Marriner Manufacturer: Philips ProductGroup: Music Binding: Audio CD General
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ASIN: B00006IU7X Release Date: 2003-03-11 |
Customer Reviews:
A good set of the Schubert symphonies, with some fascinating reconstructions.......2007-03-08
I think it is very interesting to see the progression of Schubert's thought as we go from the 6th symphony (D, 589) to the D. 615 fragment, to the D. 708 bigger fragment, and then to the sketchy 7th symphony (D. 729). These are not polished works, but I like listening to them occasionally.
My biggest complaint is not with these sketches, but with Newbould's attempt to complete the "Unfinished Symphony," namely the 8th. The first movement is gorgeous and the second, also complete, is just fine. But what about the 3rd and 4th movements?
Schubert did indeed write the opening theme to the 3rd movement and scored the first few bars. But I do not like the way it comes out here. First, Newbould's variations (needed, to complete the movement) just aren't all that Schubertian, in my humble opinion. And they aren't that good. Second, I don't like the part Schubert wrote! I think Schubert may have realized that he was not getting what he wanted out of the movement, and that may be why he stopped where he did.
The 4th movement is simply the overture to Rosamunde, and it may indeed have been exactly what Schubert wanted to be the finale to that symphony. Or it may have been close to it. Or it may not have been! I think putting it in as the finale is a good (but definitely not great) idea.
My favorite of the reconstructions is the 10th symphony, especially the dreamy second movement.
I recommend this set of Schubert symphonies.
Interesting and well-played: a tip about the "Unfinished".......2007-02-27
Here is a personal tip concerning the finished Unfinished (8th symphony), which includes the Scherzo that Schubert fully composed in piano score, but only began to orchestrate, and the B-minor Entracte from Rosamunde, often thought to be the intended finale to the 8th symphony.
I recommend making the Scherzo the second movement, and the slow movement the third. There is no precedent for this in the other Schubert symphonies, but there is ample precedent in other classical-period pieces. In this symphony, it has the result of making the Scherzo a vigorous palate cleansing between two dreamy movements. I find it works very well, and I much prefer it to the more obvious order. Just a suggestion (but a good one!).
typical Marriner.......2003-12-29
I was fascinated by the 7th and the 10th. (They didn't quite seem like the others. This might have been, and probably was due to the fact that Mr. Newbould orchestrated these. Although he does an exquisite job, it's just not quite like Schubert.) Anyway, these two unnumbered symphonies provide further insight into Schubert's symphonic progression. We usually have a gap between the first 6 symphonies and the very different 8th. This has now been filled in. The 7th symphony seems much like a combination of various aspects of the early symphonies and of the 8th. The 10th symphony sounds a lot like the 9th. Schubert gets more in depth with counterpoint than in any of the other symphonies. Schubert died before writing any of the 4th movement, so this is, essentially, the "'new' unfinished symphony" of the Schubert cycle.
This set is just what you'd expect from Marriner and the ASMF. It is graceful, together, crisp, you might even say it's dainty. The tempos are sometimes fast, but it seems they are deathly slow other times. The first movement of the 8th sounds like a funeral dirge, as it does with many other conductors. You can tell Schubert wanted the tempos much faster in some places. It would make his symphonies seem so much more exciting. If you're looking for sheer power, look elsewhere.
I am no Schubert expert, nor have I heard many other recordings of his symphonies. I would definitely recommend a listening-to of these. That much is imperative. As for a purchase, you could probably find better recordings elsewhere.
