Haydn: Symphonien Nr. 92 "Oxford" & Nr. 98

1. Symphony No. 92 in G major ("Oxford"/"Letter Q"), H. 1/92
Composed by Franz Joseph Haydn
Performed by Capella Coloniensis Conducted by Ferdinand Leitner

2. Symphony No. 98 in B flat major, H. 1/98
Composed by Franz Joseph Haydn
Performed by Capella Coloniensis Conducted by Ferdinand Leitner

Tracks:

Canon In D
'Brandenburg' Concerto No. 3: Allegro
The Four Seasons - The Winter: Largo And Allegro
Fanfare ('Masterpiece Theatre' Theme)
Camerata Romana: Air For The 'G' String
'Eine kleine Nachtmusik': Allegro
Piano Concerto No. 21 ('Elvira Madigan' Theme): Andante
Introduction To Symphony No. 5
'William Tell' Overture: Finale
'Aida': Triumphal March
On The Beautiful, Blue Danube Waltz
'The Nutcracker': Waltz Of The Flowers
'1812' Overture: Finale

Tracks:

Sabre Dance
'Light Cavalry' Overture: Finale
Carmen: The Toreadors
' Midsummer Night's Dream': Wedding March
Radetzky March
Symphony No. 9, 'Choral': Finale
'Prince Igor': Polovstian Dance No. 17
Jesu, Joy Of Man's Desiring
Peer Gynt: Solveig's Song
Sleepers, Wake
Water Music: Hornpipe
Symphony No. 9, 'From The New World': Largo
Emperor Waltz
'Emperor' Quartet: St. Anthony's Chorale
'The Tales Of Hoffman': Barcarolle
L'Arlesienne: Farandole
'The Nutcracker': Dance Of The Mirlitons
'The Nutcracker': Dance Of The Sugar-Plum Fairy
'Rhapsody In Blue': Highlight
'Orpheus In The Underworld': Can-Can

Tracks:

Introduction To 'Also sprach Zarathustra'
Symphony No. 4, 'Italian': Saltarello: Presto
Piano Concerto No. 20: Romance
'The Valkyrie': Ride Of The Valkyries
'The Four Seasons' - The Spring: Allegro
Toccata and Fugue
Trumpet Voluntary
'Royal Fireworks Music': la rejouissance: Allegro
'Moonlight' Sonata: Adagio Sostenuto
London Festival Orchestra: Overture To 'The Barber Of Seville'
Piano Concerto No. 2: Adagio Sostenuto

Tracks:

Carmina Burana: Introduction To 'Carmina Burana'
Peer Gynt: Dawn From 'Peer Gynt'
Lohengrin: Prelude To 'Lohengrin'
'Lieutenant Kije': Troika From 'Lieutenant Kije'
Adiago For Strings
'Carmen': Habanera From 'Carmen'
'Double' Concerto: Allegro From 'Double' Concerto
The Marriage Of Figaro: Overture To 'The Marriage Of Figaro'
(Rondo) Alla Turca
Xerxes: Largo From 'Xerxes'
Symphony No. 5: Allegro vivace From Symphony No. 5
'Swan Lake': Scene: Enchanted Lake From 'Swan Lake'
Clair De Lune
Bolero

Customer Reviews:

CD set is misnamed.......2007-06-08

They should have titled this "classical music for people who love classical music" because most of the selections are typical classical music. The title suggests it would be lively selections of "light classical" music that is more upbeat, i.e. Sabre Dance, etc. I really don't hate classical music at all and have many classical CDs in my collection but I really wanted to hear more exciting selections. I won't be purchasing any more of this set but if you like traditional classical music these are good one.

Do not Buy.......2007-02-21

I do know it says classical music for people who hate it, but serioulsly you would have better luck never listening to classical music again. The recordings are awfull and do not do justice to any of the composers. Buy something else.

Classical Music for People Who Hate Classical Music.......2007-01-30

We love this set of CD's. I just got a new copy because my kids keeping taking our first copy with them so that they can listen at work or in their bedrooms but then I can never find them.

Seek better versions.......2006-12-09

If you are fairly new to classical purchases then compilation CD's can be useful for deciding what to buy next. Sometimes you only need a small taste of a piece to inspire you to buy a release with the whole performance on. The problem with this compilation however is that most of the versions are poor in performance or recording quality (or both) when compared to the best versions and the fact that the conductors aren't even credited on the track listing made me suspect that this would be the case. One of my favorite classical pieces is Tchaikovsky's 1812 festival overture but if the first CD version I had heard had been the finale excerpt that is on this compilation I may not have gone on to buy the whole thing. Luckily I heard Adrian Leaper's version first and Adrian's version is rather good.
My classical CD buying experience is limited to only a couple of dozen discs but I have found that the Naxos and Deutshe Grammophon releases are fairly safe. Avoid any release which does not name the conductors on the track listing or sleeve notes.

It Is What It Is.......2006-10-27

It's fitting that this page is fraught with the same kind of silly snobbery that turns people off from classical music (and necessitates collections like this) in the first place.

Any criticism of this compilation, which focuses on the quality of the performances or the fact that many tracks are excerpts, misses the point. This is not a collection for people who consider such things, nor does it purport to be. The idea is to package as many ultra-famous classical melodies as possible in one affordable collection and market it to people who have never purchased a classical recording. As such, top-tier performances are likely too expensive to be sold so cheaply and are unnecessary anyway. Those of us who already know and love a piece or two can forgive the compilers the inclusion of sub-par recordings, when we are exposed to so many other beautiful pieces for the first time.

It probably comes as a shock for some to hear that most people are not familiar with these classics. We may hear snippets on TV or movies, but are left with no idea as to the composer or historical context. With that in mind, it is extremely intimidating to begin buying classical. I suppose those among us, who so thoroughly dismissed the very notion of a boxed set like this, would have us begin by buying full albums by reputable interpreters. Surprisingly enough though, the majority of people would consider that a tad cost-prohibitive.

To conclude, this is a STARTER collection. It will either affirm a listener's feelings about classical music or lead to an interest in purchasing better recordings. Ideally, I suppose the interpretations would be better, but, for reasons mentioned above, that just isn't in the cards for a collection of this nature. If you're familiar with 50 different recordings of "The Ring" series, or have season tickets to the New York Philharmonic, then this probably isn't for you. For us cretins with limited foreknowledge of classical music though, it serves as a succinct introduction with little to complain about.

Average customer rating:

Overview of the Paris symphonies
No Need to Look Further!
Thank heaven ...
Cleansing the Palate
A gorgeous new set!!!!

Haydn: Paris Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music
Similar Items:

Haydn: Symphonies Nos. 88 - 92
Haydn: The London Symphonies, Vol. 1
Haydn: The London Symphonies, Vol. 2
Haydn: String Quartets Op. 76, Nos. 1-3
Haydn: String Quartets, Op. 76, Nos. 4, 5 and 6

ASIN: B000031WJC
Release Date: 2000-04-11

Tracks:

Sym No.82 in C 'L'Ours': I. Vivace Assai
Sym No.82 in C 'L'Ours': II. Allegretto
Sym No.82 in C 'L'Ours': III. Menuet - Trio
Sym No.82 in C 'L'Ours': IV. Finale: Vivace
Sym No.83 in g 'La Poule': I. Allegro Spiritoso
Sym No.83 in g 'La Poule': II. Andante
Sym No.83 in g 'La Poule': III. Menuet: Allegretto - Trio
Sym No.83 in g 'La Poule': IV. Finale: Vivace
Sym No.84 in E flat: I. Largo - Allegro
Sym No.84 in E flat: II. Andante
Sym No.84 in E flat: III. Menuet: Allegretto - Trio
Sym No.84 in E flat: IV. Finale: Vivace

Tracks:

Sym No.85 in B flat 'La Reine': I. Adagio - Vivace
Sym No.85 in B flat 'La Reine': II. Romance: Allegretto
Sym No.85 in B flat 'La Reine': III. Menuet: Allegretto - Trio
Sym No.85 in B flat 'La Reine': IV. Finale: Presto
Sym No.86 in D: I. Adagio - Allegro Spiritoso
Sym No.86 in D: II. Capriccio: Largo
Sym No.86 in D: III. Menuet: Allegretto - Trio
Sym No.86 in D: IV. Finale: Allegro Con Spirito
Sym No.87 in A: I. Vivace
Sym No.87 in A: II. Adagio
Sym No.87 in A: III. Menuet - Trio
Sym No.87 in A: IV. Finale: Vivace

Customer Reviews:

Overview of the Paris symphonies.......2007-06-27

Franz Joseph Haydn could be called the father of the symphony. He composed 108 of them in his lifetime. The latter symphonies fall into two groups, the London and Paris symphonies, and refer to where he was residing in when he composed them. This 2-disc set contains all the Paris symphonies, are they are typical of works from this era of classical music; beautifully orchestrated with minimal evocative effects or emotional gusto. The sound quality is great though, along with the recording. For fans of classical music, this is a good buy for under $10.

