Beethoven: Triple Concerto; Choral Fantasia

1. Concerto for piano, violin, cello, & orchestra in C major ("Triple Concerto"), Op. 56
Composed by Ludwig van Beethoven
with Dresden Philharmonic Orchestra , Christian Funke , Peter Rosel , Jurnjakob Timm
Conducted by Herbert Kegel

2. Fantasia for piano, chorus, and orchestra ("Choral Fantasy"), Op. 80
Composed by Ludwig van Beethoven
with Olaf Bar , Dresden Philharmonic Orchestra , Matthias Henneberg , Peter Rosel , Margot Stejskal , Eckhard Wagner , Annette Jahns
Conducted by Herbert Kegel

Beethoven: Triple Concerto; Choral Fantasia,Matthias Henneberg,Olaf Bär,Jurnjakob Timm,Ludwig van Beethoven,Herbert Kegel,Dresden Philharmonic Orchestra,Elvira Puschkarova,Peter Rosel,Margot Stejskal,Eckhard Wagner,Christian Funke,Capriccio,Cello Concerto,Choral,Choral Music,Classical,Classical Composers,Classical Music,Concerto

Beethoven - Triple Concerto ~ Choral Fantasy / Perlman, Yo-Yo Ma, Berliner Phil., Barenboim
Average customer rating:

A First-Rate Triple Concerto and Choral Fantasy!

It's o.k.

A vigorous Triple Concerto knocking at the door of the greats

Great

Exciting Performance

Beethoven - Triple Concerto ~ Choral Fantasy / Perlman, Yo-Yo Ma, Berliner Phil., Barenboim
Ludwig van Beethoven , Berliner Philharmoniker , Chor der Deutschen Staatsoper , Daniel Barenboim , Ernst Stoy , Itzhak Perlman , Yo-Yo Ma , Par Lindskog , Rene Pape , Endrik Wottrich , and Andrea Bonig
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Brahms: Double Concerto / Mendelssohn: Violin Concerto

Beethoven - Choral Fantasy and Triple Concerto for Violin, Cello & Piano / Barenboim, Ma, Perlman

Beethoven: Concerto for violin in D

Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter

Mendelssohn: Violin Concerto in E minor; Bruch: Violin Concerto #1; Itzhak Perlman

ASIN: B000002RVN
Release Date: 1995-11-21

Tracks:

Triple Concerto: I. Allegro
Triple Concerto: II. Largo
Triple Concerto: III. Rondo alla polacca
Choral Fantasy: Adagio -
Choral Fantasy: Finale: Allegro - Meno allegro -
Choral Fantasy: Allegro Molto -
Choral Fantasy: Adagio, ma no troppo -
Choral Fantasy: Marcia, assai vivace - Allegro -
Choral Fantasy: Allegretto, ma non troppo (quasi andante con moto) - Presto

Customer Reviews:

A First-Rate Triple Concerto and Choral Fantasy!.......2007-03-28

Though many others have reviewed this CD, I'd like to offer a few remarks from my own perspective. In particular, I want to focus on the Choral Fantasy, because I've recently been comparing my recordings of it to see which, to my ears at least, are the most satisfying.

First, though, a few words about the Triple Concerto. It is easy to see why most reviewers have principally addressed this work. It is a remarkably fine piece of music, impressively and beautifully performed by some of the most talented and celebrated artists of our age. It is hard to speak of Perlman, Ma, or Barenboim in anything but superlatives, and that holds true for the Berlin Philharmonic, as well. The recorded sound is outstanding: vibrant, clear, well-balanced, full-dimensioned, and sensuous. And if the rigorous control of a studio recording is given up in this live concert performance, it seems more than compensated for by the contagious enthusiasm of an admiring audience. The applause at the end is fitting and adds a touch of realism to the recorded experience. (It has to be conceded, though, that no actual seat in the house could offer the closeup detail which the recording engineers, with their skilled use of microphones and mixers, provide us.)

In sum, the Triple Concerto is most handsomely served here. The effect is almost that of a chamber trio with orchestral accompaniment, and like good chamber music players, the three soloists take care not to step on each other's lines, assuming the lead when appropriate and yielding up the spotlight when their turn is over. (Obviously the three, in addition to their solo performances, have had substantial experience playing chamber music.)