Fine Schubert Symphony Cycle from Marriner and ASMF.......2003-12-27
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Great Melodies Of The Classics
Manufacturer: Intersound Records ProductGroup: Music Binding: Audio CD Quartets
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ASIN: B000003QW8 Release Date: 1994-10-18 |
Tracks:
- Fanfare (Masterpiece Theater Theme)
- Orchestral Suite No.3 in D Major, BWV 1068: Air For The G String
- Canon In D Major
- The Spring In E Major, Op.8, No.1: Allegro
- The Spring In E Major, Op.8, No.1: Largo e pianissimo sempre
- The Spring In E Major, Op.8, No.1: Allegro: Rustic Dance
- Water Music Suite: Allegro
- Water Music Suite: Air
- Water Music Suite: Bouree - Handel_
- Water Music Suite: Hornpipe - Handel_
- Water Music Suite: Andante expressivo - Handel_
- Water Music Suite: Hornpipe - Handel_
- Brandenburg Concerto No.2 In F Major, BWV1047: (Allegro) - Bach
- Brandenburg Concerto No.2 In F Major, BWV1047: Andante - Bach
- Brandenburg Concerto No.2 In F Major, BWV1047: Allegro assai - Bach
- Table Music Overture - Telemann
- Toccata And Fugue In D Minor, BWV565 - Bach
Tracks:
- Symphony No.5 In C Minor, Op.67: Allegro Con Brio
- Eine kleine Nachtmusik, K.525: Allegro
- Eine kleine Nachtmusik, K.525: Romanze: Andante
- Eine kleine Nachtmusik, K.525: Menuetto: Allegretto
- Eine kleine Nachtmusik, K.525: Rondo: Allegro
- Symphony No.94 In G Major, Surprise: Adagio: Vivace Assai
- Symphony No.94 In G Major, Surprise: Andante
- Symphony No.94 In G Major, Surprise: Menuet: Allegro Molto
- Symphony No.94 In G Major, Surprise: Finale: Allegro Di Molto
- Symphony no.5 In B-Flat Major: Allegro Vivace - Schubert
- Piano Concerto No.21 In C Major, K.467: Andante - Mozart
- Beethoven: Allegro Ma Non Troppo - Beethoven
Tracks:
- Light Cavalry Overture
- Symphony No.5 in E minor, Op.64: Valse: Allegro moderato
- William Tell: Overture
- Bolero
- Die Fledermaus (The Bat): Overture
- A Midsummer Night's Dream Suite: Overture
- A Midsummer Night's Dream Suite: Scherzo
- A Midsummer Night's Dream Suite: Nocturne
- A Midsummer Night's Dream Suite: Wedding March - Mendelssohn
- A Midsummer Night's Dream Suite: Puck's Dance - Mendelssohn
Tracks:
- The Valkyrie: Ride Of The Valkyries
- Peer Gynt Suite No.1, Op.46: Dawn
- Peer Gynt Suite No.1, Op.46: Death Of Ase
- Peer Gynt Suite No.1, Op.46: Anitra's Dance
- Peer Gynt Suite No.1, Op.46: In The Hall Of The Moutain King
- Les Preludes
- Orpheus In The Underworld: Overture
- My Country: The Moldau
- The Afternoon Of A Faun: Prelude
- Carmen: The Toreadors
- Carmen: Habanera
- Carmen: March Of The Smugglers
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Schubert: The Complete Symphonies
Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD All Works by Schubert
| Schubert, Franz
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ASIN: B00005MIZU Release Date: 2005-07-13 |
Tracks:
- Rosamunde: The Magic Harp: Ov, D.644
- Incidental Music, D.797: No.2 Ballet Music I in b (Allegro Moderato -
- Incidental Music, D.797: Andante Un Poco Assai)
- Incidental Music, D.797: No.9: Ballet Music II in G (Andantino)
- Sym No.3 in D, D.200: I. Adagio Maestoso - Allegro Con Brio
- Sym No.3 in D, D.200: II. Allegretto
- Sym No.3 in D, D.200: III. Menuetto (Vivace) & Trio
- Sym No.3 in D, D.200: IV. Presto Vivace
- Sym No.8 in b, D.759 'Unfinished': I. Allegro Moderato
- Sym No.8 in b, D.759 'Unfinished': II. Andante Con Moto
Tracks:
- Sym No.2 in B flat, D.125: I. Largo - Allegro Vivace
- Sym No.2 in B flat, D.125: II. Andante - Vars I-V
- Sym No.2 in B flat, D.125: III. Allegro Vivace - Trio