No Need to Look Further!.......2007-03-17

There are commendable period instrument sets of the 'Paris' symphonies available - Bruggen(Phillips) with the Orchestra of the 18th Century who has the most romantic view of the works, Roy Goodman(individual discs from his complete set on the budget Hyperion Helios)with the Hannover Band and Kurt Weil. Kuijken's, without doubt, is the one to have. Superb sound, plenty of panache and drama. He has spent many years as a Hadyn interpretor and this is in evidence throughout all 6 symphonies. Smart tempos and clean cut phrasing is effectively coupled with poignant delicacy in the slow movements. The hapsicord is never obtrusive and all departments of his fine orchestra excell themselves.
The symphonies, written in 1785-6 for the renowned Concert del la Loge Olympique, are a triumph of the classical symphony. So are these performances!

Thank heaven ..........2007-01-01

My daughter purchased this for my birthday last year. Knowing that I admire Haydn, she searched Amazon and took confidence in the all positive reviews. Well, I thank my daughter and the other reviewers -- this is truly a collection to own.

Cleansing the Palate.......2006-10-16

Haydn's symphonies are refreshingly clean, natural, unpretentious and in general a welcome palate cleanser for the concertgoer despite the preference for the dramatic or the grand or the edgy contemporary fare. Such is certainly the case for the so-called Paris symphonies (Nos. 82 - 87), models of elegance and refinement.

Case in point: at a recent concert with Esa-Pekka Salonen and the Los Angeles Philharmonic, the opening work was the Haydn Symphony No 82 - at first a seemingly odd choice for a program that was to include the local premiere of a commissioned Viola Concerto by Brett Dean and a celebration of Mussorgsky's 'Pictures at an Exhibition'. But hearing Haydn in this context provided that reminder that Papa Haydn started it all!

This CD with Sigiswald Kuijken conducting the Orchestra of the Age of Enlightenment traverses all of the Paris symphonies with aplomb. The quality of interpretation is immaculate, the sound of the recording is superb, and in general this is one of the finest 'sets' of these symphonies available today. It is an utter joy to listen to all of the works in one sitting, or to place them as aperitifs through the listening day. Highly recommended. Grady Harp, October 06

A gorgeous new set!!!!.......2005-01-30

A beautiful set at a cheap price of Haydn's Paris Symphonies! Symphonies 84 and 87 particularly sparkle and the comic effects are fully exploited in 82 (The Bear) and 83 (The Hen). I compared this set to the Karajan and legendary Bernstein. This new set is fresh and lively, also because of period instruments. Bravo!!!

Average customer rating:

Comparison - Jochum's Set vs. Colin Davis'
Haydn's London Symphonies
Excellent, but beware of Davis' groaning
GOOD, BUT!
Grand, Warm, Rich, Mature Symphony

Haydn: The London Symphonies, Vol. 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Haydn: The London Symphonies, Vol. 1
Haydn: Paris Symphonies
Haydn: Symphonies Nos. 88 - 92
Haydn: String Quartets Op. 76, Nos. 1-3
Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B0000041AR
Release Date: 1994-10-11

Tracks:

Symphony In D: Adagio - Allegro assai - Joseph Haydn
Symphony In D: Largo cantabile - Joseph Haydn
Symphony In D: Menuetto. Allegro - Joseph Haydn
Symphony In D: Finale. Presto ma non troppo - Joseph Haydn
Symphony In E Flat: Adagio -- Vivace assai - Joseph Haydn
Symphony In E Flat: Adagio - Joseph Haydn
Symphony In E Flat: Menuetto. Allegretto - Joseph Haydn
Symphony In E Flat: Finale. Vivace - Joseph Haydn
Symphony In G: Adagio - Joseph Haydn
Symphony In G: Andante - Joseph Haydn
Symphony In G: Menuetto - Joseph Haydn
Symphony In G: Finale - Joseph Haydn

Tracks:

Symphony In G: 1. Adagio - J. Haydn
Symphony In G: 2. Andante - J. Haydn
Symphony In G: 3. Menuetto - J. Haydn
Symphony In G: 4. Finale - J. Haydn
Symphony In C: 1. Adagio - Vivace - J. Haydn
Symphony In C: 2. Adagio ma non troppo - J. Haydn
Symphony In C: 3. Menuetto. Allegretto - J. Haydn
Symphony In C: 4. Finale. Presto assai - J. Haydn
Symphony In D: 1. Adagio - J. Haydn
Symphony In D: 2. Andante - J. Haydn
Symphony In D: 3. Menuetto - J. Haydn
Symphony In D: 4. Finale - J. Haydn

Amazon.com

Someone once commented on the "sulphurous devilishness" of Haydn's surprises in the London symphonies. But it should come as no surprise that one of the best recordings of these works is from Sir Colin Davis, whose accounts with the Concertgebouw Orchestra stand among the most exalted phonographic accomplishments of recent years. There is a Beechamesque quality to these readings, and when it comes to Haydn, that is praise indeed. They are exceptionally personable, characterful, likable interpretations, with wit, warmth, and life in every measure. All 12 symphonies are wonderfully played and very well recorded. At full price, these recordings would be a top choice; as midprice offerings, three symphonies to a disc (averaging more than 75 minutes of music each), they're a steal. --Ted Libbey

Customer Reviews:

Comparison - Jochum's Set vs. Colin Davis'.......2006-02-23

Jochum and London Phil deliver the highest level of Haydn playing just like Colin Davis and Concertgebow do. I own both and tried to compare between two.

Jochum adds plenty of personal touches that decidedly grab your attention. You hear poignant romanticism or Beethoven-like roar in many places. Colin Davis, by comparison, lets the music flow naturally and makes it sound more balanced. Colin Davis sure gets a lot of help from the gorgeous Concertgebow band - silky but vivacious strings, show-stopping woodwinds, bright brass section, etc. In his set, you hear more of the orchestra than Colin Davis. I think it's the other way around in Jochum set. Concergebow's sound is more transparent and charmingly light-footed while London Phil sounds fuller and creamier without losing crispness. You get more agility and refinement from Davis set. You get more expressiveness and warmth from Jochum's.
Let me emphasize that all of the good qualities I attributed to either of the sets actually exist in both (they are inherently in Haydn's writing). It's just that some qualities are more apparent in one than the other.
As to the recording, Colin Davis set has more sparkle and vividness. It sounds more modern. Jochum's has a typical old-fashioned analogue sound in a very good way. It has plenty of natural ambience but doesn't sound muddy.
I recommend you buy both of these delightful and affordable sets. I never regretted doing so :-)

Haydn's London Symphonies.......2005-12-21

I have been listening to many of Haydn's earlier symphonies on the ongoing cycle of the complete series on Naxos. But for the final set of twelve, Haydn's masterpieces in the form, I wanted Sir Colin Davis conducting the Royal Concertgebouw Orchestra. Davis has recorded the twelve London symphonies on two mid-priced Phillips "duo" CDs. The performances are outstanding and filled with ebullience. They will make a good introduction to Haydn for those new to his music and will delight long-term lovers of Haydn.

Beginning when he was about 25, Haydn composed for the wealthy and music-loving Esterhazy family. His fame gradually spread throughout Europe and, with the "Paris" symphonies, Haydn began to write works for a public broader than his aristocratic patron. With the death of Nicholas Esterhazy in 1790, Haydn received an invitation to visit London. He visited twice, in 1791-1792 and again from 1794-1795. His twelve "London" symphonies are the result. These are full-scaled symphonic creations showing the consummate mastery Haydn had acquired over the years. The works are joyous and lively and were immediately welcomed by Haydn's London audiences. They are also highly sophisticated and endlessly creative works of art which will reward careful listening and study. For those listeners wanting a more detailed, yet non-technical overview of the twelve London symphonies than that found on liner notes, I suggest consulting their treatment in Michael Steinberg's valuable work, "The Symphony: A Listener's Guide."