As to the Choral Fantasy, in my opinion we have here one of the very best available recordings. In addition to being a top musical artist in general and an extraordinary pianist in particular, Barenboim is also one of the leading Beethoven interpreters of the day. For its part, the venerable Berlin Philharmonic has, from the time of Nikisch, imposed a soloist level of performing artistry upon each of its members, and, since the days of Furtwaengler, developed a special relationship with the music of Beethoven. (The vocal soloists and chorus live up to this standard, as well.) Add to this interpretive authority and performing excellence the high caliber of EMI sound engineering, and you're almost guaranteed a brilliant result.

The composition itself is well thought out and full of excellent writing, the product of mature genius. Though its debut in 1808 was something of a catastrophe, owing to last-minute completion and consequent lack of adequate rehearsal (Beethoven's piano part had not yet even been written out), it was all very carefully re-worked before its publication in 1810. Formally the piece has two movements: Adagio and Finale, but there are altogether seven segments with various tempo and style indications. Lasting about 20 minutes altogether, the piece begins with a 4-minute piano introduction and ends with about 4 minutes of combined chorus, orchestra and piano. The intervening 12 minutes or so constitute a dialogue between solo piano and orchestra.

The Fantasy is perhaps unique among Beethoven's works in its obvious emphasis upon unabashed showmanship. It was, from the beginning, intended as a brilliant finale to a long evening of Beethoven's music--both his compositions and his personal performance at the keyboard (and his conducting, too). And though the work has been criticized for its "oddball" format and its presumed artistic shallowness, the fact is that the music has survived for 199 years and shows no signs of being abandoned any time soon. Indeed, it remains a great source of musical excitement and enjoyment, and a favorite of such musical greats as Rudolf Serkin and Daniel Barenboim, both of whom have recorded it multiple times.

In choosing my favorite recordings I have kept in mind the showpiece character of the music, and its growing excitement and brilliance as it comes to a close. Two features in particular add special drama to the coda: the strategically repeated rising scales of triplet thirds with octaves played by the piano and sounding like fireworks blasting off into the sky; and the sudden powerful interjection of a foreign E-flat major chord as the chorus repeats the word "Kraft" (power) and then triumphantly forces its resolution back to a grand C major. When these features are well executed the piece takes on an excitement which drives almost inexorably toward an exultantly satisfying ending.

In this recording both features come off pretty well, although the rising piano scales could be better spotlighted and could be more crisply articulated. The E-flat chord is properly strong and grows in intensity as it presses forward to its C major resolution. So I'd give this performance about 1.6 out of 2 on this issue.

By way of comparison, the old Walter Klien performance with the St. Louis Symphony conducted by Jerzy Semkow (a Vox disk no longer in print) gets the full two points: Klien plays the scales with an almost trip-hammer articulation which seizes the ear with its dramatic intensity. The E-flat chord and its resolution are likewise given the powerful treatment which adds so much to the brilliance of the ending. (The Klien disk, though recorded in the 1960s, holds up well on all counts and sounds very good indeed!)

A third fine performance is that of Pierre-Laurent Aimard playing with the Chamber Orchestra of Europe conducted by Nikolaus Harnoncourt on the Warner Classics label. Aimard's playing is big, powerful, and virtuosic, and the orchestra and chorus (Arnold Schoenberg Chor) are equally fine. On the two features cited above, this recording gets about 1.6 points: the piano scales are crisply articulated, nearly as electrifying as Klien's, but a bit less prominently highlighted. The E-flat chord is strong enough, and the following C major chord is, as well, but there is no growth in intensity as the chord is driven toward its resolution. (To be sure, Beethoven does not indicate a crescendo on the E-flat chord, but instinct suggests that it should be there, and most conductors seem to call for it.) With the above proviso, I still find this recording to be very satisfying overall, leaving little to be desired, with very fine sound and excellent playing.