- Sym No.2 in B flat, D.125: IV. Presto
- Sym No.4 in c, D.417 'Tragic': I. Adagio Molto - Allegro Vivace
- Sym No.4 in c, D.417 'Tragic': II. Andante
- Sym No.4 in c, D.417 'Tragic': III. Menuetto (Allegro Vivace) & Trio
- Sym No.4 in c, D.417 'Tragic': IV. Allegro
Tracks:
- Sym No.1 in D, D.82: I. Adagio - Allegro Vivace
- Sym No.1 in D, D.82: II. Andante
- Sym No.1 in D, D.82: III. Menuetto (Allegretto) & Trio
- Sym No.1 in D, D.82: IV. Allegro Vivace
- Sym No.5 in B flat, D.485: I. Allegro
- Sym No.5 in B flat, D.485: II. Andante Con Moto
- Sym No.5 in B flat, D.485: III. Menuetto (Allegro Molto) & Trio
- Sym No.5 in B flat, D.485: IV. Allegro Vivace
- Sym No.9 in C, D.944 'The Great': I. Andante - Allegro Ma Non Troppo
Tracks:
- Sym No.9 in C, D.944 'The Great': II. Andante Con Moto
- Sym No.9 in C, D.944 'The Great': III. Scherzo (Allegro Vivace) & Trio
- Sym No.9 in C, D.944 'The Great': IV. Finale (Allegro Vivace)
- Sym No.6 in C, D.589: I. Adagio - Allegro
- Sym No.9 in C, D.944 'The Great': II. Andante
- Sym No.9 in C, D.944 'The Great': III. Scherzo (Presto) & Trio (Piu Lento)
- Sym No.9 in C, D.944 'The Great': IV. Allegro Moderato
Customer Reviews:
Feels like a "pig-pile" on the bottom-most review.......2006-08-26
For those that don't know the earlier Schubert symphonies--well, for the cost of one top-dollar CD you can hear them and you'll be amazed these aren't heard more often. Boy Schubert (many of these were written in his teens) may not have been the world's greatest symphonic crafts-person back then (he was merely very good with rough edges) but his full melodic genius was present when he was probably two years old. Here I am playing, and REALLY enjoying a symphony by a sixteen-year-old.
Beethoven allegedly saw a score of Schubert's before he died (Beethoven, not Schubert)and was quoted as saying, "HOLY MACKEREL! This kid's got the chops!" Beethoven talked like that sometimes.
Great.......2006-04-10
Great Italian Schubert!.......2005-10-28
a massive disappointment.......2005-08-04
Please give me back Furtwangler, Klemperer and Bruno Walter!!!
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Orchestral Excerpts for Trombone
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ASIN: B0000038JF Release Date: 1994-05-31 |
Tracks:
- Requiem
- Hungarian March/Sym Fantastique
- Con
- Sym No.9
- Prld Act III, Lohengrin/Ride Of The Valkyries/Tannhauser Ov
- Bolero
- Sym No.3
- Sym No.3
- Sym No.1 & 2
- Sym No.5
- William Tell/La Gazza Ladra
- Sym No.3
- Sym No.6
- Firebird Ste/Petrouchka
- Russian Easter/Scheherazade
- Till Eulenspiegel/Ein Heldenleben/Sprach Zarathustra
- Sym No.4 & 7
- Mathis Der Maler/Symphonic Metamorphosis
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Bruckner: Symphonies Nos. 3-5, 7-9
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ASIN: B0002IRY0O Release Date: 2004-11-09 |
Customer Reviews:
Celibidache's most 'normal' Bruckner is full of inspiration.......2006-09-02
Measuring Celi by the metronome isn't fair. The real question is what he offers musically, and there's no doubt that he is closely attuned to Bruckner. Long passages of sound are carved like marble; the atomosphere is full of mystery and poetry; sonorities are built on a massive scale and then alternate with intervals of lovely serenity. This is music made alive on the page. Compared to Karajan, another great Brucknerian, Celibidache is more organic and relaxed. One can quibble with things here and there, but then an entire stretch of music, such as the opening of Sym. #3, will emerge as a magnificent whole.