This two-CD set includes six of the London symphonies: nos. 93, 94, 97, 99, 100, and 101. Let me mention a few features of each.

Haydn's most famous symphony is probably the 94th in G major, the "Surprise". The theme of the second movement, with the large "bang" at the end of the repetition of the opening phrase is one of the best-known moments of music, familiar to children. This remains an excellent work to introduce young people to music. The "surprise" movement proceeds with a lovely set of variations, and there is much to get to know, including more surprises, in the remaining three movements as well.

Symphony no. 100 is also in G major and is known as the "Military" for the martial tone of the second movement, replete with drums, cymbals, and triangle. In addition to the "Military" movement, this symphony features a vicacious finale replete with timpani, a contrapuntal section, and some soft moments of reflection hidden within the lively theme.

The "Clock" symphony, no 101 in D major is named for the tick-tock accompaniment figure in the second movement which is forever endearing. This movement gradually rises to a moment of passion as it develops. The work also features a lively opening movement, a lengthy minuet, and an outstanding finale that works from an inocuous opening to complex counterpoint.

The symphonies with nicknames are the easiest way to introduce the London set, but the symphonies without these names are on the same high plane. The first of the London set is symphony no. 93, also in D major. A memorable moment of this work is the opening of the second movement, which Haydn scores for a string quartet. The movement becomes rather introspective as it proceeds, but Haydn brings it back to earth with a toot on the bassoon at the close. The symphony opens with a slow. detailed introduction followed by an opening movement that develops two lively and lyrical themes.

The 97th symphony is the last of twenty Haydn symphonies in C major, a key he used for regal, ceremonial effect. The work opens with a surprisingly quiet slow introduction followed by an opening movement that develops broadly from many repetitions of the basic chord of C major.

The 99th symphony in E-flat major is the first in which Haydn used clarinets and, from the opening chord, clarinets play a major role in the texture of this work. This is one of the more complex symphonies of the London set, with a harmonically adventurous slow introduction followed by a movement that emphasizes the second of its two major themes. The slow movement is deeply intense and also stresses the second of the two primary themes on which it is based. After a lyrical, restrained opening, the movement turns to the minor key in a dramatic section before returning to the opening material, substantially embellished. The minuet combines elements of both courtliness and earthiness while the finale is rapid and culminates in a fugal passage. The 99th is one of the finest symphonies of an outstanding series.

This set, and its companion recording of the remaining six London symphonies, make a wonderful introduction to a great composer.

Robin Friedman

Excellent, but beware of Davis' groaning.......2005-02-23

Excellent recordings in general, as pointed out by others.

But Davis' groaning is very audible and ANNOYING in places. He does the same on most of his more recent LSO recordings.

Why do conductors groan/grunt away and spoil their recordings so often?

Jochum/DG is another great set of the London symphonies, and doesn't have conductor noises!

GOOD, BUT!.......2004-07-15

This set is good of course, but if you are looking for great performances for EACH of Haydn's 12 London symphony, you may want to buy individual discs. Here is my collection of the 12 'London' Masterpieces.
Symphony 93: Goodman/Hanover Band (Hyperion 66532)
Symphony 94: Monteux/Vienna Phil (Decca 452893-2)
Symphony 95: Britten/ECO (BBC 8008)
Symphony 96: Harnoncourt/Concg. Orchestra (Teldec/Warner 21337-2)
Symphony 97: Szell/Cleveland (Sony 67175)
Symphony 98: Jochum/LPO (DG 437 201-2)
Symphony 99: Davis/Concg. Orchestra (Phillips 442 614-2)
Symphony 100: Walter/Columbia (Sony 64485)
Symphony 101: Mackerras/St. Luke's (Telarc)
Symphony 102: Dorati/Philharmonia Hungarica (Decca 452 259-2)
Symphony 103: Kuijken/La Petite Bande (DHM 77362)
Symphony 104: Hickox/Collegium Musicum 90 (Chandos 0655)

Grand, Warm, Rich, Mature Symphony.......2003-05-07

Culmination of a marvelous life in composition are these London Symphonies.

Here, in one of the highest rated collections Sir Colin Davis leads the Royalo Concertgebouw Orchestra in over 150 minutes of some of the premier symphonic sounds of all times. There is style and substance in their treatment and the crisp, clean recording is marvelous at any price, but even better at this mid-range bargain.

I especially have fond of No. 93 and of course, No. 102 with its melodic richness and inventive harmony. His element of surpirse is always robust and mysterious, as here the third note spells departure.

Tracks:

In Gabriel's Garden: The King's March - English CO; Leppard, R.
Concerto For Two Trumpets In C Major: Allegro - English CO; Newman, A.
The Indian Queen: Entrada From The Indian Queen - St. Luke's Orch; Nelson, J.
In Gabriel's Garden: The Prince Of Denmark's March - English CO; Newman, A.
In Gabriel's Garden: Trumpet Voluntary - English CO; Leppard, R.
Baroque Duet: Let The Bright Seraphim - Wynton Marsalis
Suites De Symphonies: Rondeau - English CO; Leppard, R.
Brandenburg Concerto No. 2: III. Allegro Assai (Excerpt) - Eastman Wind Ensemble; Hunsberger, D.
In Gabriel's Garden: Prelude From Te Deum - Eastman Wind Ensemble; Hunsberger, D.
Concerto For Trumpet And Orchestra In D Major: II. Allegro Moderato - Philharmonia Orch; Salonen, E.
Baroque Music For Trumpets: I. Adagio - Eastman Wind Ensemble; Hunsberger, D.
Concerto For Trumpet And Orchestra In E-Flat Major: III. Finale. Allegro - Wynton Marsalis
Concerto For Trumpet And Orchestra In E Major: III. Rondo. Allegro Molto - Wynton Marsalis
Carnaval: 'Tis The Last Rose Of Summer - Wynton Marsalis
Carnaval: Variations On 'Le Carnaval De Venise' - Wynton Marsalis
On The Twentieth Century: Rondo For Lifey (For Trumpet And Piano) - Wynton Marsalis
Prayer Of St. Gregory For Trumpet And Organ - Anthony Newman
Concerto For Trumpet And Orchestra: I. Allegro - Wynton Marsalis
Carnaval: Moto Perpetuo - Wynton Marsalis
Tsar Saltan: Flight Of The Bumblebee - Wynton Marsalis

Amazon.com

Wynton Marsalis may not have an easily recognizable or even particularly handsome tone, but this erstwhile jazz trumpeter is an amazing virtuoso with a fine sense of classical style. If you've never owned/heard any of his classical CDs, and you love (mostly baroque) trumpet music, this compilation--a sort of "greatest hits"--is for you. From such cruddy, sensationalistic works as Carnival of Venice to the glories of Haydn's E-Flat Concerto, this is grand entertainment. Marsalis is joined by Kathleen Battle in an exciting version of Handel's "Let the bright seraphim," and the treat there is doubled. A fine piece by Hovhaness for trumpet and organ, never before released, is another surprise. Come listen to the endless, seemingly casual roulades that come out of this guy's trumpet--they'll wake you right up. --Robert Levine

Customer Reviews:

Classic Wynton.......2007-07-11

Classic! What else is there to say? As an introduction to the other, many classic recordings of this superbly talented trumpeter, it is as good a guide as possible.

amazing.......2006-10-31

Classic Wynton is the most glorious display of musicianship I have ever heard. No other trumpet player even comes close to Wynton. Don't listen to anything the editorial review says though, it must have been written by a complete ignoramus. Wynton Marsalis not having a clear or recognizable tone? Please...That's like saying Kobe Bryant isn't a good shooter. I can't believe that garbage is on a credible site such as Amazon.

Heard this with NEW appreication................2006-09-07

This is such a wonderful mix. I especially love the Haydn concerto finale in E flat. I was listening to this cd when my grandson (almost 3) heard the glorious music of the trumpet for the first time. He loved seeing the photos of Mr. Marsalis (which I embellished, albeit true, saying how difficult it is to play the trumpet - hence the need for a handerchief to wipe his brow in one of the photos). This awakened his awareness of trumpet music where he now loves to listen to one of his Baby Einstein cd's in the car. Specifically, he told his mother "louder" when the trumpet piece was played - repetetively.

Wynton's the best.......2006-03-17

I'm not a professional musician and don't have a trained ear but Wynton Marsalis has provided me with a very delightful hour of extremely good music.