No discussion of the Choral Fantasy could be complete without mentioning Rudolf Serkin, who harbored a special fondness for it and liked to play it as the closing piece on the final concert of each season of the Marlboro Festival, a rousing ending to the summer's musical activities. Of my two Serkin recordings--one at Marlboro on Sony and the other on Telarc--I prefer the latter, which is recorded (not live) with the Boston Symphony under Seiji Ozawa. Although he was 79 at the time of the recording (in 1982) Serkin shows few pianistic deficiencies, and offers up a fully satisfying performance, as do the orchestra and the Tanglewood Festival chorus. On the two showmanship features mentioned above, this recording scores about 1.6, as well. The piano scales are smoothly played and quite well highlighted, but are not so crisply articulated as they might be; the E-flat chord, however, swells very powerfully to its grand resolution. This is thus a very fine recording, with the special quality of the piece's personal relationship to Serkin. The sound is very good, without audience noise, and, in keeping with Telarc's philosophy, the engineers employ only a single stereo pair of microphones and eschew any compression, limiting, or equalization. This results in a quite realistic reconstruction of what one might actually hear in the concert hall, but gives up the ability to focus in on the soloist or a particular section of the orchestra or chorus. (If you can find the out-of-print 1962 recording with the NY Philharmonic under Bernstein, it is worth having: here the 59-year-old Serkin attacks the Fantasy with daredevil elan, playing the opening piano solo in under 3 minutes! Though a finger may occasionally go slightly amiss in all this enthusiasm, the bravura of it all really grabs you. And Bernstein, himself a talented pianist, provides excellent direction.)

Two Choral Fantasy recordings which I don't personally prefer are (1) the 1977 Philips disk of Alfred Brendel with the London Philharmonic Orchestra & Choir under Bernard Haitink and (2) the Newport Classics disk with Anthony Newman and Philomusica Antiqua, London, under Stephen Simon. The first of these seems to me quite lackluster overall, with not particularly inspired performances by soloist, choir, or orchestra and less than brilliant conducting by Mr. Haitink. The second may be great for purists or fans of period re-creations, but I find the old pianoforte's sound too dry and tinkly for ears accustomed to modern Steinways or Boesendorfers. (And I'm convinced that if Beethoven had access to a modern piano, with its superior power, expressiveness, richness of tone, and sustaining ability, he would have abandoned the pianoforte entirely.)

In summary, as to the Choral Fantasy, the Barenboim/Berlin is an excellent recording, with authoritative performances and especially satisfying sound quality. It clearly merits 5 stars. For an older, but very fine and exciting performance, seek out the Klien/St. Louis version (which will likely be a used copy). The Aimard/Chamber Orchestra of Europe recording features both excellent sound and very fine performances, as does the Serkin/Boston version, with a less closely focussed sound perspective.

The Triple Concerto on this Perlman/Ma/Barenboim/Berlin disk is outstanding and merits 5 stars, as well.

It's o.k........2006-12-29

These are all very talented musicians but something here is missing: the ensemble does not play with one voice.

A vigorous Triple Concerto knocking at the door of the greats.......2006-06-16

In 1969, when Richter, Oistrakh, and Rostropovich made their only commercial recording together, it was of Beethoven's Triple Cncerto, and the results became legendary for power, eloquence, and drama. As with Carlos Kleiber's Bethoven Fifth, it became hard to hear new recoridngs without keeping this great one in the back of your mind. Since Barenboim is conducting the same Berlin Phil. on the same EMI label, the comparison is inevitable.

Thirty some years on, the orchestra doesn't have the richness and depth of Karajan's BPO, but it still sounds very good, and Barenboim does a credible job of conducitng from the keyboard. The three soloists are also top-notch in eery movement. Yo-Yo Ma prefers a slender, elegant tone in this work compared to the tremendous Rostropovich, and Perlman doesn't attack with the total authority of Oistrakh. Barneboim, however, has a heroic view of the piano part, as did Richter, and he's the engine that keeps this performance going.

Despite a cool opening, and a disappointing entrance by Ma, who doesn't sail into the main theme with enough passion, the performance builds as it goes along. By the middle of the first movement we get real thrills--ideally, the three soloists should be pushing each other out of the way to get our attention. Here they don't quite, but Barenboim keeps up the intensity nicely.

Some listeners may see the Triple Concerto in unheroic terms, in which case there are readings led by Fricsay on DG and the Argerich-Capucon-Maisky live performance on EMI. Barenboim's(also live) is larger in scale, although I regret that the slow movement isn't quite ardent enough. Because the cello introduces all three movements, Ma's low-key playing sets the tone. He starts the finale off on tip-toe, but once again Barenboim manages to bring us back into Beethoven's world. All in all, this new performance knocks on the door of the great one.