I'm not sure I can erect an altar to Celibidache's entire career, but these Bruckner recordings seem great to me.
Celibidache: Great Bruckner conductor, or cult figure?.......2005-02-19
The next time I encountered him was while sitting around one night with some Bruckner (and Furtwangler) fans watching "music videos"...but not exactly the MTV or VH1 kind. I saw two videos of Celibidache. The first clip was of a dashing young matinee-idol looking Celibidache, with a wild swath of hair hanging down on his forehead, conducting the BPO in a fiery reading of Beethoven's Egmont Overture. In the second video, shot about two generations after the first, a kindly, grandfatherly looking, Celibidache, in a cozy sweater, conducted a superbly controlled Munich Philharmonic from a stool, in an impossibly expansive and majestic reading of the first movement of the Bruckner Eighth (this was from the Sony release of the entire Eighth). The latter performance was so slow, when compared with any other recording you've ever heard, that it had no business sounding so good, but somehow it did.
The Celibidache phenomenon, and his superbly drilled Munich Philharmonic, must've created a bit of a stir, for, on the heels of Sony's video releases of Celibidache's performances of Bruckner's Symphonies #6-8, EMI embarked on a project of releasing recordings of Bruckner's Symphonies #3-9, as well as recordings of works by other composers. These recordings were released in 1999, three years after the conductor's death. At that time I was what you could call a "Bruckner Ninth completist," and I already owned one of his recordings of the Bruckner Ninth: one of those "quirky Italian" labels that speicalizes in poorly packaged--and often premium-priced--pressings of "historical recordings" had released a few Celibidache live recordings of Bruckner symphonies from the '70's and '80's (it's pretty common knowledge that the enigmatic conductor, like Furtwangler whom he had succeeded as director of the BPO in 1945, hated making studio recordings).
This two-disc set turned out to be a good indicator of the enigma that was Celibidache. The second disc was a recording of the Ninth Symphony with the MPO from 1981. It was a very good performance, and I felt fortunate to have it in my collection, because it was also a good quality live recording; and it was with Munich (most of his live recordings from that period were with the RSO Stuttgart, a good orchestra but not as good as the MPO). The Ninth was a bit on the slow side, and there were moments when I was a bit too aware of the conductor caressing a phrase, but overall it was a worthy addition to the collection.
The accompanying recording of the Fourth with the RSO Stuttgart from 1973 was another story. Everything was fine through the first three (and three-quarters) movements. It was a spacious account of the fourth, but no slower than, say, Bohm's 1973 VPO recording. But, then, toward the end of the finale something happened: a very self-conscious slowing down of the coda--which is plenty majestic enough w/o an unnatural slowing down. This slowing progressed until the beat was subdivided, the violins sounded like they were literally "sawing away" on their ostinatos, and the orchestra almost ground to a screeching halt before the final chord mercifully stopped sounding. At that point, I almost made a frisbee out of the disc, but I decided it still made a good conversation piece (or at least a coaster). It was the most bizarre thing I had ever heard in a recording of "classical" music. In retrospect, the interesting thing is that such extremely protracted tempos are more often associated with the performances of his last fifteen years, but this recording was made 23 years before his death: it somewhat staggers the Brucknerian imagination to think that 20 years later he made a recording of the Fourth with Munich in which the Finale was actually more than five minutes longer, actually breaking the half-hour mark, presumably for the first and last time in the annals of this work.
[I've been trying to write shorter reviews, but apparently that's not going to happen here.]
When the EMI recordings came out, I was much too curious about the Eighth and Ninth to allow the bizarre timings to scare me away: when I first picked up the Eighth, I thought that the timings of the last two movements--35:04 and 32:08, respectively--must've been misprints...the finale was actually more than 12 minutes--or 60%--longer than Jochum's terse 1964 BPO recording! But I still found things to admire in these recordings, none the least of which was the superbly controlled and patient playing of the orchestra, all of whom I thought must've been practically "Zen masters" (and endurance athletes), to play a Bruckner Eighth that was longer than many recordings of the six-movement Mahler Third!