Classic Wynton--brilliant, clear trumpet renditions.......2006-02-25

For anyone who loves trumpet music as I do, this album is a must. Wynton Marsalis has mastered twenty all-time favorite pieces with such brilliance, that no other trumpeteer comes near by comparison. Opening with J. Clarke's, The King's March, Wynton proceeds to favor listeners with such baroque favorites as Purcell's Entrada from "The Indian Queen," J. Clark's The Prince of Denmark's March and J. Stanley's Trumpet Voluntary. Fantastic selections from Bach, Mozart, and Haydn follow, with the album also including such delightful listening as The Last Rose of Summer, Carnival of Venisee, and Flight of the Bumblebee. You won't be disappointed with this purchase!

Average customer rating:

Comparison - Jochum's Set vs. Colin Davis'
Haydn's London Symphonies
This is a good bargain but I don't recommend the performance
GOOD, BUT!
Thrill of Playing/Listening to Great Symphonic Composure

Haydn: The London Symphonies, Vol. 1

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Haydn: The London Symphonies, Vol. 2
Haydn: Paris Symphonies
Bach - Mass in B minor / Argenta, Nichols, Chance, Stafford, Milner, W. Evans, Gardiner
Mozart: Piano Concertos Nos. 24 & 25
Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 2

ASIN: B0000041AQ
Release Date: 1994-10-11

Tracks:

Symphony In C Minor, Hob. I:95: 1. Allegro moderato
Symphony In C Minor, Hob. I:95: 2. Andante
Symphony In C Minor, Hob. I:95: 3. Menuetto
Symphony In C Minor, Hob. I:95: 4. Finale. Vivace
Symphony In B Flat, Hob. I:98: 1. Adagio - Allegro
Symphony In B Flat, Hob. I:98: 2. Adagio
Symphony In B Flat, Hob. I:98: 3. Menuetto. Allegro
Symphony In B Flat, Hob. I:98: 4. Finale. Presto
Symphony In D, Hob. I:104: 1. Adagio - Allegro
Symphony In D, Hob. I:104: 2. Andante
Symphony In D, Hob. I:104: 3. Menuetto. Allegro
Symphony In D, Hob. I:104: 4. Finale. Spiritoso

Tracks:

Symphony In D, Hob. I:96: 1. Adagio - Allegro
Symphony In D, Hob. I:96: 2. Andante
Symphony In D, Hob. I:96: 3. Menuetto. Allegretto
Symphony In D, Hob. I:96: 4. Finale. Vivace assai
Symphony In B Flat, Hob. I:102: 1. Largo - Vivace
Symphony In B Flat, Hob. I:102: 2. Adagio
Symphony In B Flat, Hob. I:102: 3. Menuetto, Allegro
Symphony In B Flat, Hob. I:102: 4. Finale, Presto
Symphony In E Flat, Hob. I:103: 1. Adagio - Allegro con sirito
Symphony In E Flat, Hob. I:103: 2. Andante piu tosto allegretto
Symphony In E Flat, Hob. I:103: 3. Menuetto
Symphony In E Flat, Hob. I:103: 4. Finale, Allegro con spirito

Amazon.com

Customer Reviews:

Comparison - Jochum's Set vs. Colin Davis'.......2006-05-03

Haydn's London Symphonies.......2006-01-28

Haydn's twelve London Symphonies represent the culmination of Haydn's long and slow development as a symphonist. They remain among the greatest most varied set of symphonies ever written. Haydn composed them in two sets of six, for two lengthy trips to London in 1791 --1792 and 1794 -- 1795. The symphonies have been recorded in their entirety by many conductors, including Beecham, Scherchen,Bernstein, Jochum, and Van Karajan, but the set by Sir Colin Davis conducting the Royal Concertgebouw Orchestra is justly renowned. Davis's readings are available on two two-CD sets from Phillips, each of which sell at a modest price. There is no better way for the newcomer to get to know Haydn's masterworks. The first of the Phillips volumes, which I discuss here includes three of the earlier symphonies of the group, nos. 95,96, and 98, together with the magisterial final three symphonies, nos 102, 103, and 104.

Haydn's music speaks to the beginner in music (Remember the slow movement of the "surprise" symphony, known to every child.) as well as to the most demanding listener. The London audience for which he wrote them consisted both of people who knew little of music together with highly knowledgeable and sophisticated music lovers. Haydn had the ability to please both. The London symphonies are full of memorable and simple tunes, concertante solos for many instruments, jokes, and gimmicks. But they also include great musical variety, highly original slow introductions which become deeply integrated with the body of the work, deep slow movements, great development of material, creative orchestration, and extensive use of counterpoint. The symphonies have best been described as exemplifying a "sense of grandeur". They are large-scale, serious compositions, full of ease and mastery. They are also very much products of the Enlightenment as they move from their slow and mysterious openings through to their lively, positive, and triumphant conclusions.

The earliest of the London symphonies is the Symphony no. 96 in D major sometimes called the "Miracle". This is a simpler work than most of its companions. It opens with a fanfare slow introduction followed by a lively theme. Moments to listen for include the oboe solos at the end of the introduction and in the trio of the third movement, the counterpoint in the minor key in the slow movement, and the solos for flute and violin near the end of the slow movement.

The symphony no 95 in C minor is the only one of the London symphonies in a minor key and the only one without a slow introduction. It juxtaposes major and minor key elements coming to a major, triumphal close in the first movement. The first movement consists of an angular, angry minor key opening theme, followed by a long, lyrical theme in a major key. The second movement is a theme and variation while the minuet returns to the minor. The solo cello has large roles in the two middle movement. The finale is in the major with a great deal of fugal writing.

The symphony no 98 in B flat major is together with the following symphony no. 99, on of my favorites of the first nine of these symphonies. The slow introduction is, unusually, in the minor key and it is followed by a movement of great lightness with much counterpoint. The slow movement is one of Haydn's most sublime, probably written to commemorate the death of Mozart, with echoes of the slow movement of Mozart's "Jupiter" symphony. The minuet includes a trio for wind soloists while the swirling, humorous finale includes solo passages for the violin and, at the end, for the piano. (Haydn accompanied from the keyboard during the initial performances of these works.)

The final three symphonies of the "London" set are large-scaled masterpieces, the summit of the series. They were written for performance at the Opera Hall; and Haydn took full advantage of the orchestra and accoustics available to him to say his last word in symphonic form. There is much to hear and rehear in these symphonies.

The sympnony no. 102 in B flat major opens with a slow, largo introduction for the strings followed by a fast movement with two contrasting themes and a large-scaled development. The second movement is probably Haydn's best, as it glows with feeling and romance. The finale is a perpetuum mobile, developed canonically, with a theme that is tossed continually among the various instruments of the orchestra.

The "Drum-roll" symphony no. 103, opens with the instrument for which it is named followed by a growling introduction in the lower strings. In many ways, this symphony is similar to Haydn's Oratorio, "The Creation", composed subsequent to the London symphonies, with its movement from darkness to light. Unusually, the opening introductory material returns at the conclusion of the first movement. In the minuet of this symphony, Haydn moves from some simple, rustic writing for woodwinds to an immediately following theme for the violins of great urbanity. Haydn develops his final movement from some simple material, which he uses contrapuntally and with variety.

With its combination of depth, sophistication,wit,and highest mastery, the London symphony, in D major, No. 104, is my favorite of the set. It is a large work which begins with a minor-key and solemn introduction followed by an unusually lively and triumphant opening allegro. The slow movement is song-like with a darker middle section in the minor key. The minuet again features solos for winds in the trio, but the highlight of this symphony is its finale. Over a continuous drone, the orchestra articulates a theme, possibly derived from an English street tune, and develops it thoroughly from wit to grandeur. It is an apt conclusion to Haydn's symphonic career.

This is a set that can be heard many times, with increasing pleasure and discovery. Haydn's London Symphonies are among music's lasting joys. They are beautifully performed by Sir Colin Davis and the Amsterdam Concertgebouw.

Robin Friedman

This is a good bargain but I don't recommend the performance.......2004-11-17

One of my favorite conductors, Colin Davis, is not at his best here. The Dorati and Bruggen sets are both preferable.