The filler is the Choral Fantasy, which Barenboim recorded as a young man with the aging Otto Klmeperer. His new version is unique, so far as I know, in being conducted from the keyboard. As a pianist, Barenboim had a moe exuberant style in the past, but he's a bit more reserved here. The reading overall doesn't touch the galvanic excitement of Serkin/Bernstein on Sony, but with gorgeous orchestral playing, Barenboim's confidence as pianist, and an excellent chorus for the joyful ending, this Choral Fantasy ranks just a notch below the Triple Concerto.

Great.......2004-03-30

Although the Triple Concerto is not one of Beethoven's most inspired compositions, it is indeed thrilling when played well. Perlman, Ma, and Berenboim certainly give a convincing performance of this work. They collaborate well together, and the energy they create in this piece is electrifying. The Berlin Philharmonic also gives a wonderful accompaniment to the three soloists. This is indeed one of the best Triple Concertos. The companion piece, the all too underappreciated Choral Fantasy, is also wonderfully executed by Barenboim, the philharmonic, and the chorus. I highly recommend this CD.

Exciting Performance.......2003-08-21

Barenboim definitely knows his Beethoven, Ma's performance on this disc puts his Mutter-Ma-Zeltser-Karajan version (DG) in the shade, and who can go wrong with Perlman? The Triple Concerto sounded like a perfect piano trio with superb accompaniment from the Berlin Philharmonic. The concerto's tempos were rather quick for my taste (I tend to like my Beethoven on the slower side) but the performance's cohesiveness won the day in my book.

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Beethoven: Triple Concerto; Rondo in B flat; Choral Fantasy

Average customer rating:

Good, yes, but surprisingly tame from Harnoncourt
An incredibly rich sonic banquet
Best Recording I've Heard of the Beethoven Triple Concerto
Very Nice
Best Recording and Star Performance of Mr. Harnoncourt

Beethoven: Triple Concerto; Rondo in B flat; Choral Fantasy

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Beethoven: Piano Concertos Nos. 1-5
Beethoven: Complete Overtures
Two Hands
Pierre-Laurent Aimard at Carnegie Hall
Beethoven-Harnoncourt: 9 Symphonies

ASIN: B0002W3EDG
Release Date: 2004-10-12

Tracks:

I. Allegro
II. Largo
III. Rondo Alla Polacca
Rondo In B Flat Major, WoO6 - Nikolaus Harnoncourt
I. Adagio - Arnold Schoenberg Chor, Erwin Ortner
II. Finale (Allegro - Meno Allegro - Allegro Molto - Adagio Ma Non Troppo - Marcia, Assai Vivace - Adagio Ma Non Troppo - Marcia, Assai Vivace - Allegro - Allegretto, Ma Non Troppo (Quasi Andante) - Presto) - Various Artists

Amazon.com

Here's an inspired appendage to the Aimard-Harnoncourt set of the Beethoven Piano Concertos. When new, the Triple Concerto, combining three solo instruments with orchestra, was considered a bold new type of concerto. That's how it's played here. The solo trio blends nicely with the orchestra, giving the work a chamber music dimension. Once past the slow introduction, Harnoncourt conducts a vigorous, almost rhapsodic performance, with great forward momentum. But the honors go to the outstanding soloists. Aimard etches the piano line with exceptional clarity, Hagen, the cellist of the Hagen Quartet, plays with gorgeous tone, while violinist Zehetmair, who also leads a quartet bearing his name, almost steals the show through his agile playing and phrasing that cuts to the heart of the music. I know of no better performance of this work. The Choral Fantasy too comes off as more than a weird combination of a solo piano fantasia and a choral sketch for the last movement of the Ninth Symphony. And pianist and orchestra play the daylights out of the quirky Rondo in B-flat major. --Dan Davis

Customer Reviews:

Good, yes, but surprisingly tame from Harnoncourt.......2006-08-28

In his cycle of Beethoven symphonies Harnonourt's conducting was aggressive, often aburpt, unnerving, and challenging to absorb. For some reason he drops all that in his recording of the Triple Concerto and Choral Fantasy. There have been excellent virtouoso readings of the Triple recently with Barenboim and Argerich as pianist. They show more intensity than this quiet-voiced, almost classical version. There's no doubt that the soloists, particularly Aimard, are wonderufl players, but it takes a while for the first movement to catch fire. Every time Aimard is given room to expand, he's brought back down to earth by the more restained Hagen on cello. (To the reviewers below who unanimously proclaim 'best ever,' I can only point to the unsurpassed version under Karajan with Richter, Oistrakh, and Rostropovich, a towering recording.)