[Really, my intent is NOT to write a review that is the verbal equivalent of a late Celibidache Bruckner recording!]
So, when DG came out with their Celibidache recordings of Bruckner's Symphonies #3-5&7-9, at first released in two absurdly expensive boxed sets--and the people who purchased those have every right to be perturbed at DG eventually releasing them in a much more reasonably-priced single box--I looked at the set with a certain suspicious curiousity. Could these be anything more than shabby old radio recordings, released to "coat-tail" the EMI and Sony releases, and the conductor's death?
Well, the answer is a defininte, yes, they are much more than that. Any set of Celibidache Bruckner recordings is bound to be a bit of a "mixed bag," and, as the other reviewer pointed out, this set is...but there is much more to admire and enjoy here than I expected. I smiled at the other reviewer's apt comment about the "Karaoke Third;" and while the Fourth is not as annoying as the Third, in this respect, their is still more "Sing along with Serge" than I can take, esp. in the finale. It is one of my pet peeves when conductors hum and stomp their way through a performance (you can probably imagine that I don't much care for Glenn Gould's recordings): one of the Bruckner Ninths that I dumped from my "completist days" was by a conductor named Vladimir Delman, who didn't shut up for more than five seconds during the entire recording (and it wasn't even a very good Ninth even w/o the vocal accompaniment)!
In the case of this Celibidache Fourth, it's too bad about the vocalizing, because the tempo of the finale's coda is much more tolerable than the '73 Stuttgart one I described above.
But, fear not, for the Fifth, Seventh, Eighth, and Ninth, are all very good, and the recording quality exceeded my expectations, including strong, clear horns, so important in Bruckner; and a full, warm, bass resonance. Also, Celibidache is definitely a conductor who understands the importance of good strong timpani in Bruckner, and the timpani are very well recorded throughout this set, nearly as thunderous as Karajan's, in the finale of the Fifth (HvK used an extra set of timpani in the Fifth). Yes, the tempos are on the slow side, but during this period--which I'm now thinking was a vintage period for Celibidache's Bruckner--they had not become too extreme yet. He manages to pull off the most spacious Fifth Symphony slow movement I've ever heard, with surprising success (even if this almost climax-less movement begins to get a bit monotonous, by the end; but then again, brisker readings of this movement can get a bit tedious, too).
This was the first Celibidache Bruckner Seventh I've ever heard, and it was a very pleasant surprise, with a beautiful, but not excessively slow, adagio; and a nice, flowing, first movement. It was a pleasant surprise to hear him use a nice flowing tempo for the lovely "enchanted forest" theme (as I call it) that flows out of the majestic intro, and launches the movement proper.
The Eighth was also very satisfying, and certainly no slower than Gunter Wand's final--and excellent--recording of the work; or Karajan's 1957 recording, for that matter.
I still prefer Celibidache's aforementioned 1981 MPO recording of the Ninth, which is noticeably more expanisve in the outer movements than the recording included in the DG set; but both performances are evidence that Celibidache was very much in touch with the rarefied spiritual world of this (my favorite) symphony.
If you are a Bruckner fanatic (or a "Brucknerd," as I have sometimes called us), esp. one who likes Celibidache, who has been putting off buying this set, you need hesitate no more. Was Celibidache one of the Great Bruckner Conductors, or just an enigmatic pheonom with a cult following? I feel that this set reveals him as a great Bruckner conductor, even if like many of us, he went on to get a bit "eccentric" in his later years.
Karaoke with Celi.......2005-01-21
Celi was a great Bruckner conductor, no doubt about that, although he earned this reputation late in his career. But it is indeed painful to hear his karaoke behavior: Celi yells often loudly while conducting, frequently just before a climax, sometimes even with more lungpower than the brass, it seems. Worse than having a coughing audience, I think! This is especially the case in the third symphony, but his characteristic shouts are audible elsewhere too. But don't get me wrong: the interpretations are very fine. And the third, fourth and seventh are among the best available.
Thus these recordings are welcome additions to the Bruckner catalogue. Comparing this bargain DG collector's edition set with the very expensive EMI set, where Celi is conducting Munich Philharmonic, the speeds are swifter. This is especially the case with the eight symphony, which Celi takes extremely slow in Munich. Here are the differences for each movement:
EMI: 20'56 ; 16'05 ; 35'04 ; 32'08
DG : 16'16 ; 13'52 ; 27'08 ; 26'04
I think the earlier DG account in the present set is preferable. The Munich take is too slow, even if the attention to detail is remarkable. Similar judgements are applicable for the rest of the set as well, though the time differences are less dramatic. For example, the account of the fourth is ten minutes faster here. Comparing with Jochum, however, all Celi's speeds are very slow throughout the whole set.
SWR Stuttgart Radio Symphony Orchestra and Swedish Radio Symphony Orchestra are not famous for their Bruckner playing. In this respect, they do not outshine, say, Bavarian Radio Symphony Orchestra, Staatskapelle Dresden, and Concertgebouw. But minor orchestras can surprise with a good conductor, as they do here.
Sound is good but not in upper demonstration class.
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'N Love: Music for Your Wedding
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ASIN: B00008ZZ5Y Release Date: 2003-04-22 |
Tracks:
- Lost Without You - Allen & Allen
- I Will Always Love You - Spectrum
- Speak to My Heart - Hubert Powell
- Hello - Spectrum
- Devotion - Allen & Allen
- You Mean the World to Me - Spectrum
- Get Here - Buzz Worrell,
- Love Is - Spectrum
- When I Fall in Love - Evening Star Orchestra
- With My Whole Heart - Hubert Powell
Tracks:
- Air for the "G" String - Royal Philharmonic Orchestra
- Jesu, Joy of Man's Desiring
- On Wings of Song - Nancy Enslin & Deborah Benardot
- Arioso
- Prelude in C Major
- Largo [From Xerxes] - London Festival Orchestra
- Schubert's Ave Maria - Nancy Enslin & Deborah Benardot
- Ave Maria - Nancy Enslin & Deborah Benardot
- Sheep May Safely Graze - Philip Brunelle
- Bridal March (Here Comes the Bride) [from "Lohengrin" (Here Comes]
- Pachelbel's Canon in D Major - Collegium Aureum
- Trumpet Voluntary - Lyn Larsen
- Trumpet Tune in C Major - Carlo Curley
- O Perfect Love - Nancy Enslin & Deborah Benardot
- Lord's Prayer - Nancy Enslin & Deborah Benardot
- Wedding March [from "A Midsummer Night's Dream] - London Festival Orchestra
- Finale: Ode to Joy [from Symphony No. 9 "Choral"] - Nancy Enslin & Deborah Benardot
- Rondeau [Masterpiece Theatre Theme]
- Handel's Alla Hornpipe [from "Water Music" Suite] - London Festival Orchestra
Customer Reviews:
Hated it........2003-08-21
Music Review:
- Schubert: Symphonies Nos. 1 & 8
- Schubert: Symphony No. 8/Rosamunde, Incidental Music
- Science Fiction Movie Themes (Film Score Anthology) [Soundtrack]
- Siegfried Wagner: Symphonic Poems
- Stardust
- Strauss: Also Sprach Zarathustra/Don Juan
- Tchaikovsky: Complete Chamber Music
- Tchaikovsky: "Pathetique"/Ouverture Solennelle "1812"
- Tchaikovsky: Symphony No. 6; Scriabin: Le Poème de l'extase
- The Instruments of Classical Music, Vol. 6: The Cello
Music Review
Carry on Pt.2 [CD-single] [Import]
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Heaven Belongs to You: The Best of Jubilee Gospel [Import]
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