GOOD, BUT!.......2004-07-15

Symphony 93: Goodman/Hanover Band (Hyperion 66532)
Symphony 94: Monteux/Vienna Phil (Decca 452893-2)
Symphony 95: Britten/ECO (BBC 8008)
Symphony 96: Harnoncourt/Concg. Orchestra (Teldec/Warner 21337-2)
Symphony 97: Szell/Cleveland (Sony 67175)
Symphony 98: Jochum/LPO (DG 437 201-2)
Symphony 99: Davis/Concg. Orchestra (Phillips 442 614-2)
Symphony 100: Walter/Columbia (Sony 64485)
Symphony 101: Mackerras/St. Luke's (Telarc)
Symphony 102: Dorati/Philharmonia Hungarica (Decca 452 259-2)
Symphony 103: Kuijken/La Petite Bande (DHM 77362)
Symphony 104: Hickox/Collegium Musicum 90 (Chandos 0655)

Thrill of Playing/Listening to Great Symphonic Composure.......2003-05-17

Imagine the thrill of Haydn finally hearing his work played the outstanding orchestra of Salomon in London, and for these musicians?

What a result for us to inherit these magnificent works performed by Sir Davis and the Royal Concertgebouw recorded at such an outstanding value by Philips.

I especially love the cello part in the Minuet of Sym.95 as well as the Adiago from the 98th. How hard is it to pick and choose though from this magnificent sounds? I find myself conducting as I listen as in Sandy Bottom Orchestra with the dairy manager.

Tracks:

Symphony No. 88 In G Major: I. Adagio - Allegro
Symphony No. 88 In G Major: II. Largo
Symphony No. 88 In G Major: III. Allegreto
Symphony No. 88 In G Major: IV. Allegro con spirito
Symphony No. 89 In F Major: I. Vivace
Symphony No. 89 In F Major: II. Andante con moto
Symphony No. 89 In F Major: III. Menuet
Symphony No. 89 In F Major: IV. Vivace assai
Symphony no. 92 in G major: I: Adagio - Allegro spiritoso
Symphony no. 92 in G major: II: Adagio
Symphony no. 92 in G major: III: Allegretto
Symphony no. 92 in G major: IV: Presto

Tracks:

Symphony in C major, No. 90: I. Adagio - Allegro assai
Symphony in C major, No. 90: II. Andante
Symphony in C major, No. 90: III. Menuet
Symphony in C major, No. 90: IV. Allegro assai
Symphony in E flat major, No. 91: I. Largo - Allegro assai
Symphony in E flat major, No. 91: II. Andante
Symphony in E flat major, No. 91: III. Menuet
Symphony in E flat major, No. 91: IV. Vivace

Customer Reviews:

Kuijken reigns supreme!.......2007-05-04

These 5 symphonies were composed between the perennially popular 'Paris' and 'London' cycles in the late 1780's. Only the 92nd is named - 'Oxford', after Haydn received an honary doctorate from that university. It is a justly famous work, fully comparable with Mozart's late symphonies
The others are an absolute delight displaying the wit and brilliance of orchestration that had made Haydn famous throughout Europe. The largo of the 88th is surely one of Haydn's most beautiful!
There are a number of very commendable performances of the works available, though few offer the intuitive grasp that Kuijken and his players display, and at super bargain price.
Collectors of Kuijken's survey of Haydn's music need not hesitate, while others are strongly urge to.

fine, but better can be had.......2006-08-15

These are tenderly played and executed symphonies; but perhaps a little too tenderly and too strict an adherence to original practice technique. Take the magisterial symphony no. 92 as an example: well played, but lacking the excitement and incredible lush (and I may add, old fashioned) sound of Karl Böhm with the Vienna (nla). The introduction is stately, but lacks drive and passion and when the Allegro begins it is understated and under- whelming. I am no opponent of original instruments; I rather think Adam Fischer with the Austro Hungarian Haydn Orchestra maintains the drama and excitement of Haydn better though I have not heard him do these particular symphonies. For the bargain price I may be getting petty, after all they are played well and these are thoughtful performances but it may be a good idea to look elsewhere.

Great recording!.......2003-01-31

This is a great recording! Lots of energy. I find music hard to describe so give it a listen on your Real Player.

Top performance and a bargain.......2002-01-09

If you are looking for two of the most beautiful late Haydn symphonies in one set, this is it! No. 88 (no name) and no. 92 (Oxford) do not belong to the "Paris" or "London" groups of Haydn's symphonies, they are in between. While every movement of no. 88 is a gem, the slow movement is one of the most beautiful compositions in all of classical music. (Remember Brahms' saying, I wish the slow movement of my ninth will sound like this.) The better known no. 92 is perhaps the most dramatic and energetic of all of Haydn's symphonies. Nos. 89 - 91 are beautiful works too, but perhaps not as truly great in every movement as nos. 88 and 92. The performances are dynamic and warm at the same time, i.e. really exciting. The sound is first-rate. A bargain. I have no doubt this should be given a rating of five stars.

Wow! Where Did These Guys Come From?.......2000-04-22

This is an excellent value for the nine dollars or whatever it is, and I'd highly encourage everyone to get it. Granted, there are points where the playing sounds restrained and almost flat, such as the last movement of the 89th symphony. It's also true that Kuijken doesn't have the flair for the dramatic that Solti or Bernstein et al. would have; the music isn't necessarily given any special interpretation. But it is interpreted solidly and with a surprising amount of energy; as well, the skill level of the orchestra is outstanding. What really drew me to these recordings, however, was their earthy, "gutsy" tone; the harpsichord and drum parts to these symphonies, parts which are so integral to Haydn's work, are more prominent than usual, and this takes the music from being something refined and snobbish in a concert hall to being something everyone can identify with. Buy this CD! Now!

Average customer rating:

It was faulty on the last title to be played The Carnival of Venice
Awesome Collection!
A Wonderful Collection
Wonderful edition to your trumpet collection.
Quite the CD

Greatest Hits: Trumpet

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Classic Wynton
Famous Classical Trumpet Concertos
Trumpet Concertos
Baroque Trumpet Concertos
Wynton Marsalis - Baroque Music for Trumpet

ASIN: B000002AVK
Release Date: 1994-12-06

Tracks:

Brandenburg Concerto No.2, BWV 1047: III. Allegro assai
Birthday Ode For Queen Anne: Eternal Source Of Light Divine
Concerto For 2 Trumpets In C Major, RV 537: 1. Allegro
The Prince Of Denmark March
Canzon V
First Symphonic Suite: Rondeau
Trumpet Tune 'Martial Air': Martial Air
Trumpet Concerto In E-Flat Major: III. Finale. Allegro
Sonata a 9 zu der Kayserlichen Serenade
Voluntary In C Major
Trumpet Concerto In E-Flat Major: II. Andante
Trumpet Concerto In E-Flat Major: III. Rondo
Pictures At An Exhibition: Promenade
Petrushka: Dance Of The Ballerina & Waltz
Also sprach Zarathustra, Op. 30: Introduction
Lieutenant Kije: Symphonic Suite, Op. 60: Kije's Wedding
Hary Janos Suite: Entrance Of The Emperor & His Court
Swan Lake, Op. 20: Naepolitan Dance (Act III) - Tchaikovsky
Rondo For Lifey
Concerto No. 1 For Piano, Trumpet & String Orchestra, Op. 35: IV. Allegro con brio
Tsar Saltan: Flight Of The Bumblebee
The Three Aces - Clarke
A Bugler's Holiday
Variations On The Carnival Of Venice

Customer Reviews:

It was faulty on the last title to be played The Carnival of Venice.......2007-06-01

I returned this to New Castle. Box 15550. I have heard nothing. The date of the return was 15/05/07 from my Throop postoffice in Dorset. I sent it recorded delivery. Over to you. There was nothing on the return screen to explain the fault. ie faulty track. So after many attempts to get intouch I sent it to the address on the paper inside the parcel. Please help.
I am a Grandmother so I am over 13 ???

Awesome Collection!.......2006-07-04

As a young boy I would play my trumpet from my father's old Arban's method book. My private trumpet teacher (Mr. Bonfield) would love to play duets with me from the Merchant of Venice. One day I heard Wynoton Marsailas play a a flawless rendition of The Merchant of Venice on my local clasical radio station. It was flawless and brought back many fond memories of studiying the trumpet as a youngster with my beloved teacher. This collection contains that rendition and a wide selecton of clasical trumpet pieces. You may not recognize every song, but you will enjoy the high quality of the music and artists on this CD. Anyone looking for an introduction to quality, classical, trumpet music should buy this CD. The price also makes this an affordable must for any true trumpet fan.

A Wonderful Collection.......2004-01-26

This is a splendid anthology of music. Traditional Baroque and orchestral pieces up front, and a few surprises nearer the end. A splendid work. The price makes it a steal. Add it to your cart. You will not be sorry. There is technical excellence - peace in some of the songs and real energy in others.

Wonderful edition to your trumpet collection........2003-10-21

Trumpet fans should all own this album, that is if they don't already own all of the pieces on here on separate recordings (it would take a while to obtain them all). This recording features a bunch of great classical trumpeters and innovators such as Armando Ghitalla, Phil Smith, Wynton Marsalis, Mark Gould, H.L. Clarke, Ron Romm, Charles Schleuter, William Vacchiano, and more. Great performances of Bach's "Brandenburg Concerto No. 2", the Haydn and Hummel Concertos, Wynton's excellent performance of J.B. Arban's "The Carnival Of Venice", the New England Brass Ensemble performing "Trumpet Voluntary", a very good job done by a Baroque Orchestra of the Vivaldi Concerto for Two Trumpets, "The Three Aces" played by H.L. Clarke, and Leroy Anderson's classic "A Bugler's Holiday".

Overall this is a great listen to some of the best trumpet players of all-time in this idiom. All of the pieces are impeccably played by some of the best. I didn't discover this tape in my collection until recently, and boy I'm glad I did.

Quite the CD.......2001-04-17

If I were you, I would buy this CD. It is a diverse collection of amazing performances of quintessential pieces - an important addition to any classical music fan's collection. Heck, even if you're not big on classical music (or trumpet music or brass music or music at all) you should purchase this compact disc.

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 Freed

Customer Reviews:

A perfect blend of music ! .......2006-11-23

I decided to try this cd based on the good reviews it got and I'm certainly glad I did ! The music is just perfect for relaxing and filling the house with all the old classical masterpieces. A good buy that that's well worth the money!

Beautiful.......2006-11-20

The more I listen to this cd, the more I love it!! It is very beautiful.

Beautiful Music.......2006-10-02

A great price for such a beautiful CD.
This CD is a must have if you love Jane Austen.
Buy this CD, you will not be disappointed!

Very Pleased!.......2005-09-28

If you like slow beautiful music, this is for you.
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

If you love classical music while reading, relaxing or having a bit of tea, you won't regret getting this album. I personally love it to bits, worth every penny!

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Average customer rating:

Unsurpassably great
The best Brahms cycle I have heard so far
Furtwangler's best Brahms symphony recordings
Simply Mandatory For Brahms Lovers
Anything but dull

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Recordings 1942-1944, Vol. 1
EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Leon Fleisher Plays Brahms

ASIN: B00002062I
Release Date: 1999-11-16

Tracks:

Symphony No. 1 In C, Op. 68: I Un poco sostenuto - Allegro
Symphony No. 1 In C, Op. 68: II Andante sostenuto
Symphony No. 1 In C, Op. 68: III Un poco allegretto y grazioso
Symphony No. 1 In C, Op. 68: IV Adagio piu andante - Allegro non troppo ma con brio
Symphony No. 1 In C, Op. 68: Adagio piu andante - Allegro non troppo ma con brio

Tracks:

Symphony No. 2 In D, Op. 73: I Allegro non troppo
Symphony No. 2 In D, Op. 73: II Adagio non troppo
Symphony No. 2 In D, Op. 73: III Allegretto grazioso
Symphony No. 2 In D, Op. 73: IV Allegro con spirito
SYMPHONY NO. 3 IN F, OP. 90: I Allegro con brio
SYMPHONY NO. 3 IN F, OP. 90: II Andante
SYMPHONY NO. 3 IN F, OP. 90: III Poco allegretto
SYMPHONY NO. 3 IN F, OP. 90: IV Allegro

Tracks:

Symphony No. 4 In E, Op. 98: I Allegro non troppo
Symphony No. 4 In E, Op. 98: II Andante moderato
Symphony No. 4 In E, Op. 98: III Allegro giocoso
Symphony No. 4 In E, Op. 98: IV Allegro energico e passionato
Variations On A Theme By Haydn, Op. 56A: Haydn Variations

Tracks:

Piano Concerto No. 2 In B Flat, Op. 83: I Allegro non troppo
Piano Concerto No. 2 In B Flat, Op. 83: II Allegro appasionato
Piano Concerto No. 2 In B Flat, Op. 83: III Andante
Piano Concerto No. 2 In B Flat, Op. 83: IV Allegretto grazioso
Variations On A Theme By Haydn, Op. 56A: Chorale St. Antoni: Andante
Variations On A Theme By Haydn, Op. 56A: Var. I Poco piu animato
Variations On A Theme By Haydn, Op. 56A: Var. II Piu vivace
Variations On A Theme By Haydn, Op. 56A: Var. III Con moto
Variations On A Theme By Haydn, Op. 56A: Var. IV Andante con moto
Variations On A Theme By Haydn, Op. 56A: Var. V Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VI Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VII Grazioso
Variations On A Theme By Haydn, Op. 56A: Var. VIII Presto non troppo
Variations On A Theme By Haydn, Op. 56A: Finale. Andante

Amazon.com essential recording

What a bonanza: some of the most searching interpretations ever made of symphonic cornerstones, from a now bygone era of performance, here beautifully remastered by Music & Arts and packaged into a bargain set. Wilhelm Furtwängler's dynamic, always-evolving--and often unpredictable--visions of a classic score could overwhelm listeners with their paradoxical aura of the inevitable, wresting away the easy, dull comfort of familiarity. This is most dramatically the case with the conductor's performances of Beethoven. They still move and shake us free of lazy assumptions about this music with all the power of artistic truth. Furtwängler came relatively late to Brahms (like so many of the composer's most abiding admirers) but identified deeply with Brahms's dark strain of melancholy and self-consciousness. The Furtwängler trademarks are all here--palpable molding of tempos and dynamics to concentrate drama, oracular moments of insight, and an astonishingly compelling, organic sense of the whole.

Perhaps the most viscerally thrilling account here is of the First Symphony, from 1951, which, as John Ardoin brilliantly describes it in The Furtwängler Record, has the "magnificent rawness of a Michelangelo." But, when you think you've reached an untoppable high at its conclusion, listen to the finale from Furtwängler's final wartime concert in Berlin, 1945 (the only extant movement on disc), included in this set. The symphonies presented here are a far cry from the stuffy, pedantic, anachronistic Brahms served up by so many lesser lights. Furtwängler grasps and conveys the subtly layered ambiguities in these scores, the blending--particularly in the Second's Adagio (1945) and the final measures of the Third (1943)--of deep shadow with serene sunlight. His Brahms Four from 1943 at times verges on the terrifying; ultimately it passes beyond tragedy into new wisdom as Furtwängler scoops, caresses, sculpts, and simply builds musical contours. The set also includes two interpretations of the Haydn Variations (1943 and 1951) and the legendary 1942 Second Piano Concerto featuring Edwin Fischer as soloist--a touchstone of musical partnership. There's a varying level of background hiss and distortion throughout the set, but in general this is an extraordinary CD transfer. And in Furtwängler's presence, any distracting artifacts of the recorded sound soon fade into insignificance. This is a must not only for listeners serious about Brahms but for anyone intrigued by the art of musical interpretation. --Thomas May

Customer Reviews:

Unsurpassably great.......2005-06-01

In a sense, Furtwangler's best Brahms recordings, collected here, are even more impressive than his Beethoven. Beethoven is almost foolproof, and even in a mediocre performance he will come across intact, but botch Brahms and a tedious soup is all that remains. Compared to Furtwangler's Brahms, all other versions seem not interpreted but merely played through. Under Furtwangler's baton, Brahms emerges as a tragic artist of Shakespearean proportions, with the unbelievable 1945 performance of the last movement of the First--as another listener points out, it stands with his 1942 Ninth among his greatest achievements on record--and the complete performance of the Fourth as particular standouts. As others have noted, the Third isn't quite up to par--personally I prefer the version in the EMI box, which has a terrifically dynamic first movement--but all in all these are performances to render almost all others insignificant. Nowhere else does Furtwangler better exemplify his uncanny ability to find the living core of a piece of music and bring it out whole. This is visionary artistry of the highest order, to which all discussion of conductorial eccentricity is irrelevant, and it will make a Brahms lover of anyone who encounters it fully. A completely extraordinary set of recordings, and a must.

The best Brahms cycle I have heard so far.......2005-04-18

The Furtwangler cycle of Brahms is comething special indeed. The sound leaves much to be desired, but trust me, after you hear the performances you will never want to hear Brahms any other way (no matter how good the sound is)!! This cycle is raw, uninhibited, fierce, probing, tragic but above all powerful. Take the finle of the 4th symphony as an example. It is played at a faster pace of any other recording I have heard of the piece. At the end the variations played on strings are almost a little sloppy. But playing them at that tempo gives the overall movement such great power, spontaniety and drive that it does'nt matter. These performances are should be the gold standard for all others. No other brahms cycle comes ever close.

Furtwangler's best Brahms symphony recordings.......2005-03-02

...all in one set! I'm not going to jump on "madamemusico's" one-star review too much, since she has certainly gotten her share of well-earned unhelpful votes, but I don't know what the hell the argument that Brahms is a "classicist" has to do with anything. The way I look at it, Brahms may have been a classicist with regard to form, but he had heart and soul of a romantic, so I don't understand what precludes his symphonies from being played as full-blooded romantic music. Just admit you don't like Furtwangler, and don't taint the ratings here with personal biases. 'Nuff said on that subject.

"Brahms music is boring and his orchestration is too thick," is one of my least favorite of the countless cliches' about romantic era composers and their music. When I worked at a record store several years ago, I was playing a really good and exciting recording of a Mendelssohn symphony, and a lady came in and, after listening to it for a few minutes, she asked, "What is this? It's really good." "Mendelssohn's (I think it was the 3rd) Symphony," I responded. "Really?!" she said, surprised; "I thought Mendelssohn was boring." "That's because you've never heard any GOOD Mendelssohn," I said. She bought the CD. I am not a big Mendelssohn fan, but the point of this anecdote is that you frequently get the same kinds of opinions about Brahms, based on cliches' about his music that preclude people from giving it serious consideration: "Oh yeah, Brahms; thick and boring. Not my cup of tea." Then you hear some GOOD Brahms, and you are a fan for life.

I would not pretend that this is the only Brahms set you should have. The sound quality is variable, and Furtwangler's style is unique, but if you have any interest in Brahms' symphonies, and you have some more modern recordings that you like, then you really need to have this one; esp. since you can probably get an inexpensive copy on the Marketplace.

I have listened to many of Furtwangler's numerous Brahms recordings, and there is no question in my mind that M&A have assembled the best ones here. Part of the magic of Furtwangler's Brahms is that, despite the weight of the sound that he gets from these great orchestras, plenty of detail can be heard, and surprisingly little apology needs to be made for the sound, even though these recordings are from widely different sources.

Brahms recorded multiple good Brahms' Firsts, but this one from 1951 with Schmidt-Isserstedt's wonderful Hamburg orchestra is my favorite, and it has the best sound of any Furtwangler Brahms recording. The Tahra release of the First has slightly better sound than the M&A, but not enough to diminish the appeal of this set. The wartime Second might have the most thrilling account of the wonderful finale ever recorded. The Third, recorded in the last few months of Furtwangler's life is deeply ruminative, and is the most idiosyncratic of all of the readings here in that much of it is very slow, but it is easily the best of his Thirds, and I find it to be a uniquely satisfying reading. It has often been commented on the Brahms' music has an autumnal feel to it, and it seems to me that this is particularly explicit in the Third, with its luminous woodwind coloring, esp. the clarinet parts: the third was the last of the Brahms symphonies that I fell in love with-- courtesy of the Szell recording--and there is a palpable feeling of deep autumnal reflection in Furtwangler's reading, esp. in his achingly beautiful account of the third movement; and in the closing bars of the quiet coda, you can almost see the last autumn leaves slowly wafting down to the earth. The wartime Fourth is one of the most overtly tragic readings you will ever hear, with an amazing forward thrust to the finale; again, this is easily Furtwangler's best reading.

The fact that there are later Furtwangler Brahms recordings with somewhat better sound is not really a factor, such is the quality of the performances assembed in this M&A set. If you have this set you don't really need any other of Furtwangler Brahms symphony recordings. The EMI References set is good, but those performances are all runners-up to all of those in this set.

Simply Mandatory For Brahms Lovers.......2004-05-25

I feel that this set belongs in EVERY collection. It has great CD transfers, sensational conducting and WONDERFUL Brahms!

Sym. #1: This 1951 Hamburg with the North German Radio is, to my mind, the finest Brahms 1st on record. It is also on Tahra FURT 1054/7, but this M&A transfer is distinctly SUPERIOR: the Tahra has lots of extra hiss and a midrange that sounds rather hollow. However, you MUST have that Tahra set because it contains Furtwangler's majestic 1954 Lucerne Beethoven 9th in its best transfer. The only Furtwangler 1st to rival this Hamburg is the 1952 Berlin Phil. (deleted DG 415662-2). More mellow and less dramatic, it and this Hamburg are sonically just about the best of ALL Furtwangler recordings.

Sym. #2: The 1945 Vienna Phil. here is also available on 6-disc DG set 474030. They are close in sound quality, but I would give the edge to M&A. Incidentally, you must have the DG set for its 1944 Vienna Phil. Bruckner 8th in a finest-ever transfer. This Brahms 2nd is VERY dramatic, but the lesser 1948 with the London Phil. (Dutton) has grown on me of late - if it were the only Furtwangler available, most of us would be raving about it! My favorite Furtwangler Brahms 2nd remains the more reflective, less hectic 7 May 1952 Berlin Phil. account (mine is on an Electrola Da Capo LP).

Sym. #3: This 1954 Berlin is the best of 3 Thirds - it was also on DG 423572-2 (deleted) in sound that was the same as this M&A (the DG was coupled with my favorite Furtwangler account of the Schubert 8th from 1952). He isn't as persuasive in the 3rd, but the closing pages have a lovely autumnal, valedictory quality.

Sym. #4: This dynamic 4th from 1943 is his best, and this is its best-ever transfer.

2nd Piano Concerto: The 1942 live sound is congested (it's the only poor sound in this set). The transfer on DG 471294-2 is somewhat better, but both are pretty bad.

Haydn Variations: This 1951 Hamburg and the Berlin 1950 (DG) are my two favorites: both have excellent sound.

Brilliant as these are, there are accounts by other conductors that I also cherish. Some are foils that help to appreciate the greatness of Furtwangler's readings, and a few of them offer insights that are different and perhaps equally valid. In the 1st, Abendroth is stunning (his best: the live 1955 Berlin Radio on Tahra 145/146). If there were no Furtwangler Brahms 1st, this would be my favorite. I am also quite taken with the 1953 Schuricht/Suisse Romande on Archiphon 2.1 - its coupling is a Beethoven "Missa Solemnis" with Stader, Calveti, Haefliger & Rehfuss. Since Furtwangler never recorded the latter, you might want to try it this excellent Schuricht.

For the 2nd, my other favorites are Schuricht/VPO (London LP) and Fritz Busch (EMI). The Max Fiedler and Walter Damrosch 2nds (on different Biddulph CDs) are weirdly hypnotic - a trip back to the past. In the 3rd, I love Kna (Tahra), Schuricht (Greenhill), and Mengelberg (Naxos). For the 4th, three worth hearing are Abendroth (Arlecchino), Busch (Dante LYS), and Schuricht (Ades).

Edwin Fischer isn't my top choice in the 2nd Concerto, despite the lovely slow mvt. I prefer Curzon with Kna/VPO on a Decca LP. And for the Haydn Variations, I also like the pokey Kna/VPO (Decca) and the Schuricht (Ades).

But make no mistake: if my house were on fire and I could keep only one Brahms set, it would be this Furtwangler. If I could grab two, the old Weingartner (deleted EMI) would come along for contrast. As Fielding once observed, "what is a jewel without its foil?"