In the Choral Fantasy there is an impassioned performance from Bernstein and Rudolf Serkin from the Sixties (Sony), as well as a fine one from Barenboim as both conductor and soloist, in concert with the Berlin Phil. on EMI. By comparison, Aimard is unusually cautious--he prefers restraint over the free-wheeling and totally thrilling spontaneity of Serkin. Harnoncourt remains just as restrained, so despite the all-around excellence of the performers, I can't see this one being anywhere near a first choice.

In sum, both readings fall somewhere in the middle of the pack but are enjoyable and more than competent in all espects. Fine recorded sound, by the way.

An incredibly rich sonic banquet.......2005-11-26

This recording is fabulous. It's rich, deep and colorful. The piano itself sounds absolutely wonderful. Its clarity and voice are exceptional. Unlike some recordings that sound as if the performers are very pleased with themselves, the performers in this recording sound as though they are playing for the sheer joy of playing and for the sake of the music and not for themselves. It's very refreshing. I first heard this broadcast on our Public Radio Classical station. It was so distinct and unique that I came right to Amazon and bought it. It resonates in your chest, it's so rich. Really outstanding!

Best Recording I've Heard of the Beethoven Triple Concerto.......2005-04-25

I have to go back a while to recall a truly memorable performance of the Beethoven Triple Concerto I've either heard as a recording or live performance. The finest recording I've heard until now was an absolutely rhapsodic, vibrant interpretation with the Beaux Arts Trio and Bernard Haitink conducting the London Philharmonic. However, this new Warner Classics recording is quite simply the most daring, exciting performance of the Beethoven Triple Concerto I have heard with graceful, lyrical playing from pianist Pierre-Laurent Aimard, coupled with fiery performances from cellist Clemens Hagen and violinist Thomas Zehetmair, which revel in the then novelty offered by Beethoven's composition when it was introduced in the early 1800s. Nikolaus Harnoncourt leads the Chamber Orchestra of Europe in yet another spirited, dramatic performance of a Beethoven concerto without overwhelming the remarkable performances of these three splendid soloists. Without question, it is an excellent coda to the Aimard's Beethoven piano concerto cycle released earlier on Teldec, now Warner Classics. To their credit, both Aimard and the orchestra play the Rondo with ample gusto. Together, they offer yet another amazing performance in the Choral Fantasy, demonstrating that it too is a revolutionary work composed by Beethoven, and not merely, a rough sketch for his 9th Symphony's fourth movement. This splendid recording, blessed with exceptional sound quality, will please fans of Pierre-Laurent Aimard, Nikolaus Harnoncourt and the Chamber Orchestra of Europe. I strongly concur with The New York Times's assessment of this recording as among the finest classical music recordings of 2004.

Very Nice.......2005-03-17

All three pieces are very well performed. The choral fantasy is somewhat of a lesser known work from Beethoven, but it is like a much smaller Ninth Symphony. Every Beethoven fan should hear it. Sound quality is excellent. A very "professional" looking CD, too.

Best Recording and Star Performance of Mr. Harnoncourt.......2005-01-28

After you listen to this recording, you will understand why Harnoncourt is one of the few Maestros alive. Do not loose the opportunity to re-discover and enjoy the Choral Fantasy. Listen to the Piano (Mr. Aimard) and the "conversation" among Piano, Orchestra (COE), Soloist, Singers and Choir (Arnold Schoenberg). This is Beethoven and Harnoncourt in a great performance.

Beethoven: Triple Concerto; Choral Fantasy

Average customer rating:

A perfect gem.

Beethoven: Triple Concerto; Choral Fantasy

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00000415M
Release Date: 1994-04-12

Customer Reviews:

A perfect gem........2004-07-09

An exceptional trio in concert with an exceptional orchestra, playing music they respect and enjoy and know from first note to last. The recorded sound is full bodied, yet brilliant, and the chorus in the Fantasy is obviously at home in both the language and the music.