Anything but dull.......2003-10-02

Many (perhaps most) people see Brahms as being particularly dull. This set, without any doubt, completely destroys this myth. Just listen to the 1945 recording of the finale to the First symphony, and you will hear one of the most inspiring, most desperately intense recordings of orchestral music you are ever likely to hear (on this score, it is rivalled only by Furtwangler's titanic 1942 recording of Beethoven's Ninth symphony). The main reason why I greatly admire Furtwangler's conducting is that he almost always conveyed a complete understanding of what the music really means; he was a master of the lost art of reading inbetween the lines. This is in great evidence here. The marvelous 1951 Hamburg recordings of the First symphony and the Haydn variations have such a warm, personal sound, and are both intense and noble. The Second symphony has been refered to as Brahms' Pastoral symphony. Furtwangler realises, just as with Beethoven's Pastoral symphony, that this music is not un-dramatic to the point of being comatose, but rather is a thrilling symphony to the wonders of nature, very beautiful, but with a spiritual side as well. The first three movements of the Third symphony are incredible. How could he get that sound out of an orchesta? I cannot describe it in words; you just have to listen to it. The finale of the Third symphony is, from an interpretive standpoint, mildly dissapointing for Furtwangler. (For just about anyone else, it would have been extraordinary.) I agree with John Ardoin (author of a fine book on Furtwangler's recordings; the liner notes are taken from it) here, in thinking that the transition from the introduction to the main Allegro is too abrupt and unexpected, and the very end of the movement is rather unremarkable for Furtwangler. These are very fine interpretive points, however, and the overall experience is still thoroughly enjoyable. The Fourth symphony is excellent here, through and through. Particularly notable is the finale, which, as a previous reviewer noted, is almost apocalyptic. The wartime Haydn variations is somewhat less contemplative and warm toned than its 1951 counterpart, but is more 'straightforward' in its interpretation, and is perhaps more 'festive', joyful, or whatever else you care to call it. To cap this set off is an incredible performance of the 2nd piano concerto, with Edwin Fischer. I don't always care for his playing (I generaly don't find enough subtlety in his touch, listen to Hofmann for that), but here he and Furtwangler work as one, which of course is a great thing. On top of all this, the sound quality, even with the concerto (from 1942), is quite good, and with the Third, is exceptionaly clear. If I were to have no Brahms but this, I would still be happy.

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer

Average customer rating:

no kidding
Not sure what all the fuss is about.
Five stars +
Karajan or Klemperer in Brahms?
My deserted island pick

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Johannes Brahms , Philharmonia Orchestra , Christa Ludwig , Philharmonia Chorus , and Otto Klemperer
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

Beethoven: The Complete Symphonies and Piano Concertos
Great Recordings Of The Century - Schubert: Symphonies nos. 3, 5, & 6 / Beecham, Royal Philharmonic Orchestra
Wagner: Orchestral Music
Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO
Leon Fleisher Plays Brahms

ASIN: B0001O3Y8A
Release Date: 2004-04-06

Tracks:

Thema: Chorale St. Antoni
Variation I (Poco Piu Animato)
Variation II (Piu Vivace)
Variation III (Con Moto)
Variation IV (Andante Con Moto)
Variation V (Vivace)
Variation VI (Vivace)
Variation VII ( Grazioso)
Variation VIII (Presto Non Troppo)
Finale (Andante)
I: Un Poco Sostenuto - Allegro
II: Andante Sostenuto
III: Un Poco Allegretto E Grazioso
IV: Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo
III: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
IV: Allegro Con Spirito
I: Allegro Con Brio - Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro - Un Poco Sostenuto

Tracks:

Academic Festival Overture Op. 80
Tragic Overture Op. 81
Alto Rhapsody Op. 53
I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso - Poco Meno Presto
IV: Allegro Energico E Passionato - Piu Allegro

Customer Reviews:

no kidding.......2007-07-06

this IS the best brahms set in the market. honesly, as much as i love klemperer, i was pretty surprised by the amount of tension he managed to retain throughout this studio recording - something the greatest conductors often couldn't do.
To me, and i do not seem to be alone in this regard, the gem of the set is the fourth symphony. It is here that Klemperer simply out does Celibidache, Toscanini, and Furtwangler. The passacaglia is imbued with a sense of inevitability - i was completely taken aback by the impact of the climax. The relationship between the variations was so perfectly thought out that after this recording every other passacaglia seems inconsequential. Furtwangler might have imbued each passage with more fire, but even his profound insight is cursory compared to what Klemperer manages to convey.
Klemperer's supreme sense of architecture and drama also churns out an inimitable Academic Overture, which is also simply the most stunning and satisfying account I have ever heard. While in the beginning the orchestra might not seem completely synchronized, such misgivings are done away with by the time the last theme, the climax, is performed.
the rest are also similarly great, although owing the Furtwangler, Klemperer's first symphony doesn't top the rest of the competition like the other symphonies do.
there are a few records out there that i would call definitive - but this brahms set is the closest ever.

Not sure what all the fuss is about........2006-09-15

For me this set of Brahms is ho-hum. It is average, but nothing special. I feel the same way about Herbert von Kajaran's interpretation of Brahms. Brahms is without a doubt my favorite composer and I have heard many versions of his symphonies. For my tastes, the London Philharmonic's sound has always been too thin for Brahms. The only time I liked the London Philharmonic performing Brahms was Antal Dorati's set on Mercury Living Presence.
I prefer the rich and warm sound of the Berlin Philharmonic. The set of symphonies that Claudio Abbado released on DG in the 1990's has taken top honors for me. Most of the previous traversals with the Berliners (i.e. von Karajan) have taken the tempos too slow for my tastes.
As far as I'm concerned you can do much better elsewhere: Abbado, Szell, and Dorati - heck even Bruno Walter's set with the Columbia Symphony Orchestra is better than this presentation.

Five stars +.......2005-11-14

Klemperer is one of my favourites, probably because I got to know Mahler through him. For me this is the best Brahms symphonies cycle yet. The tempos are well judged as always and the Philharmonia at top form as always under Klemperer. I feel that the 4th is the gem of this cycle unsurpassed in every aspect. Along with the German Requiem again with Klempeper and the Philharmonia I find these CDs the best Brahms orchestral music on the market.

Karajan or Klemperer in Brahms?.......2005-09-29

Otto Klempeerer owes his late career in London and on EMI records to von Karajan. Since its founding in 1949, the Philharmonia Orch. was closely allied with Karajan, who built it up as his own career took off after the war. But when Furtwangler died in 1954 and his arch-rvial Karajan took over the Berlin Phil., the impressario of the Philharmonia, Walter Legge, knew that he neeeded a new stellar conductor or his orchestra would fail. He chose Klemperer, then almost forgotten and already past 65 when he made his initial appearances in London in 1951.

Legge's gamble paid off. Klemperer became the darling of London critics and audiences, and his performance style--measured, serious, with impeccable integrity--became the standard in Mozart, Beethoven, Wagner, and Brahms. He cared little for beauty of osund, smooth phrasing, or stylistic refinement. Words like "granitic" and "primordial" were used regularly.

Is he the antithesis of Karajan, who valued everything that Klemperer disdained? Listening to these Brahms symphony recordings in improved sound, I think the Klemperer vs. Karajan debate isn't all that valid. These four symphonies aren't granitic or primordial, nor are they particularly slow. In fact, the first movement of the Second moves lightly, as does the finale of the Fourth. If anything, Karajan's presentation is more massive and imposing in every symphony. The main difference begins with Klemperer's steady pace, which he tends to hold without allowing the phrase to be molded as flexibly as Karajan.

Karajan made two complete Brahms cycles for DG, the latter in digital sound. He was undoubtedly a great Brahms conductor, but so was Klemperer. Here the Philharmonia sounds sharp and alert and not very big in number, while Karajan's Berlin forces sound sumptuous and huge.

These two giants had no peer in Brahms from the death of Toscanini to the present day, excepting occasional recordings by Giulini, Bernstein, and perhaps in today's market, Harnoncourt. Some would also rank bruno Walter's two Brahms cycles at this exalted level, but for me only the mono one with the NY Phil., now available on a Sony import, qualifies, and besides the inadequate sonics, the orchestra does not play as beautifully as what we hear in this set. It's great to have Klemperer's classic set, which is totally free of eccentricity, back in such good sound. Five stars without a doubt.

My deserted island pick.......2005-06-20

If I had to go to that deserted island, I would be in doubt of which of these 3 CDs to take with me. I have perhaps 500 classical CDs, but this box stands out. I am not going to write very much, however: Brahms is my favourite composer. Brahms was Klemperer's favourite composer. His conducting is perfect all the way. These are so-called slow interpretations, i.e. compared to Toscanini and Walter, but not slow compared to, say Abbado; I think these tempos are perfectly suited to bring out the richness of the texture. The result I will describe as civilized, human, warm, even hot, dramatic, strictly to the point, even sharp, although there are sharper interpretations out there, but they don't got the same lyrical intensity as Klemperer's.

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