This is middle-period Beethoven in (unusual) departures from the standard symphony and concerto opuses so well known. The Choral Fantasy is a wonderful, bravural piece that deserves to be played more often. Perhaps the piano part is too small to warrant the fee of big name performer. It would take some imaginative programming to get the most out of the chorus for the evening as well.

Tracks:

Con in C, Op.56 (Triple Con): Allegro
Con in C, Op.56 (Triple Con): Largo
Con in C, Op.56 (Triple Con): Rondo Alla Polacca
Fant in c, Op.80 (Choral Fant)

Average customer rating:

The Great Composers

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000000LU9
Release Date: 1999-11-30

Average customer rating:

Romantic Days (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | 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
ASIN: B00008MHA0
Release Date: 2003-02-13

Average customer rating:

The Composers

Manufacturer: Direct Source Label
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0007QCLD6
Release Date: 2005-02-22

Average customer rating:

The Beethoven Adventure

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Classical | Box Sets | Stores | Music

Tracks:

'The Creatures of Prometheus', op. 43 - Overture - Various Artists
Concerto For Piano And Orchestra No. 3 In C Minor, Op. 37: 1. Allegro con brio - Various Artists
Concerto For Piano And Orchestra No. 3 In C Minor, Op. 37: 2. Largo - Various Artists
Concerto For Piano And Orchestra No. 3 In C Minor, Op. 37: 3. Rondo. Allegro - Various Artists
Concerto for Piano, Violin, Violoncello and Orchestra in C major, op. 56: 1. Allegro - Various Artists
Concerto for Piano, Violin, Violoncello and Orchestra in C major, op. 56: 2. Largo - attacca - Various Artists
Concerto for Piano, Violin, Violoncello and Orchestra in C major, op. 56: 3. Rondo all Polacca - Various Artists

Tracks:

Concerto For Violin And Orchestra In D Major, Op. 61: 1. Allegro ma non troppo - Various Artists
Concerto For Violin And Orchestra In D Major, Op. 61: 2. Larghetto - Various Artists
Concerto For Violin And Orchestra In D Major, Op. 61: 3. Rondo. Allegro - Various Artists
Fantasy for Piano, Chorus, and Orchestra in C minor, op.80 - Various Artists
'The Ruins of Athens', op.113 - Overture - Various Artists

Tracks:

Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': 1. Adagio sostenuto - Ludwig Van Beethoven
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': 2. Allegretto - Ludwig Van Beethoven
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': 3. Presto agitato - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Introduzione col Basso del Tema. - Allegretto vivace - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: tema - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variatioin I - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation II - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation III - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation IV - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation V - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation VI - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation VII: Canone all'ottava - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation VIII - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation IX - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation X - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation XI - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation XII - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation XIII - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: VariationXIV: Minore - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Variation XV: Maggiore. Largo - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Coda - Ludwig Van Beethoven
15 Variations and Fugue in E flat major, 'Eroica' Variations, op. 35: Finale alla Fuga. Allegro con brio - Ludwig Van Beethoven
Poco Moto - Ludwig Van Beethoven
Sonata For Piano And Violoncello In A Major, Op. 69: 1. Allegro ma non tanto - Ludwig Van Beethoven
Sonata For Piano And Violoncello In A Major, Op. 69: 2. Scherzo. Allegro molto - Ludwig Van Beethoven
Sonata For Piano And Violoncello In A Major, Op. 69: 3. Adagio cantabile - Allegro vivace - Ludwig Van Beethoven

Tracks:

String Quartet In E Flat Major, Op. 127: 1. Maestoso - Allegro - L.V. Beethoven
String Quartet In E Flat Major, Op. 127: 2. Adagio, ma non troppo e molto cantabile - L.V. Beethoven
String Quartet In E Flat Major, Op. 127: 3. Scherzando vivace - L.V. Beethoven
String Quartet In E Flat Major, Op. 127: 4. Finale - L.V. Beethoven
Grosse Fuge B flat major Op 133 - L.V. Beethoven
Adelaide Op 46 - L.V. Beethoven
Zartliche Liebe WoO 123 - L.V. Beethoven

Tracks: